#truly I think about this all the time it’s wild

[whereispearlescentmoon]

This is great big-b analysis however I’m annoying and as always must mention the great Nosey Neighbors exception where Big-B, who as theminecraftbee so wonderfully stated is defined by self imposed isolation and Pearl, who had just spent a season alone despite her desperate grasps to connect, managed to team up for an entire season.

I think part of it is that Pearl simply refused to let him isolate himself because Pearl loves being in a team and having teammates and doing things with them. Every season (with the weird exception of Wild Life actually) she tries her darnedest to be around people at all times, even when she ends up alone anyways or even when it hinders her actual progress. How can you isolate yourself when the most earnest dog coded character is begging you to spend time together, to go mess with people together, to resource gather together (and eventually to let her fall on your sword)?

Another aspect is that, like tmb said, BigB hasn’t always been alone. He had people in Third Life. He knows how to be in a team. He had people in Secret Life that he could have been with in the same way if he just let himself. He just can’t trust anyone and frankly, they can’t trust him and he knows that. I don’t know what made him decide not to betray Pearl or make side alliances or any of the things he usually does to ensure that he is safe even if a team falls apart. I don’t know why he hasn’t been able to truly keep himself in a team since. It’s not even a Pearl thing, we saw him betray Pearl in Wild Life when he made a deal with Grian against the Gs! It’s just something about Nosey Neighbors specifically in Limited Life man.

idk sometimes I think about how isolated bigb is. the last time he wasn’t isolated was probably third life, and ever since—well the thing is that he also pushes people away, right? I think about the heart foundation and how bigb always kept a layer between himself and them especially here, but even his soulmate relationship with ren was—isolated. his secret soulmates with grian—well that was half not about him. his and cleo’s relationship that they can’t seem to fix. every season it seems like he has his own base, away from the others, and he’s alone—

I think about the heart foundation.

it’s not that people don’t reach out. it’s that I wonder if he knows, really, how to reach back.

anyway sometimes I think about bigb and isolation.

[chvoswxtch]

hi!!!!!!

so excited for movie night!!!! <3

could I possibly have a romcom (directors cut edition) with ftws!bucky pls!!

something along the lines of, "all you had to do was ask," if yk what I mean 😏😙😇

hi nonnie!!! welcome!!

fatws bucky has my whole ass heart. I don't know what they did to him in thunderbolts and i'm scared so i'm gonna pretend like that's not happening rn and we will go back to a simpler time <3

unfortunately since you're on anon, I can't do the directors cut, but I will give you some delicious bucky visuals and set the scene for your imagination to run wild ;)

headcannon below the cut

cruel intentions starring bucky barnes

bucky barnes is a shithead. if you don't believe me, I implore you to watch the entirety of fatws and point out one time he isn't being a sassy, snarky, taunting lil fucker (and we love him for it, i adore my bitchy lil grumpy super solider)

also the man has been through it so I think he's earned the right to be bitchy

being a super soldier means that everything about bucky is enhanced (😉) which includes his senses. now he's not quite at matt murdock level of heightened senses, but he can tell certain things about people (think cap in the elevator with the hydra agents clocking that shit from a mile away). he's also learned to read body language as a former assassin

combine all that with how well bucky knows you, he can always tell what kind of mood you're in very easily

so when you're frustrated but too stubborn to admit it, he knows. oh, he knows. and he's patient enough to get you to break and give into him

lets say you two had a petty argument, and now you're giving him the silent treatment. but you haven't seen each other in over a week, and he knows you want him just as much as he wants you. but instead of being the mature 107 year old man he is and trying to talk it out with you, he decides to be a teasing lil shit instead

suddenly your car needs an oil change and bucky is out in the driveway wearing that slutty lil blue henley that makes his eyes look so pretty, and he's got only one of the buttons buttoned, and the sleeves are pushed up to his elbows, and the shirt looks like it's been washed and dried one too many times bc you can see every muscle in his back and shoulders flex when he moves

and then he decides to silently join you in the living room, where you're still ignoring him, and he sits down right across from you and spreads those thick ass thighs in a way that makes your mouth water bc why are his jeans so fucking snug like that and he's just calmly reading a book not making a sound or saying a word with no expression on his face, but internally he's smirking bc he can feel your eyes on him

every room you migrate to, bucky seems to appear in with some reason or excuse, shredding your patience to a paper thin strand that is a breath away from snapping

the stubborn part of you wants to be strong and continue ignoring him but the weak part of you can't even remember why you're upset and does it even matter when he looks like that?

the last straw is when he saunters into the bedroom in nothing but a pair of grey sweatpants that hang dangerously low on his hips, and he drops down to start doing push ups. he's grunting not bc he's straining himself, he's not even breaking a sweat, but bc he knows it'll make you think of him grunting in a different way with those dog tags dangling deliciously from his neck

finally having enough, you slam your book shut and toss it carelessly aside on the bed before stomping over towards him. bucky glances up over his shoulder at you with an expression that was almost innocent, except for that stupid smirk spreading over his mouth. as soon as you're within reach, bucky suddenly turns over onto his back and grabs your leg, tugging you down on top of him with a cocky grin (you know the one)

"now that wasn't so hard, was it? all you had to do was ask, doll."

sam wilson is truly god's strongest soldier bc he puts up with bucky's attitude and ^that??? i'd fold like a lawn chair in a hurricane

[hotvintagepoll]

Peter Falk (The Great Race, It's a Mad Mad Mad Mad World)—JUST A SILLY MAN!! Sabotages four different cars (including his own, oopsie daisy) in the film The Great Race. Not film but TV, however, he is also known as the lovably silly little man Detective Columbo. Nobody knows what he's doing or where he's going at any time (even him).

