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freetwitchfollowers · 1 year ago

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RhexisGaming

About Rhexis Gaming Rhexis Gaming offers video walkthroughs for the overwhelming majority extremely well known web based games. Not at all like myself, my child is all the more an extrovert with regards to his work. Despite the fact that we both have a similar objective throughout everyday life, to help other people, he has discovered a few one of a kind approaches to approaching achieving his objectives.

ALSO VISIT:-The long walks

For any individual who is interested, Rhexis implies crack and is a clinical term that is everything except ordinarily utilized in easygoing discussion. In any case, I found it and gained some new useful knowledge today.

Honestly, I'm gleaning some significant experience of new things about what he's been doing since he grew up. The truth of him being a developed man presently is still difficult to understand however what parent doesn't find their child being an adult a hard remembered to become acclimated to?

All things considered, he's developed now and Rhexis Gaming has turned into a vital venture to him. Presently just does Rhexis Gaming give online computer game aides, he likewise involves this as a stage for his pledge drive mission to help other people.

Let me get straight to the point about something. I'm NOT advancing a business or getting any pay for doing this article from my child or his work. I simply maintain that individuals should realize what I just learned…that my child is endeavoring to help individuals and I'm past glad for him for having the right demeanor towards individuals and life.

Rhexis Gaming on Jerk Here is a screen capture of my child's page on Jerk for Rhexis Gaming. Here is a screen capture of my child's page on Jerk for Rhexis Gaming.

W. K. Hayes

Rhexis Gaming on Jerk Jake has worked effectively of posting computer game aides for famous internet games. To see which games he is right now facilitating walkthroughs for, kindly visit his site and look at his most recent aides.

He likewise has facilitated a:

"12 Hour Good cause Stream for American Starting point for Self destruction Counteraction!"

His work towards self destruction counteraction is entirely excellent and I anticipate see what else he does from now on. By and by, I don't have a Jerk account however I'm going to pursue one just to follow him and his work. Discuss very pleased!

Jake likewise accomplishes other work with Rhexis Gaming that you could see as extremely intriguing. I actually need to join and buy into study all that he is achieving there however the way that he's devoting time to assist with saving others means everything to me.

Rhexis Gaming on Instatgram Jake has an Instagram represent Rhexis Gaming. He truly believes that individuals should engage in his work. Jake has an Instagram represent Rhexis Gaming. He truly believes individuals should engage in his work.

W. K. Hayes

Bringing issues to light for self destruction counteraction Jake maintains that more individuals should know about the work he doing to help the American Starting point for self destruction counteraction through his different web-based entertainment accounts. In spite of the fact that I am don't know why this establishment implies such a huge amount to him, I'm exceptionally happy that he needs to assist with peopling the same way I do.

Rhexis Gaming offers bringing issues to light to the indications of somebody examining self destruction so you can tell when somebody needs saving, regardless of whether they understand that they do. Free Genuine Assistance, a site that I work will add this data on the side of his work and their's. Realizing the signs can save an individual's life and it is smart that we as a whole carve out opportunity to realize what those signs are on the off chance that we are.

As I more deeply study this subject, I will post it here alongside his recordings that make sense of how you might help. Along these lines, kindly make certain to buy into his web-based entertainment accounts and certainly continue to follow this article for additional updates and data.

My child, the hopeful essayist Jake, the hopeful creator and compassionate Jake, the hopeful creator and compassionate

W. K. Hayes

Jake, the hopeful creator and compassionate Jake loves composing and he is at present dealing with a few books and different distributions. His devotion to composing nearly equals my own yet he has me beat, undoubtedly, with regards to accomplishing something useful for other people.

In any case, Jake is far beyond words can portray or evaluate. The man he has become isn't honorable to me however to any individual who carves out opportunity to get to know him. Clearly, there is a great deal more about him that I need to be aware. Beginning with getting the connections from him, for the entirety of his distributed abstract works. I have had the joy of partake in the initial not many sections of a portion of his books however I would truly very much want to complete them at the same time, that returns to Jake.

He is so not set in stone to assist with peopling through his pledge drives that composing has, needed to take a secondary lounge for now. In any case, there is an illustration to be gained from his demeanor towards individuals and life. The message I that I find by they way he accepts is simple…no matter what we are doing throughout everyday life, pause and set aside some margin to help one another and partake in one another. He has a sound message. One we could all gain from.

This content mirrors the closely held individual beliefs of the creator. It is exact and consistent with the best of the creator's information and ought not be fill in for unbiased reality or guidance in legitimate, political, or individual matters.

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freetwitch · 1 year ago

Text

RhexisGaming

Rhexis Gaming offers video walkthroughs for the overwhelming majority exceptionally well known web based games. Dissimilar to myself, my child is to a greater degree an outgoing person with regards to his work. Despite the fact that we both have a similar objective throughout everyday life, to help other people, he has discovered a few interesting approaches to approaching achieving his objectives.

For anybody who is interested, Rhexis implies crack and is a clinical term that is everything except usually utilized in easygoing discussion. All things considered, I found it and gained some new useful knowledge today.

Free Twitch Followers

Honestly, I'm gaining some significant experience of new things about what he's been doing since he grew up. The truth of him being a developed man presently is still difficult to comprehend however what parent doesn't find their child being an adult a hard remembered to become accustomed to?

All things considered, he's developed now and Rhexis Gaming has turned into a vital task to him. Presently just does Rhexis Gaming give online computer game aides, he likewise involves this as a stage for his pledge drive mission to help other people.

Let me get straight to the point about something. I'm NOT advancing a business or getting any pay for doing this article from my child or his work. I simply believe individuals should realize what I just learned…that my child is endeavoring to help individuals and I'm past glad for him for having the right demeanor towards individuals and life.

Rhexis Gaming on Jerk Here is a screen capture of my child's page on Jerk for Rhexis Gaming. Here is a screen capture of my child's page on Jerk for Rhexis Gaming.

W. K. Hayes

Rhexis Gaming on Jerk Jake has worked really hard of posting computer game aides for well known internet games. To see which games he is as of now facilitating walkthroughs for, if it's not too much trouble, visit his site and look at his most recent aides.

He likewise has facilitated a:

"12 Hour Noble cause Stream for American Starting point for Self destruction Anticipation!"

His work towards self destruction counteraction is entirely outstanding and I anticipate see what else he does from now on. By and by, I don't have a Jerk account however I'm going to pursue one just to follow him and his work. Discuss very pleased!

Jake likewise accomplishes other work with Rhexis Gaming that you could see as exceptionally intriguing. I actually need to join and buy into study all that he is achieving there yet the way that he's devoting time to assist with saving others means everything to me.

Rhexis Gaming on Instatgram Jake has an Instagram represent Rhexis Gaming. He truly believes individuals should engage in his work. Jake has an Instagram represent Rhexis Gaming. He truly believes individuals should engage in his work.

W. K. Hayes

Bringing issues to light for self destruction counteraction Jake maintains that more individuals should know about the work he doing to help the American Starting point for self destruction counteraction through his different online entertainment accounts. In spite of the fact that I am don't know why this establishment implies such a great amount to him, I'm extremely happy that he needs to assist with peopling the same way I do.

Rhexis Gaming offers bringing issues to light to the indications of somebody thinking about self destruction so you can tell when somebody needs saving, regardless of whether they understand that they do. Free Genuine Assistance, a site that I work will add this data on the side of his work and their's. Realizing the signs can save an individual's life and it is smart that we as a whole find opportunity to realize what those signs are assuming we are.

As I study this subject, I will post it here alongside his recordings that make sense of how you might help. Thus, kindly make certain to buy into his web-based entertainment accounts and certainly continue to follow this article for additional updates and data.

My child, the hopeful essayist Jake, the hopeful creator and philanthropic Jake, the hopeful creator and philanthropic

W. K. Hayes

Jake, the hopeful creator and philanthropic Jake loves composing and he is at present chipping away at a few books and different distributions. His commitment to composing nearly matches my own however he has me beat, without a doubt, with regards to accomplishing something beneficial for other people.

In any case, Jake is far beyond words can portray or measure. The man he has become isn't commendable to me however to anybody who finds opportunity to get to know him. Clearly, there is a lot more about him that I need to be aware. Beginning with getting the connections from him, for the entirety of his distributed abstract works. I have had the joy of partake in the initial not many sections of a portion of his books yet I would truly very much want to complete them in any case, that returns to Jake.

A Jerk accomplice is an embellishment that has shown up at explicit guidelines to get cash from advancements, subs, and pieces. Various designs need to become individuals and thereafter become united with Jerk to get advancement pay and change spouting into a "job".

In this article, I will give you tips to transform into a Jerk part and how I showed up after something like two months. I had a lot of allies all through the years considering the way that team up on Jerk channels yet I haven't had the choice to stream so far.

How You Start The important thing you believe that should do is register for a Jerk account. You register an email address and really look at it. Then, you pick your username and set up the standard.

After you set up your record you can set up your profile picture. After your record and profile picture are set up, go snap the video producer button.

Click the "Producer Dashboard" button and a while later snap "Streaming Instruments". At the point when you open "streaming instruments" pick the streaming programming that solicitations to you. I use Streamlabs OBS yet there is a grouping of streaming programming to investigate.

Partner Your Jerk Record To Your Streaming Programming Jerk record to your streaming programming by using the Streaming key provided for you by Jerk. Go into your Producer Dashboard and snap "settings" and select "stream", click the "copy" button on the "Fundamental Stream Key". Benevolently don't show this to anyone considering the way that the Fundamental Stream Key is the key that permits you to stream to your record. Stick your stream key into the stream key setting in your item aside from assuming the item gives you the decision to connect with Jerk clearly in the item.

Notable games spilled on Twitch.tv. Notable games spilled on Twitch.tv.

Adjust Your Stream Organization At the point when you present your favored streaming programming you can create circumstances to add overlays, alerts, the chatbox, and webcam and catch your continuous collaboration.

You can either create plans yourself or you can peruse free Jerk overlays if accepting they are available for the item you're using. You can in like manner pay people Online to prompt you a custom overlay if you to need to place cash into your overlay.

I use Streamlabs and they have free Jerk overlays open on their site close by paid overlays expecting you become involved with them. I changed a free overlay that I perused Streamlabs and I like my configuration an extraordinary arrangement.

Guarantee when you change your sound settings to insert an increment channel on your workspace and mouthpiece sound. I was streaming and I was told by my group that my voice wasn't especially plainly paying little mind to having my volume up. I found the grain settings in Streamlabs and made the volume of my recipient more grounded. I had the choice to fix my sound and as of now I don't have to worry about my volume settings any longer, so you should fix your sound settings and record a test video on your electronic programming and focus on it.

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criticalrolo · 2 years ago

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I would love to hear more about TUA Daemon AU, if you are willing to share. :)

Absolutely!! Here's what I'm thinking as a general overview for the kid's daemon forms

Luther: Great Dane

Great Danes are outgoing and happiest when they're with people. They're very loyal, close-bonding dogs and don't do great with solitude. They are obedient and dutiful, and the "dog" desire to please people definitely seems to fall in line with his desire to please Reginald and have everyone Be A Part Of The Team. The "gentle giant" stereotype seems to fit Luther, especially in the later seasons once he gets out from underneath Reginald's influence. I do think that his Great Dane form would reflect his desire to please his dad, but I also think it would make sense if she had a unique coat pattern that's not officially recognized, showing that Luther does have a unique personality and sense of self independent of what Reginald wants, even if it takes a while for that part to show. Maybe a black one with white spotting on the chest?

Diego: Peregrine Falcon

Peregrine Falcons are really adaptable birds, found on every continent except Antarctica, which tracks for Diego's thrill seeking side. However, they've also got strong homing instincts, with nesting sites that have lasted for hundreds of generations. Diego values being able to do his own thing, but is also incredibly loyal to his designated "people." Peregrines are defensive birds, capable of driving off larger raptors like golden eagles to protect their nests, which reflects Diego's competitive nature for sure. They're also obviously known for their record breaking speed and accuracy, and I think Diego would take a lot of pride in his daemon having "powers" similar to his own out in the wild :)

Allison: White-Lipped Island Pit Viper

The thing that drew me to pit vipers for Allison was their thermal imaging senses: they are able to sense the body heat coming off small animals using the "pits" in their nose and use a thermal map over their vision. Essentially, they can literally take the temperature of a room and act accordingly. Allison is an expert at knowing when and how to strike at different people to accomplish her goals, and her intuitive senses when something is "off" with someone, like with Leonard in season 1 and Harlan in season 3, are very accurate. Pit vipers are venomous snakes, but unlike other venomous snakes that will strike and then back away, pit vipers will latch onto their prey and not let go, which Allison reflects in her tenacious and driven temperament. Snakes in general also have a reputation for being ambitious and cunning in many cultures, as well as being alluring. I chose the island pit viper specifically for its unique blue coloring. It's genuinely beautiful, and I think it reflects a lot of Allison's intelligence and social skills.

Klaus: North American River Otter

River Otters are non-territorial and have lots of different kinds of social groups, and are very socially flexible compared to other animals. Their territories overlap considerably without issue, and there's rarely much in-fighting in their groups. Klaus is not nearly as ruthlessly competitive as his siblings, and his go-to coping strategy has always fallen more along the lines of checking out and trying (key word: trying) to have a good time. Otters are known for being playful and vocal, and Klaus is definitely a very expressive person. They are also close bonding animals, and stay loyal to their groups for life. Otters also have a tendency to take over other animal's dens instead of building their own. They tend to be 'procrastinators' and I can see someone with an "otter" temperament being the kind of person to avoid stress whenever possible. However, it should definitely be noted that North American River Otters in particular are apex predators, and have been observed killing alligators in the wild. When backed into a corner, Klaus can be just as ruthless as the rest of his siblings, despite his more laid back general nature.

Ben: Tree Pangolin

Pangolins are solitary creatures for the most part, mainly living on their own although occasionally. some mated pairs have been observed staying together. They are most well known for their defensive measures: when confronted by a predator, they will curl into an armored ball to protect their vulnerable underbellies. Ben is a guarded person in both timelines: he reacts to feeling vulnerable by either retreating into himself or lashing out to keep people away. Pangolins will hiss and lash at predators with their sharp scaled tails to chase them off. They are also relatively specialized creatures, with a diet limited to only a few species of ants and termites. They will hunt for hours at a time, and are able to close their nostrils and ears to protect them from insect bites while they are eating. This tracks with Ben's very specialized powers (not a lot of Varied Applications of Violent Stomach Tentacles other than tearing people apart) and how he can get very dedicated to a single goal at a time, shutting out anything that tries to deter him.

Viktor: Death's Head Hawkmoth

Moths are nocturnal creatures, with well developed patterns and behavior for camouflage. They don't stand out against flashier insects like butterflies at first glance. Death's Head moths especially are known for being solitary creatures, and they are much more likely to avoid conflict with predators than to confront them actively. Viktor retreats into himself when he feels threatened, and found himself stuck as a wallflower for most of his life, even after he left the Umbrella Academy. Death's Head moths are specialist hunters: they are the only moth species to selectivity raid and feed on the honey of only the Western honey bee. Viktor is a specialist and intensely focused as well, devoting himself one Big Task or Calling at a time. Symbolically speaking, moths are strongly associated with night and the moon (ha) and settlings as the Death's Head moth is sort of a reference to Viktor's hidden power and capability for wrath and destruction when he gets pushed over the edge. While moths can be delicate and sensitive, their full transformation from caterpillar to beautiful winged creature represents Viktor coming into his own over the course of the show.

