#to show her she's self sabotaging

[bigfatbreak]

Birds of a Feather previous / next

[bitchthefuck1]

you know what, I actually will talk about this because it's bothering me. The issue with focussing so heavily on syd and carmy's potential for a romantic relationship isn't that there's something inherently unintellectual about romance or whatever, it's that a lot of people seem incapable of doing that without immediately flattening the story and ignoring or intentionally misreading any and all nuance for the sake of that romance. Every scene suddenly becomes about how it impacts their relationship, every analysis is done through a romantic lens, every frame or line of dialogue becomes about finding some easter egg or hint that "proves" these people should start dating. Their dynamic is absolutely a fundamental part of this show, but if you can only see it as a will-they-won't-they, you miss so much of what the story is actually trying to say with these two.

There are good versions of this story where their relationship is romantic and there are good versions of this story where it isn't, but as soon as you decide them being together is "the point," you lose the ability to actually judge the story for what it is, not what you want it to be.

[fortune-maiden]

85. "I’m not going to be sympathetic until you go to a doctor.”

tgcf, pm or swd to ling wen

Thank you <33

....I think this should have been a more hurt/comfort prompt, but with only 100 words it just became hurt, I'm sorry ;w;

Pei Ming is back again today with new grumbles and demands. So much to be done, all at once, only by her. These days, Ling Wen can barely lift her head. She can barely hear her retort. “And?” There’s a rare edge in his voice. “I’m not going to be sympathetic until you go to a doctor.” Pei Ming knows how to fight. To take away the firewood she needs to stay warm. Day by day he’ll wear her down, getting more outrageous until she finally caves, willingly or forcefully. Ling Wen knows this. Really. But she hates to lose.

I love lw but i also do think she has trapped herself in a vicious cycle of self sabotage

[kuromi-hoemie]

last rb stressed me out lowkey akakska i had an ex like that and it became a self fulfilling prophecy kinda thing..

[rearranging-deck-chairs]

bad wolf soda <3

[laura-de-milf]

Violently headcanoning that Laura deliberately antagonized Rita as much as possible after the raid in hopes of getting Rita to follow her to the future.

She knew time travel caused memory loss, and what better way to wipe the slate clean between them? To take away Rita's pain, "fix" her mistake and reforge their relationship by erasing both memories? She knew she wouldn't be able to convince Rita to come with her--Rita was not in a position to listen to Laura after the raid. But she could still leverage Rita's need for vengeance to get her into the time machine. Theoretically it wouldn't matter how badly she provoked Rita if all that malice would be erased in the end.

Laura knew Rita was listening in on her meeting with the Brotherhood, but still willingly divulged her whole "Evil Plan" instead of calling Rita out and having her captured. She wanted Rita to know where and when she was going in the future. And she deliberately went back to the salon before setting off, knowing Rita would be there (where else would she be while lying low after the raid?) to emotionally provoke her in the most brutal way imaginable. It was the best way to ensure that Rita had strong enough emotions towards her to come after her.

They could start over again. Except because it's Doom Patrol, things didn't go exactly to plan 🥲

[gracieo]

I hate inside out so much I HATE IT SO MUCH rRRAHHAUAGHAHGAH

[judesstfrancis]

remembering the first time I ever watched the transcendual episode of sirens. literally watched it twice cried and told all my friends at school about it While Crying. again. every day I curse whatever channel it was on for canceling it before brian and voo could have their big Getting Back Together moment

[enslaughts]

claire tried to be carmy's pete bla bla she doesn't even know who pete IS.... she literally just fell in love with the worst person anyone could ever fall in love with at age like fourteen. it's not that deep i promise

[laughing-drawing-aces]

While I hate stancy and everyone knows my feelings based on it: I also find it ironic and funny how people always bring up Nancy’s talk in the woods with Jonathan when showing how her and Steve’s goals don’t align because Steve wants a picket fence (which is so funny because somehow people see a picket fence lifestyle as wanting to travel and having six kids) meanwhile she doesn’t. And her wanting to not live in a loveless relationship like her parents are. Meanwhile Nancy’s role in stancy (mainly season 2) is the fact that Nancy is actively choosing to be in a loveless relationship with Steve knowing that she will always love Jonathan first. And how she knew that she wanted to be with Jonathan but stayed with Steve. It wasn’t a marriage but Nancy knew herself that she didn’t love Steve when they were together and still decided to stay with him - she ended up playing a major role in a loveless relationship which is something that she said she detests. However she did stop playing this role but I think people miss the part where she did actively play a role in something that she said she didn’t want for herself

[perenlop]

last magireco bitching post for tonight i promise but i think all those people who complain that sayaka and homura are abusive and horrible and unreasonable for the crime of being manipulated and traumatized 14 year olds in awful situations and arent perfect little victims about it should go watch magireco and have their brains implode bc i think yachiyo is like. so much worse

[wastemanjohnmain]

maturing is realising daria morgendorffer isn't quirky and disaffected. she's a massive asshole

[galadrieljones]

It speaks volumes when Lavellan calls Solas a "terrible liar" in the Cobbled Swan. Rook is, of course, confused by this. "He's the god of lies," she says. But Lavellan clarifies, because that's not what she means. She means that he can't tell "lies of the heart." That is why he had to turn her away, because he actually could not deceive her.

Varric, very early in the game, also refers to Solas as "sentimental." He says to Rook, "He could burn the world down, and the thing that would make him cry is a single flower with blackened petals."