Theda Bara (Salome)—She is so beautiful but in a way which is so... Bug-like? I truly cannot think of any word which better encapsulates her big round eyes, expressive eyebrows, gestures, fashion choices, and overall vibe than 'scrungly' does. There is something wild - nay, feral- about her. We all know the original goth girl didn't get what she deserved in the ladies tournament, so please let her shine here. She is indisputably the scrungliest gal of the bunch.

This is round 4 of the contest. All other polls in this bracket can be found here. If you’re confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

Peter Falk:

He's a man who looks unshaven even when he's shaven. His soul is unshaven. The perpetual squint, the way his eyes don't always go in the same direction due to one being glass, the disheveled hair... I can only hope to look as scrungly as him someday.

Just look at him. Seriously. Just look at him. He's the scrungliest little guy. He out-scrungles them all.

Theda Bara:

[thoughtsbysofi]

The Truth About Power and the Maneater Myth

When the maneater gets eaten by men

I think we’ve all fantasized about her at some point. The maneater: wild, confident, unapologetic. She’s the woman who seems untouchable, the one with beauty so sharp it’s almost dangerous. She moves through life effortlessly, holding men—and the world—in the palm of her hand.

She’s been immortalized in songs, from Daryl Hall and John Oates’ iconic anthem to Nelly Furtado’s unforgettable beat. (Only God knows how many times I’ve danced to that one in front of the mirror, lip-syncing like I had the world at my feet too.) She represents something intoxicating: power, allure, freedom. Or so we’re told.

Over time, I’ve come to see cracks in the image we’ve painted of her, and they’re hard to look away from.

Her shine, that magnetic confidence, feels... muted. Almost as if the very force that made her so untouchable has been swallowed whole by the same system she’s supposed to rise above.

Here’s the thing about the maneater: her power has always been a performance. What we believed was control was always a false sense of empowerment—a game that looked like it was hers but was actually rigged from the start.

Think about her name. "Maneater." She’s defined by men before she’s even had a chance to define herself. Her power—her entire identity—is grounded in the very gaze she thought she had mastered. How far can she really distance herself from the male gaze when her existence revolves around it?

This was easier to ignore in the past, back when the maneater existed in songs, movies, or whispered stories. But now, in the age of social media, her shadow looms larger than ever. Platforms like TikTok are littered with guides on how to “become a maneater.” Entire accounts are dedicated to teaching women how to embody the aesthetic—what to wear, how to act, what to believe. There are even courses for sale promising to turn you into a siren-like figure who commands attention and leaves men in pieces.

But let’s be honest with ourselves. What’s behind all these trends? What’s at the heart of this obsession with being a maneater?

Fear.

Fear of being overlooked. Fear of not being enough. Fear of being powerless in a world that demands we center men in every aspect of our lives. And so, we create a persona—a character to play—because if we’re going to be consumed by this system, we might as well act like it’s on our terms.

Except it never is.

And here’s the truth: the maneater doesn’t exist. She never has.

The real woman behind the fantasy doesn’t care about men, let alone eating them alive. She’s not plotting or strategizing, and she definitely isn’t wasting her energy learning how to manipulate others for validation. In fact, the maneater isn’t devouring men—she’s too busy living her life, building something real, something meaningful, for herself.

So where did this idea even come from? Why are we still clinging to it?

Because it’s convenient. The idea of the maneater allows men to dismiss women they can’t control. “Oh, she’s just like that with everyone,” they say, as if their failure to win her affection isn’t personal. And for women, the maneater becomes a shield—something to hide behind when the vulnerability of simply being feels too much to bear.

But what would happen if we let go of the need to perform and focused on ourselves instead?

The women who are truly powerful aren’t trying to fit into a mold. They don’t need labels like “maneater” to justify their independence, their choices, their lives. They’re not chasing some aesthetic or performing for the male gaze. They’re simply existing—fully, authentically, and without apology.

Real power isn’t found in manipulation, control, or detachment. It’s not about who you can conquer or how many people fall at your feet. It’s about connection. It’s about seeing others—not as pawns or opponents, but as equals.

The true maneater isn’t eating anyone. She’s not interested in games, roles, or power plays. She knows who she is, and that’s enough.

Real strength, real wildness, isn’t about becoming her, someone for someone else—it’s about stepping away from the illusion, leaving the fantasy behind, and finding power in being unapologetically yourself.