Five: Unsettled

Five, throughout the show, exists as a very literal visual metaphor for the long term effects of childhood trauma: he is, literally, a man child. It's a deliberate inversion of the idea that many traumatized adults feel like children who never got to grow up trapped in the bodies of adults. In the show, Five may have physically aged while stuck in the apocalypse, but it's made pretty clear that his mental state sort of gets stuck at age 13. He has one goal starting from then and lasting his entire life: go back to his childhood and Fix Things for his family. As he says in season 1, he has "a lot of growing up to do" once he thinks he's prevented the apocalypse. That's why, in this AU, I think his daemon just... never settles, no matter how old he physically gets. I also think that once he time travels into the apocalypse, his daemon stops speaking to him. Five locks away pretty much all thoughts except survive, survive, survive, and I think that's a very deliberate choice on his part. He can't acknowledge the reality of his situation or else he'd never be anywhere close to functional enough to achieve his goals. So, he pretty ruthlessly cuts out anything that isn't directly related to "save his family." If he acknowledged how badly the apocalypse was truly ruining his life, he'd never be able to get back home.

So, he stays unsettled.

#tua daemon au #the umbrella academy #five hargreeves #klaus hargreeves #viktor hargreeves #diego hargreeves #allison hargreeves #luther hargreeves #i am really happy with this ngl. good work here #anyway im gonna figure out names for them all tonight wish me luck lol

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khaleesiofalicante · 2 years ago

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Daniiiii I need advice :((

How tf do I talk to people?

More specifically how do I talk to the cute boy in class who gets off at the same metro stop as and is just as much as an introvert as me??

We've had like (1) conversation so far, when he saw me reading CoA on the metro and asked me about it. He's read tmi!! He's not obsessed with it unfortunately, he's more of a Jeffrey Archer and Dan Brown person (I could ask him for book recs, ig)((actually he did give me book recs but my adhd ass forgot about them))(((maybe I could ask him to regive me those book recs)))((((God I'm such a disaster bisexual)))). And. According to a mutual friend he always goes into bookstores when they bunk classes and browses through all the books and like. Wow. Samesies.

N E ways, aside from being a cute bookworm, he's got an American Accent, he fucking knows ballet (ballet!!) and he's genuinely thoughtful and nice like. There was this one time in the metro when one of my friends, a Muslim girl, was standing even though there was an empty seat next to me, and she said she didn't want to sit everytime I asked her to; the boy was sitting on the opposite side and he texted me all like "You should scoot, she's probably uncomfortable sitting next to a man" (cause there was a stranger dude on the other side of the empty seat) and he was right cause after I scooted she did sit down and I was like. In awe. (There was a moment afterwards when we locked eyes and smiled at each other all like "mission accomplished" lol)

Uhhhh okay. Phew. Anyways. How tf do I talk to him. I don't have a crush on him yet (but i most definitely will if he keeps going like this sjsjsjs he's already a fucking catch) but at the very least I'd like to be friends and I just. Don't know how. Cause I'm a social disaster along with being a disaster bisexual. Please help. 🥲🙏

*me looking around all the very REAL crushes on very REAL people* wtf is going on with yall? what happened to being obsessed with fictional people???

Jk. Okay. He sounds very sweet and nice. Let's do this.

If you are usually not sure what to talk about with a stranger/new person, it's always best to talk about THEIR interests. People (especially introverts) feel more comfortable talking about things they like instead of things they are unfamiliar with.

Here are some prompts:

Don't ask him to re-rec the books. Say you looked into the books. (Maybe Dan Brown). You don't know which one to start with. Ask him which one is his favorite. Even questions like 'which one would you think I would like?' (these are questions that can push the questions into you getting into know each other)

Piggybacking on Dan Brown - Ask him if he has watched the movie adaptations too. Go on about book-to-movie adaptations. Does he like them? What's his favorite? What's the worst adaptation and why is it PJO? This is a another topic for you to talk about.

Ask him for bookstore recommendations. What kind of books are there in the bookstores they visit? Tell him how you usually buy your books. What's the bookstore? Do you order online? Ask - while also revealing random tidbits about yourself.

Most importantly, if you have his fucking number bro, send him memes. Introverts love memes. Send memes about fandoms or even just reading. No context. Just send memes randomly. Like if you see something and if you feel like he would relate or find it funny, just send it. That's it.

Let's start here, shall we?

#don't be too prepared just go with the flow :)#support

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jmflowers · 2 years ago

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Reading your work has been such an honor and privilege. You are so beyond talented, and we are SO lucky that you’ve decided to share your talents with the fandom. It’s been such a pleasure reading your writing, and you should be so beyond proud of everything you’ve accomplished thus far. You are going to be a household name, and I am going to be a fan of whatever shows you create in the future. The BIGGEST congratulations on basically SELLING YOUR SCRIPTS, and I know at least one will be picked up. You are about to be on to some major things. So so SO happy for you!!!! CONGRATS!!!!! It’s so well deserved. Always rooting for you! Maybe our paths in Hollywood will cross haha!

crying in the club (my bedroom)

but, genuinely, I've had to sit with this message for a couple days because... wow. it's difficult to comprehend that how I see myself is not the same as how other people see me. thank you for your kindness, friend, and for seeing something great in me. I am so appreciative of your faith and that you chose to reach out and share it. fingers crossed that there are beautiful things ahead for all of us!

I think I'm gonna hit the UK before Hollywood, though. there's a lot of places I wanna see and some courses I wanna take and some more living I need to do before I give myself over to the industry burnout that North American film/TV production is so very good at. I would love, love, love to speak to someone else who's on this career track, though! please don't hesitate to send me a non-anon message, even if it's just to gab about the excitement of being in the same room as a camera (I feel that BIG).

thank you, again.

#so much of my fanfic writing is stuff I just finally went 'fuck it' with #because i'd been writing for days/weeks/months and editing until my eyes bled #and I read them later and think 'oh god I should've done this or this or this'#but then you guys say stuff like this and i... don't know how to align my own self-deprecating inner monologue with it #so just catch me blushing in the corner trying to fathom your words as reality #thank you x A MILLION #janelle's asks #anonymous

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st4rlabsforever · 4 years ago

Text

post-episode 3 fix-it

words: 2.9k

notes: i started a long fic based on this post after watching ep 3. i cannibalized some snippets from another fic i wrote last week so if you see similar scenes, that’s why. i think this will end up being 12-15k words endgame sambucky by the end, but i refuse to post on ao3 until it’s complete. this is the first 3 scenes. feel free to comment and message me your thoughts since i’m still very much in the writing phase :)

summary: “It’s the kind of statement that should be screamed into Bucky’s face, but he’s learning that when Sam’s angry – when he’s truly angry – he’s just as soft-spoken as he is when he’s in one of his pensive moods. And he lets his anger build and build and build until it bursts in spectacular fashion.”

“I didn’t back Steve on the Sokovia Accords,” Sam says unprompted one day. They’re so close to apprehending the Flagsmashers and wrapping up this ridiculous saga.

“I don’t follow,” Bucky says.

“I was the one who refused to sign it first. Not Steve.”

Sam says it so softly that Bucky has to strain to hear him. Sam is loud and chatty and half the time he keeps up a constant stream of chatter just to get on Bucky’s nerves, but Bucky’s coming to realize that when he really wants to make himself heard, he’s soft spoken and mild. Bucky doesn’t entirely follow his train of thought, though.

The thing is, Sam is unreadable when it really matters. He offers words of comfort where needed – in Germany, after seeing Walker with the shield that wasn’t his, knowing that it had affected Bucky just as much as himself; in Madripoor, Bucky’s hand on the throat of some henchman or other, Sam’s hand on his when the Soldier’s memories threatened to overtake him; even in Riga, when Bucky’s guilt over releasing T’Chaka’s killer bubbled to the surface and Sam had checked in with him even though he couldn’t have possibly known about Bucky’s meeting with Ayo. Sam speaks with his eyes, always a searching look that leaves Bucky raw and feeling like he’s been x-rayed. I see you, is what those eyes say.

In contrast, Bucky’s words of comfort feel hollow. He knows that Isaiah is still a live wire for Sam, checks in with him after Madripoor when he can tell the conversation with Nagel weighs heavy on his mind. But he doesn’t see the way Sam does. He knows he’d missed something important because that conversation had ended in an argument and a threat from Sam to destroy the shield.

He never gets a chance to ask Sam what he’s getting at, because Torres signals to them that they’re at the drop point before all hell breaks loose.

***

In the end, after Karli and the Power Broker and whoever else decides to show their head from the emporium of supervillains are dealt with and they finally have a moment of peace, Bucky says, “The shield looks good on you.”

Sam freezes a few paces ahead of Bucky, the shield strapped loosely to his wrist.

“We make a good team,” Bucky says softly.

What he doesn’t expect is for Sam to whirl around suddenly. The look of barely restrained fury is enough to nearly knock Bucky off he’s feet. They fight without ever really fighting all the time, squabbles over who went left and who went right and who was supposed to lead and who was supposed to follow, but never has he seen Sam look like this before. The fury verges on hurt and it’s so fucking visceral that Bucky can barely breathe.

“You don’t get to say that,” Sam says quietly. His voice shakes and he closes his eyes like he’s steadying himself.

“I said I’d squash it until the mission was over, and I did. But you know what? I’m not doing this anymore.”

“Sam–”

“You don’t get to tell me what a good team is. Not after all the shit we just went through. You invited yourself to Munich, and I thought, ‘Fine. I could use the extra set of hands.’ We went through it together against Thanos and I respected that.”

Sam shakes his head. “But then you went off on some lone wolf woe-is-me bullshit, and look at where it got us. You broke Zemo out without even asking if I was down with that. You knew I wasn’t and you forced my hand. Now I’m an accomplice.”

“He was our only lead–”

“Bullshit. That field trip to Madripoor led us right back to Karli. Torres ended up tracking them to Riga anyway.”

“But the Power Broker–”

“–showed his ugly face in the end. All we got out of Madripoor was you digging up your trauma and us getting our faces plastered all over the internet. I promised Sharon one goddamn thing and I can’t even deliver on that now.”

“But I went along with it, fine,” Sam continues. “I knew it couldn’t have been easy reaching back into that headspace, doing what you did to Selby’s men.” The memory blindsides Bucky. “So I tabled it.” Sam taps out a tally with his fingers.

“And back in Baltimore, you’d been too keyed up about Steve being wrong about you to even listen to what I had to say. Again, I tabled it.” Another tally.

“I’ve been meeting you halfway this entire time, man, and I’ve gotten near nothing in return. You kept Isaiah a secret from me, and at first I thought you were just clueless about how damn significant it would’ve been for me to know about him.” Sam shakes his head.

“But then we met him. You saw what they did to him. The one Black supersoldier – a fucking hero – and look what they did to him. You saw it with your own eyes and you still sat there and lectured me about what you thought I should’ve done with that goddamn shield.”

“There’s precedent for it, you know,” Sam says. It takes Bucky a moment to realize Sam is expecting an answer.

Bucky doesn’t know, is the thing. He feels like he’s all of five years old again, put on the spot. He’s reminded of when Zemo just had to let him know about the African American experience; he’d felt chastised and embarrassed enough to pretend like he’d had any clue what themes lurked in Marvin Gaye’s work. Sam just searches him with those eyes, searches Bucky for something yet unfathomable and decides he hasn’t found it. That hurts more than anything else; Bucky wishes he could sink into the ground, make himself as small as possible. Sam doesn’t notice, or else doesn’t care, and just plows on with a scoff.

“You don’t even know the true history of the country you’re living in. Figures.” He shakes his head. “You’re not ever going to be able to separate the shield from the history Black folks have endured at the hands of this country. Not now, not ever.”

Sam doesn’t even look angry anymore. Angry, Bucky can deal with. It would be a relief, even.

Instead, Sam looks at him with a disappointment that somehow surpasses what Steve could have ever accomplished.

“Whatever. I tabled that, too,” Sam says. “And then after Madripoor, after we heard that doctor go on and on about Isaiah’s blood like he wasn’t even a real human-being? I said my piece and all you did was throw that shield bullshit back in my face.”

“Sam–” Bucky tries again. He’s mortified to hear the crack in his own voice.

“It’s honestly breathtaking,” Sam says with something that might be akin to genuine wonder, or maybe even morbid curiosity in his voice. “We saw the same things in Baltimore and Madripoor, but your head was so far up your own ass that you never once stopped to think all of it was just proof to me. That the shield in the hands of a Black man wouldn’t make any damn sense.”

It’s the kind of statement that should be screamed into Bucky’s face, but he’s learning that when Sam’s angry – when he’s truly angry – he’s just as soft-spoken as he is when he’s in one of his pensive moods. And he lets his anger build and build and build until it bursts in spectacular fashion.

Sam’s not even done yet. “And that’s another thing. Stealing the shield from Walker…” Sam rolls his eyes at the memory. “You want to run around with that giant frisbee, fine. That’s your business. But then you forced it on me–”

“That’s not fair,” Bucky says immediately. Desperately. “You didn’t have to accept it.”

“The whole damn country was watching,” Sam says hotly. “It was either accept it, or shit all over Steve fucking Rogers’s legacy and make myself into the villain half the country was already hoping I’d turn out to be.”

“You were dead wrong for that,” Sam says. “I stuck around until we took down Karli because it was the right thing to do. After Munich, though, this little adventure was all you. Zemo, Madripoor, the shield.”

Sam shoves the shield into Bucky’s arms, the impact so sudden that it forces him back a step.

“Since you’re so obsessed with this thing, it’s yours. Congrats,” Sam says sarcastically. “I’m sure you’ll do it proud.”

Bucky lets out a breath he hadn’t even realized he’d been holding.

“For what it’s worth,” Sam says, “Steve might not have understood everything about me. But in Vienna, when it came time to sign the accords? He was considering it. I put my foot down first and he listened.”

Sam shrugs. “Whatever you thought we were, it's not a team.”

Bucky knows where to drive the knife in to kill a man in as few twists of the wrist as possible – a brutal economy of movement and technique. But Sam...it pales in comparison to what Sam’s capable of. His weapons aren’t knives and his targets may not be made of flesh and blood, but he knows exactly where he needs to strike to rip Bucky open raw. Bucky feels like he’s been flayed alive.

“How about that long vacation?” Sam says, and claps Bucky on the shoulder.

And we’ll never have to see each other ever again goes unsaid.

Fuck.

***

The thing about ignoring Sam’s texts was that Bucky responded if they were actually important. It just so happened that most of the nonsense Sam sent was inane prattling about his day, about his job, his sister, his nephews. Now that he’s on the receiving end of it, though, it feels awful.

3/25/21, 2:58 AM

I’m sorry.

Delivered

3/28/21, 1:51 AM

Can we talk?

Delivered

3/31/21, 3:05 AM

Let me know what to do and I’ll do it.

Read 3:34 AM

4/1/21, 12:42 AM

Or if there’s anything you need.

Read 1:05 AM

Yesterday, 1:00 AM

I’m available if you need another body for a mission.