There's something very interesting about the elven god of lies and deceit, who unwillingly wears his heart on his sleeve, essentially creating a new version of the world in which all sources of raw, magical *emotion* that, according to him, used to imbue it with so much life and beauty have been compartmentalized from the more brutish, harsh aspects of the physical world. Because he, himself, has had to do this very thing to his own heart. He's "split." A very cool archetype. When he tells the Inquisitor to "harden her heart to a cutting edge" in Inquisition, he is projecting. Solas has built a "veil" within himself, to protect his more stern, militaristic identity as The Dread Wolf from the effusive, soft, and intelligent man that is Solas. It's the only way he can get anything done. Perhaps we should more aptly call him the god of stoicism and compartmentalization.

It's also interesting how well characters like Varric seem to know Solas, because it communicates that Solas did open up to the people of the Inquisition, during which time he "played the role" of quiet, unassuming Fade mage. Perhaps this wasn't a role at all, however, and perhaps this is why he is failing so spectacularly now. Who he really is is just this man who fell in love and made friends and found a home within a community where he did not have to cut off his emotions in order to lead. This was the "breach" in his plans, so to speak. It tore his world apart.

The whole story of Veilguard actually starts because Varric knows he can appeal to Solas's emotions and that this has a high chance of working to some degree. It's important to remember that while Varric didn't change Solas's mind at the ritual site, he was able to keep Solas talking long enough for Rook to sabotage his plans. Solas entertains Varric's pleas, because, sort of as Rook guesses with Lavellan at the Cobbled Swan, in some ways, Solas wants to be stopped. He wants someone to pull the reins on him because he is too prideful to stop himself.

Thinking back to Trespasser, I remember we all sort of knew this right away just in reading his body language. I remember someone making a whole post about it, and how he will not allow her to get too close to him. When she approaches, he takes a very measured step back. And later, as he takes the anchor, a task which requires him to take her hand, we see exactly why this is. He breaks down, calls her his "love," and kisses her. He is so stern and so measured and in "control," but then, all it takes is a single touch from the woman to whom he showed a glimpse of his true heart, his true self, to bring him to his knees.

The Veil as a narrative manifestation for how Solas tends to seal his own raw emotions away from others in order to function as the revolutionary general he had to be for centuries is a very beautiful construct to me.

[princesssarisa]

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

[charlesoberonn]

Phineas and Ferb episode idea: After Candace shows her photos of all of her brothers’ creations, Linda thinks that her daughter is a talented graphic artist and signs her up for a competition. Candace is frustrated and about to tell her mom the truth but then Jeremy shows up and he’s like “Wow, Candace, I didn’t know you were a graphic designer. That’s so cool. Btw, my little sister is also gonna be at the graphic design competition.”

Long story short, Candace asks her brothers to help her become a graphic artist for real so she could beat Suzie.

Meanwhile, Doofenshmirtz has gotten tired of designing -Inators so he designed the Comes-Up-With-Inators-Inator to design them for him. The Inator’s creation are a hit among other Evil Scientists who buy them in droves. Doofenshmirtz is then signed by Vanessa to an Evil Contracption Designing competition (held in the same building at the same time as the graphic design competition, of course).

Desperate, he asks Perry the Platypus to help him get his mojo back so he could design -Inators again.

Cue musical montage of Doof and Candace training to learn/relearn their respective art form.

It’s the competition(s). Candace is a nervous wreck, but Jeremy believes in her. Doof is all self-assured and ego-boosted by everyone thinking he’ll win, but then he sees his Comes-Up-With-Inators-Inator (who looks like a robotic him) also signed up for the competition.

While getting ready for the competition, Perry is accidentally almost spotted by Phineas and Ferb. He sneaks behind the curtain to the behind the scenes. That’s when he discovers that the goal of the competition is to design a doomsday weapon. Nervous, he swaps the cards with those of the graphic design competition.

The competition begins. The graphic artists are assigned to design a doomsday weapon while the Evil Scientists are assigned to design a cool band poster.

The scientists are baffled, but they do their best. The Comes-Up-With-Inators-Inator is stuck because it’s physically incapable of drawing anything but Inators.

Meanwhile in the graphic design competition Candace does her best but her brain goes blank. Suzie meanwhile is trying to sabotage her by switching her card back with the card from the other tournament. Unfortunately it’s the card of the Comes-Up-With-Inators-Inator, who now goes to task designing a Doomsday weapon.

The competition is finished. Candace’s work is mediocre, but she wins by technicality for being the only one who drew the correct thing.

Meanwhile at the Evil Scientists competition, the scientists all drew terrible posters except Doof whose poster is beautiful. He’s about to be declared the winner but then the Comes-Up-With-Inators-Inator reveals what it’s been working on, a doomsday machine. Everyone panics, and Perry the Platypus tries to stop the machine, but fails. Then the machine ticks down to 0, and nothing happens.

Turns out the Comes-Up-With-Inators-Inator is terrible at coming up with machines. All of its Inators don’t work. Which unfortunately for Doof results in all of his previously happy customers showing up to complain because their Inators didn’t work either. He asks Perry to help him again, but Perry is already gone.

“There you are, Perry.” “Curse you, Perry the Platypus!”

Despite winning, Candace feels hollow because she only won by technicality and all of the other designers were much better than her. She feels like a fraud. But then Jeremy shows up and asks to buy the rights for her poster, because he thinks it’s really cool. Candace is happy.

The End.

[skiddlecat]

getting fixated on an object show character is so hard because it's like Okay. this character is a twist antagonist from the previous season of the show. on a surface level she is manipulative and selfish, but harbours a deep regret for her previous harmful actions that resulted in a close friendship of hers being sabotaged. she introduces herself to a new contestant, initially only helping her for her own gain, but quickly develops an emotional attachment to her as their friendship becomes less transactional and more real, but once again her own toxic behaviour sabotages the only connection she has. she's now drowning completely in her guilt and self-hatred, believing herself to be irredeemably evil.

and then someone says "oh this character is really interesting where's she from!" and you have to say Well actually. She's a