Read 1:02 AM

A week into the admittedly one-sided exchange, Sam turns his damn read receipts on. It’s ridiculous and it’s fucking asinine and it gets under Bucky’s skin immediately. It’s a form of twenty-first century psychological warfare that he’s unfamiliar with and already can’t stand. Mainly, he hates that it makes him seem desperate (he’s not), needy (he might be, especially when he realizes with horror that he actually misses Sam’s rambling texts), and ridiculous (he definitely is, because he’s letting petty mind games get to him).

Normally, Sam would send him nearly daily updates on his comings and goings – whether he’d been in New York, D.C., or New Orleans. The radio silence is unsettling. Bucky wonders if Sam made good on his promise to take a long vacation. And then....

The thing about apologies is that Bucky isn’t sure he’s ever done a proper one in his entire life, at least nothing beyond a rote “I’m sorry” with the “let’s move on” part left unspoken. But it stands to reason, Bucky thinks, that a proper apology can’t be given if he’s not completely certain what he’s dealing with. That’s all well and good because he’s got the world at the tips of his fingers, is what Yori always said. And when he grows frustrated with reading on his tiny phone screen, the New York Public Library is only a train ride away.

Sam had mentioned precedent, so Bucky’s first search is for medical experimentation. He knows for a fact he was good at this once, a memory of Steve whining about him being too good at exams coming up unbidden. He reads voraciously. Anything and everything that might offer a clue on what he’d missed. And it doesn’t take long for him to find what he’s looking for.

He reads with dawning horror. The Tuskegee syphilis experiments. Eugenics. God, the fucking Nazis had even modeled their race science on the American school of thought. The things that the history books left out. Some of it was even happening under his nose in the 30s, he’d just been blissfully unaware. He somehow ends up down a rabbit hole where words like `prison industrial complex’ and `school-to-prison pipeline’ make increasingly more persistent appearances. New Jim Crow. COINTELPRO. War on drugs. The way all of these horrors reached their long arms into the twenty-first century.

Bucky’s going to be sick. The memories come up one after another.

Just give him your ID so we can leave.

You think you can wake up one day and decide who you want to be? It doesn’t work like that. Well, maybe it does for folks like you.

So you’re telling me that there was a Black supersoldier decades ago and nobody knew about it.

This is what you’re not going to do. You’re not going to come here in your over-extended life and tell me about my rights.

The shield wasn’t yours to give away.

He spends the next week in his downtime reading. With the mission being over and his parole in jeopardy, his downtime mostly coincides with every day of the week.

Had Steve known?

No, he thinks. Steve was compassionate, but he wouldn’t have known because he’d taken one look at the problems of twenty-first century America and decided he’d had enough. Then he’d ran back to the 40s to live out some fantasy that simply didn’t – couldn’t – exist anymore. Had he eventually become aware of all the issues plaguing this country that they’d been able to ignore as starry-eyed kids in Brooklyn? Bucky hopes not, because that would mean he’d...no.

A part of Bucky thinks he’s so surprised because he’d thought things – race relations, civil rights, not things, his brain amends – had been getting better in the 40s. Deep down, though, he knows that’s a lie. A 2 AM read through Howard Zinn’s A People’s History of the United States confirms it. Shady politicians. Klansmen who went back to their day jobs as cops, judges, firefighters. Mass incarceration taking its place as the new king on the throne of segregation. Evidently,

There had been plenty of folks – white folks – raising an uproar about these hidden horrors back then. The seeds of those movements had even been there in the 30s. Bucky tells himself that he’d been raised during the Great Depression, that his family had been too focused on putting food on the table to focus on social movements, but that, too, ends up being a lie. The poorest and working class whites – some, at least – in movement and solidarity with civil rights. Not him, though. Apparently he’d had his head up his ass back then, too.

Bucky can see the bigger picture a tiny bit more clearly, now.

Fine. So he’s been disarmed of the little lies he’d used as shields, and he also owes Sam one hell of an apology.

Somehow, he doesn’t think “I’m sorry, I was ignorant then but I read some books and now I know better” is going to cut it. Maybe a commitment to do better would work? Perhaps after Baltimore, but not now. That ship had long since sailed. Some grand act of service, then? He’s sure he can think of something Sam needs in this post-Blip world that he can provide. He vaguely remembers Sarah mentioning something about a ship and bank loan. That could be a starting point.

It doesn’t take much time to find the public records on the Wilson family business and then the not-so-public records on the denied bank loan. It wouldn’t take much for him to pry a little, not when seedy bankers were astonishingly amenable to the threat of violence. But he’s reminded of Zemo and figures that he ought not to do anything so drastic that could jeopardize Sam’s family situation further.

He snorts. Did growth that came several months late still count?

In the end, he decides to rip the bandage off quickly, which is how he finds himself in the sticky Louisiana heat with his hands shoved deep into his pockets, staring back at an incredulous Sam through his open door.

“I did some reading recently,” Bucky says.

“Hmm.”

It’s not outright refusal, so Bucky continues.

“About, um, the things you mentioned last time. Precedent.”

“Huh.”

For someone who’s normally so expressive with his language, Sam’s one-word answers as nerve-wracking as anything.

“I didn’t fully appreciate the situation that you were in. That you’re still in,” Bucky amends.

Sam shrugs. “It’s cool,” he says in a way that doesn’t sound like he really believes it. Bucky wonders if this is a test; he feels just as lost as he did on that plane a week ago.

“Let’s do this outside,” Sam says, closing the door behind him and ushering Bucky away from it. “Walk with me.”

They head down to the pier mostly in silence until Bucky breaks it. “I’m sorry for making it all about me,” he says.

Sam stares at him. It’s true Bucky might stare a little too much on occasion, but Sam’s stares are utterly unnerving in the way he seems to see right through Bucky when he really wants to, like he’s already mapped out all there is to know.

#sambucky #sam wilson #Bucky Barnes #the falcon and the winter soldier #tfatws spoilers

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arcticdementor · 4 years ago

Link

In a democracy, every vote is supposed to be equal. If about half the country supports one side and half the country supports another, you may expect major institutions to either be equally divided, or to try to stay politically neutral.

This is not what we find. If it takes a position on the hot button social issues around which our politics revolve, almost every major institution in America that is not explicitly conservative leans left. In a country where Republicans get around half the votes or something close to that in every election, why should this be the case?

This post started as an investigation into Woke Capital, one of the most important developments in the last decade or so of American politics. Although big business pressuring politicians is not new (the NFL moved the Super Bowl from Arizona over MLK day), the scope of the issues on which corporations feel the need to weigh in is certainly expanding, now including LGBT issues, abortion laws, voting rights, kneeling during the national anthem, and gun control.

…

As I started to research the topic, however, I realized there wasn’t much to explain. Asking why corporations are woke is like asking why Hispanics tend to have two arms, or why the Houston Rockets have increased their number of 3-point shots taken over the last few decades. All humans tend to have two arms, and all NBA teams shoot more 3-pointers than in the past, so focusing on one subset of the population that has the same characteristics as all others in the group misses the point.

I think one reason Woke Capital is getting so much attention is because we expect business to be more right-leaning, and corporations throwing in with the party of more taxes and regulation strikes us as odd. We are used to schools, non-profits, mainline religions, etc. taking liberal positions and feel like business should be different. But business is just being assimilated into a larger trend.

Corporations are woke, meaning left wing on social issues relative to the general population, because institutions are woke. So the question becomes why are institutions woke?

…

Through the lens of ordinal utility, in which people simply rank what they want to happen, we are about equal. I prefer Republicans to Democrats, while you have the opposite preference. But when we think in terms of cardinal utility – in layman’s terms, how bad people want something to happen – it’s no contest. You are going to be much more influential than me. Most people are relatively indifferent to politics and see it as a small part of their lives, yet a small percentage of the population takes it very seriously and makes it part of its identity. Those people will tend to punch above their weight in influence, and institutions will be more responsive to them.

Elections are a measure of ordinal preferences. As long as you care enough to vote, it doesn’t matter how much you care about the election outcome, as everyone’s voice is the same. But for everything else – who speaks up in a board meeting about whether a corporation should take a political position, who protests against a company taking a position one side or the other finds offensive, etc. – cardinal utility maters a lot. Only a small minority of the public ever bothers to try to influence a corporation, school, or non-profit to reflect certain values, whether from the inside or out.

In an evenly divided country, if one side simply cares more, it’s going to exert a disproportionate influence on all institutions, and be more likely to see its preferences enacted in the time between elections when most people aren’t paying much attention.

…

Here are two graphs that have been getting a lot of attention

What jumps out to me in these figures is not only how left leaning large institutions are, but how the same is true for most professions. Whether you are looking by institution or by individuals, there are more donations to Biden than Trump. Yet Republicans get close to half the votes! Where are the Trump supporters? What these graphs reveal is a larger story, in which more people give to liberal causes and candidates than to conservative ones, even if Americans are about equally divided in which party they support (and no, this isn’t the result of liberals being wealthier, the connections between income and ideology or party are pretty weak). Here are some graphs from late October showing Biden having more individual donors than Trump in every battleground state.

…

In the 2012 election, Obama raised $234 million from small individual contributors, compared to $80 million for Romney, while also winning among large contributors.

…

In September 2009, at the height of the Tea Party movement, conservatives held the “Taxpayer March on Washington,” which drew something like 60,000-70,000 people, leading one newspaper to call it “the largest conservative protest ever to storm the Capitol.” Since that time, the annual anti-abortion March for Life rally in Washington has drawn massive crowds, with estimates for some years ranging widely from low six figures to mid-to-high six figures. March for Life is not to be confused with “March for Our Lives,” a pro-gun control rally that activists claim saw 800,000 people turn out in 2018. All these events were dwarfed by the Women’s March in opposition to Trump, which drew by one estimate “between 3,267,134 and 5,246,670 people in the United States (our best guess is 4,157,894). That translates into 1 percent to 1.6 percent of the U.S. population of 318,900,000 people (our best guess is 1.3 percent).” Even if the two left-wing academics who did this research are letting their bias infuse their work, there is no question that protesting is generally a left-wing activity, as conservatives themselves realize.

People who engage in protesting care more about politics than people who donate money, and people who donate money care more than people who simply vote. Imagine a pyramid with voters at the bottom and full-time activists on top, and as you move up the pyramid it gets much narrower and more left-wing. Multiple strands of evidence indicate this would basically be an accurate representation of society.

Another line of evidence showing that the left simply cares more about politics comes from Noah Carl, who has put together data showing liberals are in their personal lives more intolerant of conservatives than vice versa across numerous dimensions in the US and the UK. Those on the left are more likely to block someone on social media over their views, be upset if their child marries someone from the other side, and find it hard to be friends with or date someone they disagree with politically. Here are two graphs demonstrating the general point.

…

There’s a great irony here. Conservatives tend to be more skeptical of pure democracy, and believe in individuals coming together and forming civil society organizations away from government. Yet conservatives are extremely bad at gaining or maintaining control of institutions relative to liberals. It’s not because they are poorer or the party of the working class – again, I can’t stress enough how little economics predicts people’s political preferences – but because they are the party of those who simply care less about the future of their country.

Debates over voting rights make the opposite assumption, as conservatives tend to want more restrictions on voting, and liberals fewer, with National Review explicitly arguing against a purer form of democracy. Conservatives may be right that liberals are less likely to care enough to do basic things like bring a photo ID and correctly fill out a ballot. If this is true, Republicans are the party of people who care enough to vote when doing so is made slightly more difficult but not enough to do anything else, while Democrats are the party of both the most active and least active citizens. Yet while being the “care only enough to vote” party might be adequate for winning elections, the future belongs to those at the tail end of the distribution who really want to change the world.

The discussion here makes it hard to suggest reforms for conservatives. Do you want to give government more power over corporations? None of the regulators will be on your side. Leave corporations alone? Then you leave power to Woke Capital, though it must to a certain extent be disciplined and limited by the preferences of consumers. Start your own institutions? Good luck staffing them with competent people for normal NGO or media salaries, and if you’re not careful they’ll be captured by your enemies anyway, hence Conquest’s Second Law. And the media will be there every step of the way to declare any of your attempts at taking power to be pure fascism, and brush aside any resistance to your schemes as righteous anger, up to and including rioting and acts of violence.

…

From this perspective we might want to consider this passage from Scott Alexander, who writes the following in his review of a biography of Turkish president Recep Tayyip Erdogan.

The normal course of politics is various coalitions of elites and populace, each drawing from their own power bases. A normal political party, like a normal anything else, has elite leaders, analysts, propagandists, and managers, plus populace foot soldiers. Then there's an election, and sometimes our elites get in, and sometimes your elites get in, but getting a political party that's against the elites is really hard and usually the sort of thing that gets claimed rather than accomplished, because elites naturally rise to the top of everything.

But sometimes political parties can run on an explicitly anti-elite platform. In theory this sounds good - nobody wants to be elitist. In practice, this gets really nasty quickly. Democracy is a pure numbers game, so it's hard for the elites to control - the populace can genuinely seize the reins of a democracy if it really wants. But if that happens, the government will be arrayed against every other institution in the nation. Elites naturally rise to the top of everything - media, academia, culture - so all of those institutions will hate the new government and be hated by it in turn. Since all natural organic processes favor elites, if the government wants to win, it will have to destroy everything natural and organic - for example, shut down the regular media and replace it with a government-controlled media run by its supporters.

When elites use the government to promote elite culture, this usually looks like giving grants to the most promising up-and-coming artists recommended by the art schools themselves, and having the local art critics praise their taste and acumen. When the populace uses the government to promote popular culture against elite culture, this usually looks like some hamfisted attempt to designate some kind of "official" style based on what popular stereotypes think is "real art from back in the day when art was good", which every art school and art critic attacks as clueless Philistinism. Every artist in the country will make groundbreaking exciting new art criticizing the government's poor judgment, while the government desperately looks for a few technicians willing to take their money and make, I don't know, pretty landscape paintings or big neoclassical buildings.

The important point is that elite government can govern with a light touch, because everything naturally tends towards what they want and they just need to shepherd it along. But popular/anti-elite government has a strong tendency toward dictatorship, because it won't get what it wants without crushing every normal organic process. Thus the stereotype of the "right-wing strongman", who gets busy with the crushing.

So the idea of "right-wing populism" might invoke this general concept of somebody who, because they have made themselves the champion of the populace against the elites, will probably end up incentivized to crush all the organic processes of civil society, and yoke culture and academia to the will of government in a heavy-handed manner.

To put it in a different way, to steelman the populist position, democracy does not reflect the will of the citizenry, it reflects the will of an activist class, which is not representative of the general population. Populists, in order to bring institutions more in line with what the majority of the people want, need to rely on a more centralized and heavy-handed government. The strongman is liberation from elites, who aren’t the best citizens, but those with the most desire to control people’s lives, often to enforce their idiosyncratic belief system on the rest of the public, and also a liberation from having to become like elites in order to fight them, so conservatives don’t have to give up on things like hobbies and starting families and devote their lives to activism.

#richard hanania #substack

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feralnumberfive · 3 years ago

Text

The Rewatch Academy: Episode 6 of Season 1

“The Day That Wasn’t”

I am in no way a good analyst so my little analysis and speculations probably sound a bit goofy or pretty wild and probably mean nothing at all. Everything I put into this post about each episode is purely what I noticed or thought, whether it’s funny or serious. I will be making jokes, so please just leave it at that (in no way am I trying to make fun of an actor and or character!) I am also in no way saying I noticed this stuff first. This is just what I noticed while rewatching these episodes

☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂

| 1x01 | 1x02 | 1x03 | 1x04 | 1x05 |

☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂

☂ Klaus is lucky that he never got the briefcase shot up

☂ *Hears Klaus flush the toilet and talk* Luther: Oh good, you’re up

☂ Also Luther gave Klaus about two seconds to get up before hounding him again on getting downstairs

☂ Sounds like Tom’s accent slipped a little bit when he said “three days”

☂ Yeah they needed to have a family meeting right away and yet they took the time to go get coffee or at least order it and have it delivered

☂ “Old bastard” and “Our little psycho”

☂ I still don’t get at this point how they wouldn’t believe Five. Look at him, he himself is evidence of his time traveling! He was gone for 45 years, but to them it was only 17. Either way they try to grasp at that, Five would look older if he made it back without messing up. He knew about their father’s death without anyone telling him. I really think all the mistrust comes from the way he looks and the way he acts (they obviously believe he’s just crazy right now)

☂ “What did Five even see?”

☂ Also throw back to 1x02 and I didn’t realized this until now but Five doesn’t have his tie

☂ I know it’s for the title card gag but no one questions the random umbrella falling and popping open

☂ I aspire to be as sarcastic as Hazel

☂ So where exactly is The Commission HQ at? Is it a random location in the real world? If so then wouldn’t normal people happen to stumble upon it? What about their location in space in the comics? Is this in space?? All we know is that it’s in/based off of the year 1955

☂ “I’d like to discuss the logistics of my family’s safety at your earliest convenience.” He cuts right to what’s most important to him. No “How will you stop the apocalypse?” or “What’s my job?” and even “How will my body replacement work?”

☂ Five sounds almost like he’s snapped back into a work mindset. He's suddenly polite and calm with The Handler. Maybe being back in a work environment has made his brain automatically switch into being more professional. However he might also be acting this way to try to throw her off of him being antsy with a plan

☂ Here's some Commission posters shown throughout 1x06

☂ One of us, one of us, one of us-

☂ So basically The Commission makes up history? How do they know what to do and when to make something happen? How do they know it’s right? And what’s The Commission supposed to do when the world ends? Haven't they already fixed stuff in the past or are there just continuous time loops so they need to make sure things happen over and over again? If multiple historical events happen with multiple ways they are made, then which one gets to be in the original timeline??

☂ Dot: No hard feelings! 😁

Ma’am does it look like he’s going to accept that

☂ Wait why are Hazel and Cha-Cha considered the best Temporal Assassins if Five was/is the best?

☂ Well Five has the job of taking down the Hindenburg again but this time from behind a desk. So it’s possible to accomplish “corrections” without actually having assassins do the work. So I guess there’s just so many timelines that they need to fix every single one of them over and over? That sounds like a pain in the ass

☂ TUA portraits!

☂ Y’know I have to agree with Allison on this one. Vanya was left out, however she’s offering to talk with her about the important family matter and Vanya is just denying it. I get she’s upset, but her sister is offering to include her. After Vanya leaves Allison immediately wants to go after her to talk with her. On the other hand Allison should have told her it was an emergency meeting and that they didn’t have the time to ask Vanya to join them

☂ Klaus seems genuinely concerned/upset for Vanya

☂ “We need to figure out what causes the apocalypse. Now, there are loads of possibilities. Nuclear war, asteroids.” Wow spot on, Luther! I can’t believe they actually included foreshadowing for both apocalypses (even though technically it was a chunk of the moon, not an asteroid.) I wonder how much foreshadowing for S3 was put into S2.......

☂ I know it’s big joke about Luther and the moon, but the poor guy just really believes that he was on the moon for an important reason. I mean if I were in his shoes I would believe him too since he had to send a lot of daily updates and samples

☂ “Klaus shockingly has a point. What gives us a win this time?” Shhhh careful Diego, he’s right behind you

☂ Luther is initially the only one onboard with Five on trying to stop the apocalypse. All the others want to go off and do their own thing before the world ends. He tries to get The Umbrella Academy back together to work as a team, but his leadership skills are now severely lacking. Do people *cough cough* mainly people who hate him *cough cough* overlook Luther wanting to also get his family together to stop the apocalypse with his family? Definitely.

☂ “We need the full force of the Academy to stand a chance.” Well golly gee, Allison, what did did Luther just try to do? Was that not him trying to round up all of The Umbrella Academy to stop the apocalypse?

☂ Even though Vanya is ranting, how does she not hear all the creaking metal and shaking cars?

☂ *it’s sunny around them but just the block they’re walking on is rainy until she calms down* “ThAt’S a CoInCiDeNcE.”

☂ The hall floor and Diego’s floor are so dusty

☂ It’s sweet that Diego wants Klaus to get clean in a safe way instead of going cold turkey

☂ Dot, what does “utter silence” mean to you?

☂ “Look at you, deadly little thing.” You’re not wrong, but I don’t think he appreciates being called “thing”

☂ Such a smug smile

☂ So how does Five know all of this about Karl and his son? Does it talk about Otto never washing his hands in the file? That seems like an oddly specific detail but I guess in a case file it gives as many details as possible for the worker to figure out who needs to get assassinated

☂ There are a few cog references all relating to The Commission, so I wonder if this is a nod to “Teenagers” or if they’re just using this terminology

☂ Odd tattoos (sorry for the super blurry pic)

☂ “Can I ask you a cuckoo bananas question?” Hazel is such a fun guy

☂ “Wouldn’t it be nice to kill who you want for a change?” You mean like straight up unhinged murder?

☂ The first time I watched this Hazel and Cha-Cha scene I for sure thought that Hazel was a dead man

☂ This scene just absolutely breaks my heart 💔

☂ *skips 25:24-27:42*

☂ Diego is just so accepting to everything Klaus is saying

☂ I’m sorry, are we suddenly on the set of The Phantom of the Opera?

☂ Diego, I think you’re forgetting a very important person in your life who you let down too who is also dead......(poor Ben can’t believe what his brother just said so he leaves)

☂ “Ordinary is not a word I’d use to describe you.” You’re right, it’s “Extra Ordinary” ha! Sorry Vanya, I had to use that joke

☂ Well at least we know Five ate a sandwich

☂ How exciting! The same division that made a simple candy taste like a candy from the past, but technically it’s not the past since The Commission HQ is based in 1955, is building a human body! That sounds so promising

☂ Sooooo whatever happened to Five’s new body? Is it just sitting in a lab somewhere?? Or is The Handler just lying about it to try to get Five to stay at The Commission?

☂ With the amount of time Five was staring at the suit, it obviously hurt him to know that while he has a new body within reach, he’s not going to get it because he’s about to leave

☂ “Course it’s a bit easier to see from 30,000 feet.” What is she talking about Reconnaissance aircraft? There was no mention of aircraft though so why would she bring that up? My closest guess is that she’s referring to strategic bombing in general, or even the bombings of Hiroshima and Nagasaki

☂ It sounds like Five suddenly has a New York accent when he says “operator” when talking to The Handler about Gloria

☂ Fuck you, Veggie Tales Hargreeves

☂ *skips 36:47-39:48*

☂ Well there’s your hit, Klaus

☂ I love the camera moving with Klaus as he falls and the transition into Vietnam

☂ “Lock and load, Charlie’s away!” Wikipedia’s definition of a “Charlie” is an American military slang referring to the Viiet Cong and North Vietnamese soldiers

☂ Klaus desperately calling out for a medic hurts my heart

☂ Well Luther if you had left then your body wouldn’t be the way it is now

☂ *fucking skips 45:41-50:00*

☂ Ooooh I just really love the entirety of the “Kill Of The Night” scene! If you listen to the lyrics it’s about someone luring someone into a trap to get revenge because they messed with the wrong person (it’s also about love but we’re going to ignore that part). I personally believe it’s aimed at The Commission from Five because the entire time it plays he’s messing things up for them and in some way it’s like a little bit of revenge from him

☂ Why is Gloria confused on who Hazel and Cha-Cha are? Hasn’t she heard their names a ton of times especially since they’re some of the best assassins?

☂ How did Five know which tubes to put the messages in?

☂ You can see at this part how Five immediately gets anxious and antsy. He has a wild look in his eyes. From this point onwards he’s constantly moving, shaking with energy, anticipation, and probably a little bit of anger

☂ “You’re a great disappointment to me.” That’s definitely not the first time he’s heard that

☂ “I don’t belong anywhere thanks to you. You made me a killer!” The first part of that stings. Obviously he feels like he doesn’t belong anywhere, but again I think has to do with the whole “good” and “bad” thing that’s going on. He feels like he doesn’t belong at home because he’s “bad” and has done a lot of dark stuff to get home (it doesn’t help that Luther voiced his acknowledgment of this to Five and now he has that in his mind that Luther knows and somewhat views him as “bad”). Five 100% feels shame in what he has done, and definitely has an issue of coming back to his family with blood on his hands form what he has done. He doesn’t belong in The Commission anymore because he doesn’t want to stay there to do their dirty work to kill or give out kill orders. He’s done with that or at least wants to be done with that life.

The last statement though is Five taking his anger and guilt about being becoming an assassin out on The Handler. She brought him into The Commission, which in turn he became the best assassin across The Space-Time Continuum. It’s not something he’s proud of, and he never enjoyed killing (as much as I want it to be the DNA alteration I just don’t think it exists in the show or at least not yet). However The Handler replies with “You were always a killer. I just pointed you in a direction.” which you can immediately tell has struck a chord with Five. For the briefest second he looks taken aback and his eyes ever so slightly open wider in shock, whether he took that as the truth or just a terrible accusation isn’t exactly clear. Either way he doesn’t like being accused or hearing the truth out loud of always being able to be murderous, a killer.

I believe it’s a mixture of The Handler just trying to get into his head and a combination of the truth. Reginald trained The Umbrella Academy to use brute force, but that doesn’t mean Five had killed anyone but he was definitely violent when it came to stopping bad guys (not to mention in the pilot script he was called a “Ruthless little war machine” after violently attacking and decapitating a bunch of mannequins)

☂ Diego: I’m going to go kill Hazel and Cha-Cha!........Riiiiight after I get done walking with my mom in the park

☂ He’s so happy to see Klaus again

☂ ✨Gremlin✨

☂ Who exactly does Five owe a debt to? Maybe his family after accidentally leaving them and now he wants to save them? Or is it a singular person?

☂ Ouch! Now that’s what I call a problem later!

☂

☂ Five using “Ya’ll” is weird to hear

☂ Five is talking to his siblings like he knows what’s been happening but in reality he’s rarely been at home so how would he know

☂ I love that Five doesn't even answer Diego at the end and instead just stares at his siblings

☂☂☂☂☂☂☂

Feel free to comment or reblog with things you have noticed too!

#surprise here's another long over due post!#tra #the rewatch academy #the umbrella academy #umbrella academy

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elizabeth-mitchells · 4 years ago

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the only touchstone of truth - I Care A Lot (2020) - Marla x Fran

Chapters: 1/? Fandom: I Care A Lot (2020) Rating: Explicit Warnings: No Archive Warnings Apply Relationships: Fran/Marla Grayson Characters: Marla Grayson, Fran (I Care A Lot) Additional Tags: Canon Compliant, Canon Lesbian Relationship, Origin Story, Canon Backstory, First Meetings, First Kiss, First Dates, Getting Together, Morally Ambiguous Character, Illegal Activities, Eventual Smut, Flirting, Partners in Crime, crime wives Summary: The American dream. The small business that Marla Grayson built from nothing. And now it's all crumbling down back to... nothing. Marla is left to pick up the pieces of the broken dream, but this time she's determined to start a fire with what she has left. The problem, or rather, the solution, comes in the shape of Fran, a gorgeous woman that, unlikely as it seems, has just as many tricks under her sleeve as Marla. This is how they meet, this is how they fall into each other's dangerous games, and most importantly, this is how they fall in love. Love, the only honest thing about each other, and the most important part of their story.

Chapter 1:

Marla was sitting behind the counter in her shop, wearing a sharp white shirt and her blonde hair falling in soft waves on her shoulders. The place was desolated, only Curtis stood by, idly reorganizing the shelves for maybe the hundredth time. Restlessness disgusted Marla. When she caught herself starting to lazily spin from side to side on her swivel chair she shook herself out of it by planting her feet firmly on the floor and picking up her vape pen. She’d only started using it to become a master of the trade she’s decided to pursue, but she’d grown quickly attached to it. Like an assassins’ favorite knife, it could be used as a weapon, but it brought comfort in unexplainable ways too.

“Curtis,” Marla exhaled, staring at her friend, “What is… the most American thing you can think of?”

The man smiled, an objectively beautiful smile, and said, “Cowboys.”

Instead of laughing, Marla nodded very seriously. That was, indeed, a very American thing. Men proudly resorting to childish ideals of what it is to be a man, hoping to use boyish charm to earn points in a game nobody could possibly win something worthy of. The problem was, Curtis wasn’t like that, not with Marla at least, and his answer was genuine. Besides, the fictional idea of a traditional cowboy was very American indeed. “What would a cowboy do,” Marla wondered slowly, “when facing a god-awful rival?”

“Get rid of them?” the young man replied. That was a certain answer, and the impulse of making it sound like a question at the end was just a consequence of answering to Marla. It was a common thing, he wasn’t immune to it, and she actually relished the fact that she could make people doubt the most obvious things they should be confident in.

“Exactly,” Marla clicked her teeth and winked, adding a playful gesture as if she’d just shoot him with an invisible gun.

Her friend and employee chuckled fondly at her. “Yeah, sorry, Marla, but I don’t think you can get rid of them.”

Gracefully, Marla stood up from the chair. What she’d been staring at so intently on her computer’s screen was the view from one of the security cameras outside, pointing across the street at the line of people waiting to get in at the bigger and flashier vape shop that recently opened up. “I know,” she said, almost soft enough to hide the venom in the words of acceptance of her downfall. She spread both hands on the counter and stared. It was the beginning of goodbye. She wasn’t an overly emotional person, she didn’t exactly hold a sentimental attachment with the place, not even to the person she had been when she started this journey. But, she had to say goodbye. However, “I won’t go down without a fight,” Marla stated. She walked around the counter and toward the front of the shop.

Personally, Marla had a different idea of what was the most American thing a person could do. Walk away from a suffocating family to the big city, make the most of what the world currently wants and turn it into a business, build it all from the ground up, turn it into an empire, make yourself rich enough to become a challenge to royalty and deities alike. It was a perfect plan as long as nobody warned you of the impossible to overcome obstacles that would appear in your path. Marla had done her work, she had spent the better part of her youth working inconceivable schedules and begging for loans. She had studied the market, the competition, the ins and outs of one smart investment, and it had worked. Until the grand opening of a monstrous shop close enough for it to be humiliating. They sold a brand, and Marla couldn’t compete. She’d done everything right, perhaps it was time to do a little bit of wrong in order to come out as a winner.

Marla had chosen that particular place to set up her shop because it was convenient for her type of business, but she never liked the place very much. That was something she could admit now that she was saying goodbye to it. She was staring out the glass windows and almost grimacing at the view. She’d always wanted an office that would be at least one floor up from the ground, before reaching the highest level of the building, of course. Now she was making herself the promise not to rest until she achieved her real goals and desires, the bigger the better, no space for conformity with accomplishing the bare minimum, not anymore.

“Maybe they can get rid of me,” Marla finally said, much to the confusion of the young man listening to her. She didn’t have just an idea, she’d just come up with an entire plan

------------

The police sirens were a perfect soundtrack, just like Marla had imagined it. But they carried, along with the blinking red and blue lights, unexpected effects. It was the perfect background for a few of Marla’s nightmares, and for most of her dreams. If only she didn’t have to hold back for one reason or another. If the men that threatened her ever came to something. If only she listened to that little voice in the back of her head that encouraged her to push further and harder against life. It felt like every “ what if ” of her life ended up with police sirens and red and blue lights at her back. Only one slight movement of her shoes on the broken glass that covered the floor of her shop was enough to pull her out of her deep thoughts. Only of discreet shake of her head to push her hair off her face was enough to bring her back to the conversation at hand.

“I didn’t see it, at first,” she said in a frail tone of someone retelling an awful nightmare, “it wasn’t until Curtis pointed it out that… Christ. It looks bad.”

Marla, her loyal employee, and the police officer were, of course, discussing the broken windows, trashed shelves and, more specifically at that instant, the graffiti painted on the floor of her place, it was the logo of the big store just down the road.

“There are a few options,” the detective mumbled, “Could be the competition, of course, but could be simple, overenthusiastic buyers with an interest in causing trouble. Nothing out of the ordinary. I’m positive we’ll catch the people responsible for the attack to your shop, Miss Grayson.” After a pause, she added, “I wonder how far they went. May I look over the office, the storage?”

The blonde looked away with a pained expression, “I don’t think I could,” she forced herself to take a deep and steadying breath and when she looked back at the other women she had a perfectly sweet smile on, “Curtis will accompany you, detective.”

As the two of them walked further inside the store, Marla walked out. She’d left her own car parked out front, so she leaned her back against it and put her vape pen on her lips. Only a couple of seconds later, the second officer that had shown up to the place had joined her.

“That’s not going to work,” was the first thing Fran said to Marla.

“Excuse me?”

“Using that guy as bait.”

Marla blinked, reeling back her slight surprise. “And why is that?” she inquired.

Fran shrugged, staring straight at the broken windows of the shop. “Lou’s my ex,” she mentioned as nonchalantly as she should have introduced herself but instead had only nodded when her partner was the one to remember the protocol, “she’s not gonna fall for your boy’s charm.” She finally turned to look at Marla, as if it were the first time, but knowing that since she arrived at the place she’d been casting furtive glances at the striking and intriguing blonde. “You, on the other hand, give her another one of those smiles of yours,” Fran said, with barely a hint of a smile on her pink lips, “and it might work.”

Along with a breathy and quick chuckle, Marla did smile. She wasn’t used to being so blatantly called out for her strategies. People complained all the time about the way she constantly managed to get what she wanted, but nobody ever seemed to know exactly what about her they were upset about. Then there was this complete stranger that with one look and right from the first sentence she spoke, she caught Marla. And the best part, she didn’t even seem to be complaining about it. Marla would have been lying if she said it didn’t feel strangely good. Partially, because she knew she was good at her games, and if no one played at her level then nobody could actually appreciate her. It was pleasant to be seen. Partially, too, it was just because of the way the other woman was looking at her.

“Not that one, though,” Fran continued. She leaned in closer, talked in conspirative whispers, and for some reason was displeased with Marla’s smile. She was fascinating almost to a point of dizziness. Her presence, to anyone of slightly weaker disposition than Marla, would have brought them to their knees. “That one’s sincere,” she said of the smile they were discussing, “and that’s dangerous.”

This time Marla scoffed. She looked away, hoping that the brunette, without looking into her eyes, wouldn’t be able to read how much Marla was struggling to draw the line between being fed a flirtatious line out of the millions of them, and the shockingly unique feeling of it all, something that she’d only seen in Fran.

“You look too young to be a detective,” Marla said, as a way to change the course of the conversation. Only after she said the words she started thinking about what they meant. What could this woman, with the imperfect ponytail, worn leather jacket, and secretive smile, have done in order to get to where she was in life?

“And you look,” Fran started to say, pausing just long enough for Marla to think that if she dared called her old she would simply walk away and never return to the damned shop, “too smart to own a place like this.”

She wasn’t the first person to point out the fact that simply something about Marla’s eyes revealed that she was meant for things greater than a vape shop. She would’ve laughed, or smiled, but that would’ve made things too easy for Fran. “It’s just business,” the blonde said slowly.

“Is that why you did all this?” Fran nodded toward the broken windows and the mess beyond.

Marla turned to look at her and remained speechless for a moment, even if her cold expression did nothing to reveal the spark of surprise that Fran was fueling with every word she spoke. The silence wasn’t as uncomfortable as expected. Marla quickly figured out that if Fran was smart enough to figure out in a few minutes the complexities of her carefully crafted smile, then it wasn’t all that shocking to see her solve a case that she’d probably even seen before.

“Do you think she’ll notice?” Marla finally asked, talking about Fran’s partner. For some reason, she wasn’t worried in the slightest about Fran being the one to ruin her plans.

The younger woman tilted her head from side to side, genuinely thinking it through. The impulse to talk shit about her ex was strong. But she knew and respected the woman as a professional. Plus, a consequence of being so good at pulling the truth out of unwilling people was that she wasn’t that interested in the effort it took to lie.

“There’s a chance,” she replied at last. “But, really, give her one smile,” Fran continued, “and she’ll probably give you that signature you want to take this to court.”

This time, the two women laughed together. When they made eye contact then, it was completely different. No careful glances, no studying the other one, simply looking for the sake of a beautiful and frightening view. Right from the first night, they came across that feeling of absolute freedom and awe of standing at the edge of a cliff that would paralyze in fear those of faint heart, but that they would eventually come to fondly associate with each other.

“And you?” Marla dropped the smile. If Fran could see her tricks, she could return the favor. It was her turn to lean in closer, whisper, and look just disinterested enough as she asked, “What do you want before you give me what I want?”

Fran looked away for just one instant, but they both knew this game well enough to know that such small action would count as a big win for the blonde. When she looked back up at those striking blue eyes, Fran thought for a moment, about what she wanted, what Marla could give, and how far she could push or pull at this unlikely and tremendously exciting situation so she could get the best deal possible.

“I’ll let you know,” Fran announced, pulling out a presentation card and offering it to Marla with a smile. “Someone might break into your business again. So dangerous,” she playfully shook her head and pulled herself away from the car they’d been leaning against, “Call me when you’ll need me.”

#hellooo i posted a new fic bc i can't get the crime wives out of my head!!!#i care a lot #marla x fran #fran x marla #marla grayson #fran #rosamund pike #eiza gonzalez #i care a lot fanfic #i care a lot fanfiction #ical #my fic

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bitch-for-a-rainbow · 3 years ago

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Lex Luthor: I actually really like him and Supergirl made me mad

So, Lex Luthor is a very interesting, sometimes thought provoking, but most of all very enjoyable character.

Lex is many things, a classic egomaniacal villain, an example of what lies can do to a relationship, a walking, talking red flag, a warning of how hubris and jealously can destroy you, and much, much more. He is not the typical strain of insane— if crazy at all, highly competent, and best of all knows every one of Superman’s buttons and exactly how to press them.

I love watching Lex in every media I’ve ever seen him in going back to the original Christopher Reeve Superman. Every media, that is, except Supergirl. Why?

Because she isn’t fucking Superman.

Obviously, I love Supergirl— I run a blog with her in my icon— but there are certain things she is not and was never meant to be. Nemesis to Lex Luthor is right up there with a mass-murdering nazi (which is why the multiverse exists-- so that you can make her the first super on earth, Lex Luthor’s ex-friend, and not completely ignore the foundation of who they are as characters)

Lex is fun because he’s so smart, but also because of the personal stake he has with Superman. Lex felt jealous. In many cases, he felt betrayed. He let that fester into mania and then he built an evil radioactive robo-suit and committed mass murder. You know, like reasonable people do.

Lex was Superman’s friend and that gives his hatred of Kryptonians not only purpose, but emotional weight. Their relationship has that itching tension of painful history. In addition, Lex is extremely prideful. To him, Supergirl would be second class, she’s backup. And there is a story there: a story when Lex has a breakdown when backup knocks him into the sun, or the (in my opinion, less entertaining) version where Superman shows up to save her, reaffirming Lex’s worldview that he’s everything and defeating Superman means that Lex is the greatest and smartest, and even more stories beyond those that still adhere to its core principles— Kara and Lex as characters.

But Supergirl chose neither. Instead they chose another recycle Superman plot. And then another. And another.

I should make time to say that I like Jon Cryer; I think he’s doing a great job with what he’s been given. He’s got the charisma. He’s got the smarmy self-congratulating swagger down perfectly. The scenes where the real Lex pokes its ugly head through his facade are just great. I think in anything else he would have made an excellent Lex Luthor, but not here.

I was… disappointed with season 4. I liked 4x20– Kara and Lena investigating was fun at worst and at best had some really good edge of my seat moments. I thought that 4x16 “The House of L” was one of the best episodes of supergirl in a very long time and it still holds its place at least in my top 10, probably my top 5. But you will notice Lex wasn’t even in 4x20 and his places in 4x16 I actually enjoyed could easily have been occupied by any other intelligent villainous character. From a very basic point of view Col. Haley would have fit the mold of the manipulator training the compassionate but confused alien to kill— Wouldn’t have been her first time.

The later usages of Lex in Supergirl are also attempting a common Superman plot. Lex “redeems” himself, tricks the public into trusting him again by framing Superman for something, and eventually is once again revealed to be evil. It sounds like a repetitive, boring plot that would lose the audience suspension if belief after a few tries— “Seriously, this again. How are they not expecting this by now?” And that complaint works for Supergirl. Because Supergirl isn’t Superman.

Clark Kent was Lex Luthor’s best friend. Clark Kent ignored every warning sign and red flag waved in his face because Lex Luthor was his best friend. Clark Kent harbors a deep, abiding hurt and resentment from Lex’s betrayal. He has no trust for Lex, just like any hero would, but he also has the built up anger from repeated clashes with Lex and the initial betrayal. So when Lex returns, once again proclaiming he’s changed his ways, Superman’s response is a very public, very obviously bitter “yeah, right.” When Lex lays one of his traps for Superman, Clark is a little too rash. Lex Luthor knows how to push all of Clark’s buttons, even if he doesn’t know that they’re Clark’s. Lex can play him like a fiddle, and as for the general populace— would you be so steadfast in your trust of the invulnerable alien that could laser you in half in the blink of an eye and seems to be getting a little too comfortable in his role as peacekeeper? Would you, when even the slightest chance could slaughter your entire planet and you would have nothing and no one would could stop him— except, of course, Lex Luthor?

We’ve been shown through many media that when Lex can’t manipulate his opponent, when villain comes that is simply too big for him to work on, he is at incredible risk. There are several stories I can think of of the top of my head where Lex becomes a temporary ally of the heroes simply because he realizes he can’t manipulate this new, powerful player and that therefore they are a risk to him (I actually really like those stories because the dynamics between him and the heroes are incredibly fun and interesting— you start to get an idea of who Lex is underneath all of the wit and ego).

This is Supergirl’s great failure with Lex. The show understands that he is a genius— makes a great fuss about it. They understand that he is a manipulator— it’s his entire plot line with Lena. But they fail to understand that Lex’s ploys don’t work because he’s just so smart like the smartest ever. They work because he knows Superman and he knows that people are afraid of him— even the ones who trust and love him live with the knowledge that if he gets mind controlled or goes crazy, he could kill them all with ease, and that it’s happened before.

Supergirl wasn’t around for Lex’s turn. This Supergirl wasn’t even in that steady of contact with Clark. She has no stinging betrayal, no anger and bitter history to make her rash and predictable. Certainly by now, two seasons into Lex’s placement in the show, she is angry— but by all the evidence we’ve been given, Kara’s anger just makes her more volatile, unpredictable and sometimes genuinely down for murder, which is definitely not something Lex needs. We have seen her both let Lex “fall to his death” (when she wasn’t all that angry— she just accepted his suicide without trying to force him into prison) and nearly shoot him with laser vision (this time she was angry and emotionally unstable after the death of Argo and the more Lex centered anger that he revealed her identity and destroyed her relationship with Lena. There is no question that she would have killed-- or at the very least maimed-- him if The Monitor hadn’t intervened). If Superman just murdered Lex when he got angry, he would have died a dozen times over.

Lex doesn’t even have a basic understanding of Kara’s mindset. He can’t. Superman was raised by American humans in Kansas— he has a worldview that Lex could easily pick up on because it is at least based on watching most of the same events unfold as they grew up— and that’s if they had never met before they started fighting. Sure, he could assume Superman had some quirks from being an alien, but the base Americanized cultural standpoint was already affecting Lex’s machinations because he was an American. He’s familiar with the culture and values Superman follows— not so with Kara. I don’t even know if it was possible for him to obtain information on her religion, let alone the cultural views on justice. His research on her past fights would have been choppy at best, given that there are so many things that only Kara or the other Superfriends were there for. He can’t have the information about that fight on Mars where Kara literally disintegrated at least 3 white martians. He can’t know what happened with Reign beyond “she’s not going to be a problem anymore”. He might have more information about the Daxamite invasion through government records and his mother but the information is still limited. As for Non and Myriad, we don’t even know what happened to Non, and did they report to the DEO that J’onn literally tore Indigo in half (very graphically I might add). Or did they just say “They won’t be a problem anymore.” Lex may have been spying on Kara since Season 2, but how much is watching her civilian life going to help him understand her, when Kara’s civilian life was constructed to hide? Kara Danvers doesn’t say a lot of what she thinks to avoid notice, and even Supergirl keeps her mouth shut a lot of the time to try and maintain human-alien relations. The episodes where she squabbles with the Col. Haley and President Baker are full of her smiling and gritting her teeth through statements that clearly make her very angry.

Lex “falling to his death” and then getting shot at the end of season 4 was a great moment— it fit with the characters motivations, but it also unfortunately illustrated the problem with Supergirl characters interacting with Lex. J’onn was a soldier who kills people. Kara has killed people. Alex has killed people. This scene was not the first time we watched Lena try to murder someone with that gun. They are not restricted by the moral code Superman uses, which makes it both more difficult and more dangerous for Lex to try manipulating them— so he doesn’t and instead they skip the intermediary and rely wholly on him being able to manipulate the public. This works to an extent with Red Daughter, but only because anti-alien sentiment was at an all time high with the Children of Liberty, and because Lex lucked into an amnesiac supergirl clone. So little of the heavy lifting was actually done by Lex it feels less like his accomplishment and more like he cheated off of 3 different people and then bragged about his math skills. I said it before and I’ll say it again. The season 4 villain could have been anyone with moderate intelligence and resources. After crisis, the excuses just get weaker and weaker. I mean come on, he confessed to trying to mind control the whole world in front of the jury while screaming vile things at his sister who’s sitting there visibly flinching at his words and they unanimously voted not-guilty? Are you kidding? (Also after watching all the courtroom scenes in Supergirl... do they know how courtrooms work? I mean, I laughed as hard as anyone at the “I plead the 5th” line, but seriously. Do they?)

And Crisis was… a choice. I personally hated that they brought Lex back to life— more so because the in-universe reasoning was so weak. Lex Luthor does not face a whole lot of consequences, it’s true, but that’s because he has the genius, guile, and money to avoid them. To give him such an unearned out— especially after all the damage he’d done by dying— really hurt the both the stakes and the character. Lex is a human, and he fights Superman by taking advantage of very human things: corruption, anger, and fear as well as ingenuity and resourcefulness. He loads the deck in his favor— he doesn’t win on luck. And Lex in the CW Supergirl, seems to only win on luck. First he finds Red Daughter right when anti-alien sentiment is blowing up, then he is resurrected, then he finds out the crisis world loves him. He has had exactly 1 major victory based on his own work— manipulating Brainy. A manipulation which was really hard to believe when Brainy was, in canon, much, much smarter than Lex, familiar with his tactics, lying to the superfriends for no reason, and had no emotional reaction to cloud his judgement.

And even so, this one plot line was one of the more interesting ones in season 5 and the most Lex Luthor-like plot line the show has had. Even when I felt my suspension of disbelief slipping, it wasn’t entirely in tatters. Lex’s win felt somewhat earned.

He has been in the show for 2 1/2 seasons and he has had 1 major victory that felt at all earned. 2 and 1/2 seasons. That’s currently around 45% of the show’s run time.

All in all, we have 4 deeply related problems that plague the CW Supergirl Lex Luthor:

Lex Luthor’s plans rely as much on effective manipulation of Superman as they do on his own genius. Without that manipulation, his victories rely much more on happenstance and luck, making them feel less earned.

Lex Luthor cannot effectively manipulate Supergirl— at the very least, not in the beginning of their relationship, which CW Supergirl focuses on— nor does he try to manipulate her or much of the cast beyond Lena and once with Brainy.

Supergirl kills people. Supergirl has killed Lex. Superman doesn’t kill people.

Lex fighting Supergirl does not have the kind of inherent emotional weight that Lex fighting Superman does.

There are some other issues I have with the CW supergirl version of Lex, but I think if it was a Superman show I wouldn’t have minded. The large amount of screen time dedicated to him would make sense there, and the fact that he’s a cockroach seemingly impervious to any plot consequences would also fit more in line with Superman’s increasing frustration and make his manipulations more effective.

The only problem I have that wouldn’t been solved purely by making it about Superman is the crowding problem. In season 1, Non and the DEO were highly connected and fed each other as villains. Season 2 also fit that same block of alien vs. anti alien. Both of those secondary villains (the army/DEO in s1 and Cadmus in s2) were very much not as big a villain as the main. Season 3 sort of had a secondary villain with Morgan Edge, but he was mostly just a Lena problem. All of these seasons had a good balance between the villains screen time and also between the villains and heroes. It got a little more complicated with the extra world killers in s3, but still functioned fairly smoothly with focus on Reign. This is one of the main reasons that seasons 1 and 3 are my favorites. S4, however, got more cluttered. A lot more cluttered. Manchester Black, the Children of Liberty, Lex Luthor, Red Daughter, and Eve Tessmacher were all villains with multi-episode arcs handled directly by Supergirl herself. There was too much to cover, not enough connection, and not enough time— plus 2 new main cast members (Look, I love Nia and Brainy but that season had way too much going on). Season 5 had Leviathan, Lena Luthor, Lex Luthor and 2 new mains. Each of those villain arcs had their own distinct plot from one another and screen time started to become more choppy and spread out. Season 6 now has so far Lex Luthor, the phantom zone, and Nyxly, as well as the Zor-El mini-arc, and while I’ll give them some leeway for Melissa Beniost’s maternity leave, there is again too much in too little time. Villains are underdeveloped or not given weighty closures, each main gets less and less personal screentime, and every shot that doesn’t serve a good or entertaining purpose feels like pouring out water from a canteen in the desert, especially now in the last season. Lex has greatly suffered for this both in the rage at how much screen time he gets compared to other characters, Kara in particular, and because of how his arcs are still hobbled by the lack of it.

I just find myself wishing they’d restricted Lex to a 3 or 4 episode mini-arc, or just season 4 and saved him for the Superman and Lois show. They could have played the crisis resurrection as just an unfortunate coincidence of fate and had it be Superman’s problem from there on.

To Jon Cryer, may you never see this. It’s so very not your fault.

If anyone actually reads this whole thing and I got something wrong let me know. I’d love to discuss it. Today, I’m just trying to isolate the main issues I have with Lex in Supergirl.

#i spent way too long on this #And I'm pretty sure I still have typos and fragmented sentences #but im not spending another minute editing #so here you go #Supergirl #Lex Luthor

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raeynbowboi · 4 years ago

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Bob’s Burgers 10th Anniversary Retrospective

After ten years, Bob, Linda, and the Kids are just as delightfully wacky and endearing as they ever were, and show no signs of slowing down. So I wanted to put together an ultra mega review of the series. I’ll give an opinion on main and recurring characters, as with a cast this big, there’s been a lot of endearing characters to grace the show over the years. However, I will only be counting characters that have appeared more than once. After ten years, there’s been some real gems, and some real misfires. So, I’ll be counting down my top 10 best episodes, and the bottom 10 worst episodes. I’ll also go through as a Highlight Reel, by picking a best and worst episode of each season, as well as crowning the Best Season with the most good episodes.

Bob Belcher

Honestly, Bob was a very easy character to mess up. He’s the straight man to his wacky family’s antics. But the show does a really great job making Bob simple and lowkey without making him boring or a stick in the mud. He may be resistant to weird things, but he puts up with it anyway to make his family happy. While he’s the serious straight man, they don’t fail to give Bob his own eccentricities and quirks that make him relatable and funny in his own way. Whether he’s making things talk, getting weirdly excited about Thanksgiving, or his awkward way of speaking, Bob is genuinely a good and relatable character. It’s also nice to see that Bob is a great husband and a loving father. He and Linda argue from time to time, but they’re not trapped in a loveless marriage for the kid’s sake like most shows. And even shows where that’s not a selling point like American Dad, Bob shows more remorse for things like forgetting their anniversary than Stan does for Francine. Bob is supportive, loving, and forgiving. Which is just amazing to watch. The times when his kids really need him, he’s there for them, and he helps them through their problems. While Bob might fight with and get mad with or annoyed by his family, Bob never treats them like people he’s stuck with. Frankly, Bob blows most animated TV dads out of the water. I don’t think I’ve ever seen Stan or Francine give quiet supportive talks to Steve or Hayley ever in American Dad. Peter used to at least try to be a decent father, but now is a negligent toddler. Likewise, Homer used to be a great father who cared about his kids, but later seasons have really stepped away from the family angle the Simpsons used to have. In a sea of adult animated families that are toxic and destructive, Bob’s genuine love for his family came as a breath of fresh air.

Linda Belcher

Linda is by far the best Adult Animation TV mom there is. For one thing, she’s funnier than Francine, Lois, and Marge combined. But more importantly, she’s not the butt of the joke when it happens. I can only really remember laughing at Francine when they make dumb blonde jokes with her, but Linda’s jokes come from her character. She could have easily been the gender inverted Homer or Peter, but the writers are careful to make her gullible, trusting, and goofy without making her a moron. When the kids do something wrong, Linda busts out the tough mom act and you genuinely believe that the kids are in trouble. She’s not faking it. She’s not off in her own little world. She’s a bit of a goofy dreamer, but she’s able to be the tough disciplinarian when she needs to be. Her relationship with Bob is also better than most adult animation wives. She’s more independent than the other housewives, and even though her job is working with her husband, it never feels like it robs Linda of her own power, autonomy, and freedom. But the best thing about Linda is that I think most people can agree, she has an extremely strong and charming personality that endears us to her.

Tina Belcher

I really wish I could say I liked Tina more. She’s a creative romantic, just like me. I should love her. But her monotone deliveries and awkwardness isn’t as endearing as Bob’s. I like her better in episodes like Teen-A Witch and Broadcast Wagstaff School News where she has a bit stronger of a personality. But unfortunately, Tina is my least favorite member of the Belcher family, which isn’t to say that I hate her, she just doesn’t shine as bright as the rest of her family. She’s just not very funny or interesting on her own. But on the plus side, at least I don’t find Tina to be annoying or terrible except in the rare bad episode.

Gene Belcher

Gene is the only member of the family that can regularly get my dad to laugh, and with good reason. If he wasn’t such a well of nonsequitor punchlines, Gene would probably be the worst member of the family, but boy howdy do those random jokes pick up the slack. Gene is genuinely hilarious, even if I’d only rank him above Tina in terms of favoritism. However, I find that most Gene-centric episodes to be lackluster or below average. I think Gene’s best episode is probably Y Tu Ga-Ga Tambien, but of the best episodes, none really come to mind that specifically star Gene. Gene is really better suited for a supporting role, and his times as the star showcase why comic reliefs aren’t the main character. They’re support characters for a reason. That’s not to say Gene-centric episodes are terrible. They just tend to range from about average to bad. Though Y Tu Ga-Ga Tambien is a pretty good one.

Louise Belcher

Bob and Linda saved the best for last because Louise is the breakout star of the show. Funny, interesting, and the focus of many of the better episodes, Louise stands proudly on the first place podium with Linda in 2nd and Bob taking 3rd place. I think Louise’s strengths are especially due to her standoffish and naughty personality, which has lent itself to a lot of good character growth episodes. Season 10 Louise seems a lot more mature than Season 1 Louise. I think Louise works because while she does often have clever or sneaky solutions to problems, they don’t forget that she’s 9, so unlike Stewie, her age does present hurdles and barriers to her schemes and plans.

The Best and Worst of Bob’s Burgers

#10 WORST: Pro-Tiki/Con-Tiki (S6e15)

Why couldn’t Warren Fitzgerald just put that $100,000 into advertisements or to help Bob buy better equipment for his restaurant? My biggest issue with this episode isn’t the episode itself, it’s that the ending makes no sense. Warren wants to help Bob because he has a form of riches Warren lacks, and Bob doesn’t want a corporate sponsor to make changes to his brand. But why can’t Warren just give Bob the money to make choices he wants to make? They could stay as business partners, but Bob doesn’t have to sacrifice his personal vision for the restaurant. It’s just really frustrating when they’re both being too stupid and stubborn to see the obvious solution in front of their faces.

#10 BEST: Teen-a Witch (S7e03)

One of Tina’s best episodes, as someone who had a goth phase myself and dabbled a tiny amount in ‘witchcraft’, this episode brings back memories of high school and the desire to make the world what I wanted it to be. But on top of that, Tina with a backbone is when she really shines as a character, mostly because it means her humor isn’t being derived from her being awkward.

#9 WORST: Live and Let Fly (S9e05)

Mr. Frond embarrasses the kids, and they team up with Up-Skirt Kurt to get revenge against his sister and Mr. Frond. I’m not a fan of Kurt, so I already don’t care much about his feud with his sister, but I also just find the episode kind of boring. I don’t care about Kurt, I don’t care about his feud, and the kids call off their revenge, so that ends up not mattering either. Even Bob and Linda’s side plot is only middle-of-the-road quality for Bob’s Burgers.

#9 BEST: Wharf Horse/World Wharf II (S4e21-22)

The very first two-part episode Bob’s Burgers ever had, the season 4 finale is a great watching experience. It has some fun songs, funny character exchanges, suspenseful drama, and some heartfelt moments. It feels like a short movie, and that’s a good thing for a two-part episode to do. Even Fanny and Felix are interesting villains. But even after everything Felix did, I don’t find myself loathing him in later episodes, and that’s a hard thing to accomplish.

#8 WORST: Tina-Rannosaurus Wrecks (S3e07)

This is the only bad Tina episode where the problem isn’t Tina herself. My biggest issue with this episode is more just the subject matter. Bob lies for insurance reasons about who was driving his car, and the entire episode is just Bob and Tina digging a deeper and deeper hole for themselves. The solution to the issue is clever enough to redeem the episode somewhat, but the majority of the watching experience is just kind of an awkward dance of watching these two getting tangled up in a web of lies.

#8 BEST: The Taking of Funtime One Two Three (S9e02)

Bar none, this is the single best ‘Heist’ episode of Bob’s Burgers, and it’s kind of crazy that Bob’s Burgers has actually built a repertoire to where I can make a list of ‘heist’ episodes as an archetype. This one feels the most like an actual heist movie, and the ending is legitimately clever and unexpected. But even more than that, if you’re paying attention, you can see the twist before the characters even reveal it. That is the kind of tight writing that makes the list for best episodes.

#7 WORST: A Fish Called Tina (S10e12)

Tina spends an episode trying way too hard to make someone like her, to the point that she almost humiliates a 4th grader in public just so she can live out some fantasy. It’s really uncomfortable and sickening to watch Tina do this. This will be a recurring issue with Tina’s low-point episodes. There’s nothing fun about watching a character make a complete idiot out of themselves by coming on too strong. It even makes me groan when Kaylie shows up in another Season 10 episode because I don’t want to have to think about this awful episode.

#7 BEST: Stand By Gene (S6e12)

Something about this episode really just brings back memories of my childhood. Memories of walking through the outdoors, just exploring and wanting to find things. The characters are funny, and Bob and Linda’s relationship is put to the test. Plus, I loved that for the entire episode, you don’t know how it’ll end. It really makes this a personal favorite and one of the episodes I knew had to make it on my list.

#6 WORST: The Grand Mama-Pest Hotel (S7e13)

Linda ruins things for Tina by being an overbearing annoyance. Are you noticing a trend with Bob’s Burgers’ worst episodes? I don’t like it when good characters make complete jackasses out of themselves in the name of ‘humor’. It’s not funny. It’s annoying and makes me dislike them. Thankfully, the worst of it is only in the latter half of the 2nd act and the entire third act, but Linda’s behavior just makes me cringe and ask why they had to do Linda dirty like this? It just puts me even more squarely on the side that Tina is entirely in the right and I don’t want to deal with Lind either.

#6 BEST: Broadcast Wagstaff School News (S3e12)

From Tina at her lowest point to Tina at her best, Broadcast Wagstaff School News is my favorite episode of the first 5 seasons. Tina’s funny and engaging, Gene is absolutely shining as Little Bob, and while Louise and Linda play supporting roles in this episode, they’re still funny as well. Plus, the mystery is a good one, and this episode is even referenced in later seasons.

#5 WORST: Mazel-Tina (S4e13)

Tina ruins Tammy’s birthday and steals her party. This is Tina at rock bottom. Tina is so despicable, cruel, and selfish in this episode that it reminds me that behind that creative awkward girl is a selfish brat who doesn’t care if she hurts other people if she can live out her fantasies. If other episodes didn’t rescue Tina from being so unlikable, I probably would hate Tina as a character entirely for her behavior in this episode.

#5 BEST: The Silence of the Louise (S8e02)

Movie parodies are some of the best, and The Silence of the Louise is the queen of all the movie parodies. When Mr. Frond’s therapy dolls are mutilated, and the school staff calls off the waterpark trip until the culprit is caught, Louise teams up with psycho Millie to figure out whodunnit. This is also one of the first time Millie wasn’t strictly an antagonist, and she genuinely felt like someone who could be Louise’s friend someday.

#4 WORST: Boywatch (S8e16)

Tina ruins things for other people by coming on too strong. The only reason this is ranked higher than Mozel-Tina is because in that episode, she just wanted to be at the party, and just kind of ended up as the star of the party and let it go to her head, whereas here, she is actively ruining things for other people in pursuit of her own delusions and fantasies. Tina has no desire to be a junior lifeguard, but cute boys causes her to behave like a troublemaker. She’s entirely out of character, and her teammates’ hate for her behavior is something I agree with. I don’t want to hate the main characters, so why does this show keep pushing to make Tina a nuisance who ruins experiences for other people?

#4 BEST: The Quirkducers (S7e06)

If the Silence of the Louise is the queen of film parodies, then The Quirkducers is the king. Not only is it a clever parody of The Producers, but it also has some damn good musical numbers, especially the edited end credit version. But it’s Tina’s song at the end that stands as one of my favorites of all Bob’s Burgers’ songs.

#3 WORST: Bed & Breakfast (S1e07)

If a Fish Called Tina is bad, then Bed & Breakfast is flaming garbage. Linda turns their apartment into a Bed and Breakfast, and Linda goes berserk when the guests don’t play into her expectations. This episode verges from below average to detestable as Linda goes insane and locks people in their rooms, and Louise drives a grown man to attack workers by preying on his fear.

#3 BEST: The Hauntening (S6e03)

This is hands-down the best Halloween episode that Bob’s Burgers ever made. This show turns out some amazing holiday episodes, and this is one of the best the Belchers have to offer. I won’t dare give away anything about this episode. If you’ve seen it, you know why it’s top of the heap, and if you haven’t, then all I can say is what are you waiting for? Delayed gratification has to pay off eventually.

#2 WORST: Every Which Way But Goose (S9e14)

Tina falls in love with a goose. Who smoked crack before writing this episode, and who huffed enough paint thinner to approve this episode for production? This is the absolute dumbest concept for an episode I have ever come across. Who thought this was a good idea? I can’t even pinpoint the flaws because this entire episode is just so flawed. At least Mazel-Tina and Boywatch enrage me. This just baffles me.

#2 BEST: A Few Gurt Men (S7e11)

When Mr. Ambrose accuses Mr. Frond of stealing his yogurt from the faculty lounge, the case is brought before student court, and Louise is tasked with acting as Defense Council for Mr. Frond. One thing Bob’s Burgers does well is mysteries, and this is a good one as Louise has to figure out a way to prove Frond’s innocence. This is just an absolute personal favorite. Every character is just on point, and I get excited when the episode starts to que up.

#1 WORST: Moody Foodie (S2e07)

Did you ever want to watch the Belchers commit a felony? Then boy howdy do I have an episode for you! A picky food critic responsible for shutting down restaurants comes to Bob’s Burgers. Bob messes up the order, and a visit to the critic’s house to get him to try his burger again leads to a hostage situation with the critic tied to a chair and gagged in his own home. Words cannot describe the depth to which I hate this episode. The entire episode feels dirty and vile. I feel the need to scrub my skin raw after sitting through this episode. The instant I realize that it’s come on, I skip the the next one. I have literally only sat through this episode once. This episode disgusts me. This episode has the main character, abduct somebody in their own home. Then they take a second hostage when a mailman delivers the guy’s package. Luckily, Bob’s Burgers has a lot of good episodes to make up for this one bad egg, but this episode enrages me to the point that if the family wasn’t so charming and endearing most of the time, I might have stopped watching based just on this one episode.

#1 BEST: The Bleakening: Part 1 & 2 (S8e06-07)

The first time I saw these episodes, they played back to back without any credits in between them, and I thought it was one episode, and I didn’t even realize it was the length of two episodes. Between the amazing songs, the brain bending twists, the creative creature, the dark elements that contrast the bright lights of the holidays, and the uplifting ending, this pair of episodes stands paramount as the single greatest viewing experience that Bob’s Burgers has to offer.

Favorite Friend of the Kids: Regular-Sized Rudy

First appearing in Carpe Museum, Rudy came back in The Kids Rob a Train, where he has remained a friend of the kids since. Rudy was the first to join the kids if you don’t count Andy and Ollie who seem to dip in and back out as to whether they’re included in the friend group. Rudy was thus the first to be made a main member of the kids’ friend group.

Favorite Schoolyard Seven: Jocelyn

The Schoolyard Seven is the friend group of the three Belchers, Jimmy Jr., Zeke, Tammy, and Jocelyn. Not counting the Belchers, it was a close call between Zeke and Jocelyn. Tammy and Jimmy Jr. tend to be typecast as serving one niche thing, but Zeke and Jocelyn are often the comedic gold. However, while Zeke is more interesting of the two, I just enjoy Jocelyn too much to not give her the win. Even if Jocelyn’s humor is just a walking dumb blonde trope, like Gene, Jocelyn has a knack for funny one-liners. If the groups has another name, I’m not privy to it.

Favorite Friend of the Family: Micky

Though he’s less connected to the family now, Micky has been a friend to the Belchers since Bob Day Afternoon, and returning in Bob Fires the Kids. Since his introduction, Micky has gotten a job at Wonder Wharf, where he has remained since.

Favorite Recurring Villain: Logan Bush

First appearing in Ears-y Rider, Logan has been a fun and interesting frenemy for Louise to match wits with. In a show where most other villains are the same age as the main characters (Millie, Tammy, Chloe, Jimmy Pesto, Hugo) Logan stands out as a legitimate bully. Yet, even he was willing to work with Louise in Mother-Daughter Laser Razor, showing that there is wiggle room for the two of them to even join forces and spread havoc together.

Favorite Tina Love Interest: Duncan

Earnest if not a little awkward, Duncan seems like a sweet boy for Tina to possibly end up with. Sasha Whiteman is another character I could easily see being a good boyfriend to Tina because his quick wit and social graces make him a great foil to Tina, and he excels where Tina falls short. Zeke has a good chance to be a good boyfriend, but Tina still spits his name when she greets him, so I doubt she’d take interest in him unless something happens to change their dynamic. I liked Josh, but now that he’s said he doesn’t like her anymore and she agreed that she feels the same, I doubt we’re going to see them date further in the future.

Favorite Side Character: Nat Kinkle the Limo Driver

First appearing in Season 8 episode 8 V for Valentine-detta, I must not be the only fan of Nat’s because she made two appearances in the 10th season, in episode 1 The Ring (But Not Scary) and episode 17 Just the Trip. Currently with only 3 appearances, she’s still only a side character, but I get the feeling that like with Rudy, Courtney, Darrel and Alex before her, Nat will keep becoming a more frequent character. She just has a great vibe, and her charisma is intoxicating. She meshes great with the family, making her an absolute delight to watch.

Favorite Bit Character: Marshmallow

Although she’s appeared in multiple episodes since her introduction in Sheesh, Cab Bob, Marshmallow has never gotten much more than a couple lines, with her biggest role being in The Bleakening where she had more to say. She was also the first major LGBT+ recurring character on the show, which also made her a joy to see, whenever she returned to Bob’s Burgers.

Favorite Headcanon: Gene is Genderfluid

Gene’s jokes have been centered on his gender or sexuality since the first season finale. A joke once in a while is one thing, but ten years of the same sorts of jokes tells the sharp viewer that there’s more to it than just a running gag. With how many jokes have Gene talk about having boobs, synching his cycle, or calling himself Tina and Louise’s sister or Bob and Linda’s daughter, it’s my opinion that Gene is genderfluid, or possibly even transgender. The only reason I say genderfluid over a transgirl is because he still also addresses himself as a boy or a man as much as he does girl jokes.

Best Song: Twinkly Lights (Ms. XXX-Mas)

Not only does Toddrick Hall absolutely kill this performance, but I also love the meaning of the song about POC inclusivity and pride in the LGBT+ community. As the final song in The Bleakening, it’s one hell of a closing number, and I can’t help but dance in my seat whenever it plays. I’ve even listened to it independent from watching the show, and honor I don’t bestow on every song.

Best Episode Archetypes:

The Best Heist: The Taking of Funtime One Two Three

The Belcher kids have stolen a number of things. Chocolate, a bounce house, but the absolute creme de la creme of their heists is the procuring of the Dunebuggy from Family Funtime. When Family Funtime unplugs the macchines whenver the kids get too many tickets from them, the kids decide to pull off the heist of a century to make off with the biggest prize of the arcade: the dune buggy.

The Kids Tell An Anthology: Moms, Lies, and Videotapes

From the Gayle Tales to The Handyman Can, the kids have told a number of anthology stories, but the most impressive of the bunch is their stories of the mother’s day plays into three interesting stories. Though true to form, Gene’s is the weakest of the three, as his usually are. I don’t recall any time when his anthology was the best of the kids’, but then, Gene is not the most creative of the three children. His best story is probably in The Frond Files where his story’s world is colorful and fun to observe.

Best Musical Episode: The Bleakening

Not only do these episodes have a lot of musical numbers, but there is not a single one that doesn’t hit a home run. But more importantly, the entire episode is a musical, with each number helping to tie and bridge together the narrative, which is the entire purpose of musical numbers in a proper musical, which makes this the single best musical episode mainly because it’s the only episode that’s a true blue musical.

Best Holiday Episode: The Hauntening

With The Bleakening already taking the top spot for musical episodes, that leaves the Miss Congeniality of the holiday episodes to take the crown. I didn’t spoil anything about this episode above, and I won’t say a thing about it now. This episode is solid gold.

Best Film Parody: The Quirkducers

Not only is this episode clever in the way it uses its source material, but the family all have moments to shine despite the stars being Louise and Gene. The show also makes good use of the Schoolhouse Seven (the main group of the Belcher Kids, Jimmy and Zeke, and Tammy and Jocelyn), and each of them brings something great to the episode. It undoubtedly earned its place in the top 10, and will likely hold its place for years to come.

#bobs burgers #Bob's Burgers #belchers #the belchers #bob belcher #Linda Belcher #gene belcher #tina belcher #louise belcher #seymores bay

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whitehotharlots · 3 years ago

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Associationism: A postmortem for liberal decency

In the last half decade, liberal political writing has undergone a profound seachange. This has infected all strata of media: from braindead outlets like Adbusters, to intentionally digestible pap such as USA Today, to our august papers of record (only two of which remain; one is owned by the world’s richest man), all the way up to self-styled intellectual journals and peer-reviewed scholarship. This change can even be found in literal children’s media and grade school curricula. It deserves to be examined.

For lack of a better term, I refer to this shift as an adoption of associationism. Cause and effect has been abandoned as an analytical frame. The devices that used to be relied upon to adjudicate cause and effect, such as scientific method, statistical analysis, balanced reporting, and even basic “X leads to Y” logic, have likewise been marked as problematic vectors of evil.

Now, you might say this has been a long time coming. Scientific method has been used to design and excuse a bevy of historical wrongs, and balanced reporting is often deployed to obscure morally unambiguous phenomena. Those are fair points, but an astute observer will notice that these adjudication mechanisms are still deployed within liberal discourse, just that they are now used only selectively. Rigor and attention to context are now considered problematic--white, male, cis-normative, whatever--and this allows for otherwise inherently evil mechanisms of truth adjudication to be deployed only when they are guaranteed to enforce the desired narrative, often by writers who are shamelessly fabricating evidence. I mean, why not? It’s fascism to be fact checked, after all.

Importantly, moral and factual correctness have become collapsed into one another. A statement or belief is True to the extent that it is Right, and vice versa. There exist no confounding variables or contradictory phenomena. The liberal writer’s job, therefore, is to center their own subjective perception (referred to as “lived experience”) or the subjective perception of someone in a supposedly more marginalized position, and then craft a narrative that puts this perception beyond all moral (and therefore factual) reproach.

The liberal writer’s process is, generally, as follows:

Zero in on a moral outrage of some kind, be it pressing and manifest or petty and completely subjective--everything has the same weight within this frame.

Narrate this outrage via the “lived experience” of a subject who shares the writer’s opinion.

Cherrypick a handful of statistics, studies, or expert opinions that appear to lend validity to the writer’s understanding of the outrage, being careful to ignore any context or ambiguities that might soften or even fully discredit the outrage.

Demonize anyone or anything that problematizes--through their opinions or their existence--the writer’s understanding of the outrage. This is achieved typically by associating the problematizer with supposedly empowered groups, who are evil.

Clarify in no uncertain terms: anyone who does not share this outrage is a member of the evil groups, even if they are very literally not a member of those groups.

This has all been framed as a form of radical moral clarity, providing space for marginalized voices to express their once-unutterable truths, which will in turn bring about the changes this country desperately needs. But, oh no, it turns out that every media organization in this country is stolidly against any actual reform. All of our major presses and news outlets are still owned by austere capitalist psychos, including the aforementioned richest human being in the history of the world. Universities are still MBA-run shitholes that would have students march into incinerators the moment that doing so became more profitable than providing them with resources for identity affirmation. And media aggregation--the manner through which words appear before people’s eyes, 90-odd percent of the time via a screen--is controlled by a small handful of the most megalomaniacal companies on earth.

So, while we have indeed radically changed our practices of communication and truth adjudication, doing so has not resulted in any radical social changes, or even really any structural changes whatsoever. We’ve just made it radically more difficult to come to an honest understanding of the causes of social malignancies, which in turn has made it radically more easy for the vampires who run this country to make everyone else’s lives radically worse. Radical, dude!

There is no idea so cruel or horrible that it cannot be made to appear progressive under this new frame. Come up with any hypothetical, no matter how evil, and within a few seconds a media-savvy reader should be able to fashion an adequately woke headline:

Hypothetical examples:

Abolishing school lunch programs: “Should We Really Be Nourishing White Bodies?”

Pro-female genital mutilation: “The Inherent Transphobia of Those Who Oppose ‘Female Circumcision.’”

Let’s start using napalm again: “Once Considered an Effective Tool of Precision Warfare, Napalm Was Demonized by Those Who Fear Non-Normative Bodies”

Indian Residential Schools: “Sheltered From Whiteness, These Communities Were a Place Where Native Excellence Could Thrive”

Here we see the Associative aspect of Associationism. Cause and effect no longer exist, and so malignancy is a contagion, the result of the presence of bad people who cause badness. Members of statistically majoritarian groups are presumed to be empowered, and therefore oppressive. And since majoritarian groups contain by definition a majority of people, you will be sure to find their members among the detractors of your position. And even if the members of that majority make up a minority of your detractors, that’s still okay, because context is a white supremacist construct used to obscure moral clarity, and you just so happen to be the arbiter of morality by virtue of being yourself.

Now, to be fair, not every piece written in this style is done in the pursuit of abject evil. Some are, but a solid plurality are instead written in an attempt to remediate a genuine social wrong. The trouble is, they’re being printed in venues controlled by people who do not desire reform; written in thrall to a political party that does not desire reform; and reliant upon the subjective perspectives of academics, politicians, and NGO bloodsuckers who do not desire reform. This leads, inevitably, to an understanding of social problems that occludes all possibility of reform, only now the discoursal boundaries are so droolingly retarded that you cannot mention the fact that these discussions do not contain even a hypothetical description of how reform might take place.

The point is, radically altering the manner in which social problems are understood, measured, and discussed does not lead--automatically or otherwise--to those social problems being positively addressed. Shifting rhetorical frames can be a precondition for change, yes, but it can just as easily be a means of calcifying the status quo. Unequivocally, our embrace of associationism has accomplished the latter.

We can easily discern the utility of associationism so far as our elite castes are concerned: it’s getting harder and harder to simply deny the existence of malignancies, so instead let’s just insist that everyone understand them in the dumbest possible way. Their popularity among the non-elites is due primarily to American Puritanism: the more upsetting and uncomfortable something makes us feel, the more we assume it must be working.

But Puritanism is a two-way street, and the true believers tend to be the ones at the base of the food chain. Regular folx will go through the motions in an earnest desire to do something, anything, to cleanse themselves of whatever horrible brutality video they found on their timeline this morning. They can be annoying, but you can’t blame them. The real malignancy of associationism is how it’s allowed a small group of conniving cocksuckers a means of enhancing their professional status by making their cruelest impulses appear progressive.

I started this essay with the intention of digging deep into Chris Lehmann’s abominable TNR piece in which he insists that the men driven mad and homeless after participating in our genocide in Vietnam were actually doing greviance politics. By the time I finished, he had been very thoroughly destroyed. I still think it’ll be worth the effort to do a deep dive to show the machinations of his horrific essay, but has already gone long so I’ll save that for later this week.

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swanlake1998 · 4 years ago

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Article: Tokenism vs. Representation: How Can We Tell Them Apart?

Date: January 19, 2021

By: Theresa Ruth Howard

Last year's Black Lives Matter protests jolted the ballet world into action. All of a sudden, things that once "took time" instantaneously became easy fixes, like it was an episode of Oprah's favorite things for Black people: "You get an opportunity, and you get an opportunity!" Much of this sudden, reactionary change has elicited high levels of skepticism, prompting the query: Is this true representation or is it merely tokenism?

There is empirical data that white people seldom keep word when it comes to BIPOC individuals. Social justice (especially when it comes to Black people) has almost always been a trend, a tool wielded to benefit white people more in the end, and there usually is an end marked by a lull and a slow, silent rolling back of the majority of what has been accomplished.

In the early stages of addressing systemic racism, until companies have a proven track record, it will always be a "damned when you do, damned if you don't" situation. Trust must be earned. Nothing done will be enough because it feels like trying to make an ocean out of a desert with an eye dropper.

That is not to say that there isn't meaningful progress being made. We are in the midst of a global shift. Power is being redistributed, rules and criteria are being altered. The standards of what was once acceptable, or enough, no longer suffice. People are no longer just "grateful" to have a seat at the table—not only do they expect to eat, they want to help plan the menu. The truth is, we lack a suitable metric to measure this progress because we have never been here before.

What is “representation”? What exactly is “tokenism”?   

The Oxford Dictionary defines "tokenism" as "the practice or policy of making merely a token effort or granting only minimal concessions, especially to minority or suppressed groups."

The complexity of the question "What qualifies as tokenism and what as representation?" rivals that of Blackness itself. There is often a conflation perhaps because representation is part and parcel of tokenism, making it difficult to discern one from the other, or at what point it shifts. What it looks like for the bystander may not be how it is experienced by the person in the situation.

It is important to note that the act of being the "only" or one of a few does not in and of itself amount to tokenism. Too often that assumption is made by the public and it is unfair, reductive and wounding to those holding those spaces. What determines tokenism depends more on why and how someone occupies the space.

This is where the process of diversification gets slippery, manufacturing conflicts of confidence for Black dancers who, like sacrificial lambs, may question the reasons they were hired, cast or promoted. Were they given an opportunity for their talent, or because they are Black, and in what measure? These are often the speculative whispers from colleagues, classmates, parents and patrons. It is a psychological head trip to which one will rarely get a satisfactory answer.

The way diversification is approached says everything. When the motivations are authentic, there will be respect, sensitivity and mindfulness; an effort to cultivate cultural competence will be made. This requires a great deal of humility. In order to be able to interact effectively with people of different cultures, racial and ethnic backgrounds, you have to admit that you have blind spots, and are ignorant of things and, more importantly, are desirous to learn. This requires engaging them as human beings, not just tools as a means to an end.

Faculty additions

The recent hiring of full-time Black faculty members at Boston Ballet School (Andrea Long-Naidu), Pacific Northwest Ballet School (Ikolo Griffin), San Francisco Ballet School (Jason Ambrose) and School of American Ballet (Aesha Ash) all came to fruition during the COVID-19 crisis and the BLM reckonings. All four schools were part of the Equity Project's 21-ballet-organization learning cohort—the three-year partnership between Dance Theatre of Harlem, Dance/USA and the International Association of Blacks in Dance that aimed to increase the presence of Blacks in ballet, onstage and off. (Full disclosure, I was a member of the design and facilitation team.) There were a number of school directors in the room, including BBS director Margaret Tracey, PNB's Peter Boal (artistic director of both school and company), SFBS's former administrator Andrea Yannone and director Patrick Armand, and SAB's chairman of faculty Kay Mazzo.

One of the constant discussions was the importance of having representation on school faculties; it was drilled into their psyches. There were multiple conversations, and eventually the ball started rolling downhill. Unfortunately, the news of these faculty additions was only made public after last summer's social media protests by Black ballet dancers, making them appear reactionary.

The announcements began with a cacophony of press about Ash's appointment at SAB, which was met with underground backlash. Much like the overwhelming coverage about New York City Ballet's first Black Marie in 2019, which other companies had been quietly and consistently doing for years (without fanfare), the jump over contrition and bolt towards heroism for many soured representation into tokenism. In contrast, when Balanchine took Arthur Mitchell into NYCB as its first Black principal dancer, Mitchell asked that there not be a press release heralding the advancement. Instead, he wanted simply to appear onstage as a matter of fact.

When you wave a flag too hard late in the game, and are overly pleased with the little you have done over decades, you get no pat on the back. Though pleased for Sister Ash, inherent distrust has the Black community sitting with its arms folded, watching and waiting to be served the pudding that holds the proof of change.

This is the flip side of the representation coin. Organizations can dust their hands off and feel good about the progress they have made, while the actual burden and responsibility of "representing" gets laid squarely on these new Black hires. Ironically, these Black instructors return to the space of racial isolation they inhabited as dancers, with one major difference: Now they are expected to be an agent of change.

With the media blitz around her being SAB's first full-time Black faculty member, Ash is very clear when I ask her what her role is. "I am a teacher," she says. "I am not there to transform the entire structure. I was hired to be a teacher and I am hyper-focused on being the best darn teacher that I can be."

Her refrain sounds exactly like most Black ballet dancers who just want to dance, but whose very presence is a statement of silent resistance to a centuries-old system of whiteness. With this lack of representation, coupled with the increased visibility via social media—whether intended or not—they are instantaneously branded as "role models," and saddled with the pressure of expectations from the public at large, the Black community specifically, as well as their organization.

For these new faculty members, if and when their institutions make a faux pas, you can be certain the first question will be "Where were they?" When presented with this reality, Ash resolutely replies, "Let's make it very clear that I'm not the executive director or the artistic director of the School of American Ballet. But if I see things that don't look right to me, I'm absolutely going to feel very comfortable going in there and saying 'This does not look right.' " She sees her role as a long-time member of the Alumni Advisory Committee on Diversity and Inclusion as the space to do that.

Conversely, when asked what Ash's role is, Mazzo replies—along with giving glowing compliments about Ash's teaching abilities—"We feel that we hired an activist who wants to make more change," referring to her creation of her Swan Dreams Project. "We'll look to her for her perspective, her opinions or insights or feedback. It'll carry an enormous amount of weight as we continue to evolve and learn. I think she might not even realize what that means."

It could well be within this sliver of obfuscation that genuine representation can curdle into tokenism—the space where boundaries are unclear and assumptions are made. There has to be an agreement and clear boundaries with veto power enabling a person to control the way their Blackness, gender, sexual orientation or identity (in body and voice) are utilized both internally and externally for it not to wander into the realm of tokenism.

A person's desire to participate (and to what degree) should not be assumed because they represent a particular demographic. Having your thoughts, feelings, experience and emotional labor taken into consideration is something that is often not afforded to marginalized people. Being granted the power of choice with regards to participation, though not the norm, would be equitable. In this way the truest measure of whether something is tokenizing lies with the person in the experience: If they have agency and are empowered, it matters little how things appear.

In extending the invitation to Andrea Long-Naidu to join the Boston Ballet School, director Margaret Tracey was clear: "I need someone like this to hold me accountable. Knowing Andrea's commitment to supporting the Black student in the white ballet world made me think this is the kind of person I need on my team." The discussions between the two solidified what feels like a developing partnership.

Long-Naidu is looking for a space that will allow her to stretch into her desire to be a part of the change, and influence the field's push towards diversification. "I want to be at a high-level ballet institution where I am working with dancers, where I can make a difference," she says. Over the past five years she has been stepping into her power, both as an educator and as an advocate. "I am finding my voice in this work. I want to be a part of helping predominantly white institutions be more welcoming for Black bodies."

It helps that the two share history as former NYCB dancers, allowing for the uncomfortable dialogue necessary both for the learning curve and the strengthening of the new allyship. They align in their growth journeys: Tracey is prepared to receive radical feedback and Long-Naidu is ready to share. "Andrea is my first hire where I have shifted my focus from whether this outside person is a good fit for us to making sure that our environment is not stuck in a place that may not allow someone like her to fit in," says Tracey.

Casting and marketing

We all want to see Black and brown dancers rise through the ranks. What we don't want is Black dancers being cast when they are not ready, or prepared for a role just for a company to showcase it has them. This is the epitome of tokenism and sets dancers up to fail, a luxury, by virtue of their Blackness, they do not have. Blackness is held to a different standard so unlike their white peers, whose failings are their own, the "representation" Black dancers carry comes with the heavy burden of the entire race.

Artistic directors might not view it this way when casting, but being culturally competent would mean taking this into consideration. When fast-tracking a Black dancer, true equity would mean providing the extra support (technical and emotional) they might need to have them succeed. Hence, it's not about what is normally done; it is about what is necessary in this instance.

Tokenism in casting can stigmatize the dancer amongst their peers and the artistic staff, setting off the cascade of whispering echoes of "They only got it because they are Black." Even though white people have been getting opportunities because they are white for eons, it creates yet another level of isolation, stress and vulnerability in a Black dancer, potentially crippling both their confidence and their career.

Ballet organizations that have been actively working to educate and examine themselves, and are successfully expanding recruitment, increasing diversity in training pipelines, company rosters, faculties and administration, are grappling with how to best communicate progress without tooting their own horns too loudly. This is the space between a rock and a hard place; if they quietly go about their work, no one will know, and if they promote too heavily it could be perceived as pandering.

This culture shift demands transparency. Gone are the days of blind acceptance; the people demand receipts. Ballet has seldom had to explain itself, aloft at the pinnacle of the dance hierarchy, supported by centuries of tradition, the very act of "showing" deemed beneath it. Those days are on the wane.

The majority of ballet companies use the traditional rankings system. Star power is real, ballet lovers are loyalist, and marketing campaigns often follow suit by using images of principal artists or those performing lead roles. Hence, when most of your diversity (specifically Black dancers) resides in the corps de ballet, purposefully diverting from the marketing norms to telegraph the presence of nonwhite artists is by definition tokenism.

That is, of course, if marketing followed that hierarchy to begin with. When Tamara Rojo took the helm of English National Ballet in 2012, the company underwent a rebrand, highlighting ENB as a company that tells stories. Together with Heather Clark Charrington (director of marketing and communications since 2014), she transformed the promotional black-and-white backstage images into evocative art pieces capturing a moment, feeling or mood of a work. Together, Rojo and Charrington identify the dancer who can best capture it, regardless of rank or role. Many times there isn't correlation between the dancer on the poster and the principals on the stage.

Ironically, this nonhierarchical norm had gone unnoticed until 2018, when the breathtakingly stunning poster of Swan Lake featuring Precious Adams was released, and comments about casting and tokenism were raised. This is a prime example of when righteous indignation based on assumptions and lack of knowledge results in possible collateral damage to the very person you are advocating for. If companies are expected to do better by their artists, then the public needs to check itself, as well.

We need new procedures and practices to check our work. If your whole marketing department is white, perhaps consider enlisting the eyes of nonwhite members of the organization or cultivating external critical friends to look through a different lens to vet images and copy. The trick is you have to trust and listen to their feedback.

COVID commissions

The call to give Black choreographers opportunities was right up there with the call for ballet teachers, and the excuse was the same: "We can't find them." It seems that the glow from the world being on fire illuminated the field such that suddenly Black choreographers could be seen raining from the sky like extraterrestrial squids in Watchmen.

Black folk have been in the game long enough to know that the majority of recent commissions are purely reactionary. "Of course when I received multiple commissions, it crossed my mind that it was in alignment with the Black Lives Matter movement…and being a Black woman I tick two boxes," says Francesca Harper, who has eight commissions on deck. "I have been creating films since the beginning of my career—two of the companies came to me specifically because I can create something for film."

However, the nagging question of Blackness versus talent conjures uncertainty. "You wonder, Are they really looking at me?" asks Harper. "Are they looking at my work? That, for me, is always a painful moment."

Darrell Grand Moultrie is another of the numerous Black choreographers the ballet world is now inviting to take center stage, albeit virtually. While he has choreographed repeatedly on Atlanta Ballet, Colorado Ballet, Dance Theatre of Harlem, Cincinnati Ballet, BalletMet, Ailey II, Milwaukee Ballet, Tulsa Ballet, Richmond Ballet, Smuin Ballet, Sacramento Ballet, when American Ballet Theatre's Kevin McKenzie called to extend an invitation, according to Moultire, McKenzie apologetically said, "Unfortunately, I have not been exposed to your work."

Before Moultrie accepted the commission to choreograph in a bubble for ABT's virtual gala in November, he made three things clear: "First of all, I wanted this to be on the Met stage," Moultrie says. The second was a commitment to make that happen post-COVID. The third was he wanted to up McKenzie's "exposure" to Black choreographers in the game. McKenzie agreed.

"I think my commission with ABT is Kevin opening up to see who is out here," Moultrie says. However, that work should have already happened: Over the term of the Equity Project (which ABT was a part of), names of Black choreographers were often bandied about, including veterans Donald Byrd, Robert Garland, the overlooked Christopher Huggins, and Jennifer Archibald, who deserves a bump up, and Amy Hall Garner, who is on the come up.

The "it takes time" and "we can't find" mantras are to some degree the by-product of a lackadaisical attitude. One can believe that these recent gestures are earnest attempts to right a wrong. But the ease with which it could have been done before (and was not) is insulting, and makes it look and feel like tokenism.

It always feels like when Black people's houses are on fire, white folk can't seem to find a cup of water to fill it, yet when their houses are ablaze, here we come with buckets and hoses, always in service. At this critical time when the world is operating in crisis mode and on the learning curve of working remotely and presenting digitally, it feels like Blackness is used as a convenient tool to get out of the diversity doghouse. The fact that these opportunities are being given with anemic budgets cannot be overlooked and one has to wonder if these commissions offer parity.

Black people are too familiar with this type of post-woke euphoria, white guilt and shame married to a need to save face, creating just enough access and opportunity to smother the flames. Then, slowly, things begin to settle pretty much where they were before.

That being said, this time feels different (though we say that every time) because the landscape and the rules have changed. Increased exposure, transparency, the power of influencers' individual platforms and call-out culture all make it possible for anyone to write or contribute to the narrative. This collaborative quilt of divergent perspectives, which in time will become history, will now include more voices and experiences, forming a mosaic revealing a more comprehensive picture.

The work that ballet is attempting is a process, not a project. As to whether or not this is sustainable representation or mere tokenism, Moultrie sums it up this way: "We know what is happening right now is just a reaction. A good reaction, but only time will tell."

#article #ballet #theresa ruth howard #racism #anti black racism #aesha ash #andrea long-naidu #francesca harper #darrell grand moultrie #dance magazine

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