Because the real power we’re looking for has nothing to do with men. It’s been in us all along.

-xoxo

[lucythornwalter]

@wisteria-lodge -

The Problem Of Holmes/Watson is that, as much as I love them together, I don’t think you can write a canon-compliant adaptation that makes the queerness explicit that also involves them being together during the events of the canon. In fact, I sort of think that Watson being oblivious to his own bisexuality and his attraction to Holmes is vital to why the events of the canon happen the way they do. I love stories where they’re together, just want to make that clear, but if I’m looking for canon-compliant adaptations I unfortunately think that you have to acknowledge that these two men are defined by their yearning.

Watson meets Stamford outside of a known Victorian gay bar. They don’t go in, but they are chatting outside, and it’s a place they’re both familiar with, and Stamford then introduces Watson to a loudly, boldly flamboyant man who is all too happy to move in with him and broadly hints that he’s a strange weirdo - and his overtures are met with “sure! Let’s do it”. I think he was about as out as he could be in STUD, and that continues through to SIGN, where he’s bitter and furious at Watson for unknown reasons (I interpret this as “I’ve been trying to get into your bed for ages”) and he escalates his drug use specifically to get his flatmate’s attention. That’s toxic behavior, sure, but it’s easily read as deeply homosexual. Watson, exasperated by Holmes for reasons he can’t really name, then chooses Mary, leaves with her.

They have to put their friendship back together, but Mary encourages Watson to spend time with Holmes and Holmes almost has the man he loves, almost gets what he wants. (I think it’s notable that SCAN comes after SIGN; Holmes’s disinterest in Irene and forgiveness of Watson are both significant here.) They become nearly inseparable but also deeply incapable of clear communication - they are English, after all.

FINA/EMPT mark a point where Watson steps away from heteronormativity. It’s not uncommon for young men to room together at this point historically; it’s unusual for men in middle-age to move back in together after a bereavement. I think Holmes assumed, at this point, that even if they weren’t saying anything and they weren’t having sex, they were Together in some way. They leave London together during Wilde’s trial. Holmes sheds his cocaine addiction and becomes calmer, happier, more spiritually grounded. His more clearly queercoded clients are all pre-FINA but there are still queercoded stories post-EMPT, and he takes up space in them comfortably.

I’m a “Watson had two wives” truther. I think his second marriage destroyed their friendship, again. I think (based on his second wife’s coldness and her difference from Mary - she wants Watson at home with her more rather than shoving him out the door) that she was aware of how things looked, and that Watson was deeply in denial. I think he turned to women and marriage when he was lonely and horny and wanted romantic/sexual companionship; I think he loved Holmes but didn’t know what that meant.

And I think 3GAR scared him. I tend to borrow from Bert Coules’s work in the BBC4 audio drama here, pairing 3GAR and Watson’s realization of the depths of Holmes’s love with his desire for romantic companionship, but where Coules has Watson already deciding to marry I think it was his terror at his emotions suddenly flaring up around Holmes that propelled him back into heteronormativity. We know when Holmes retired to Sussex it was alone, at least for a while. We don’t know if they reconciled truly. That burns me and I love it and I hate it but I can’t ignore it.

Ultimately the thing I find compelling about them is the missed connection of it all. They were meant to be together forever and social constraints prevented that. They love each other but never say so clearly. They’re scared of what it means and they constantly think about each other in deeply horny ways. They dance around queer culture and never say why they’re drawn to it. And it’s messy, and complicated, and unsatisfying, and I won’t ever be able to write it for that reason.

[ambrosiagourmet]

Not sure how widely recognized this is but it’s fucking wild to me that miss kui just quietly snuck in the fact that most (if not all) of the differences between races only exist because of wishes they made to the Winged Lion.

Dwarves being strong? Lion wish. Elves being good at magic? Lion wish. All lifespan differences???? Lion wish, babey!

Not that the elves superiority shtick isn’t already BS, but it’s even funnier with the context that the only difference between them and humans is that, thousands of years ago, their leaders made a greedier wish to the demon that wanted to eat them.

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 3: Enveloping Feelings.

(Part 1, Part 2, Part 4)

[quicksilversnails]

Took some notes from the Wild Life retrospective episode of the Imp & Skizz podcast featuring Grian because I thought the behind the scenes info was really interesting!

(3:15) The wild cards were all kept totally secret from the players (apart from Grian), with the exception of the superpowers and finale (as they required the players to set keybinds)

(3:45) The players were given files containing the required mods each week, which were named things like "creeper rain" to throw them off

(4:12) Wild cards were a combination of data packs and mods

(4:38) Grian told them not to read the folder name to avoid spoilers (which is kind of impossible), so everyone fully believed there would be creeper rain lol. Grian was saying it in jest but everyone took it seriously and were apologetic about having seen it, to which Grian told them not to worry

(6:58) Grian originally contacted a data pack dev called Brace for help with programming the wild cards. Some, like the shrinking/growing could be achieved with minecraft attributes, but the snails were too janky and unusable. Grian still liked the idea though, so he reached out to mod developers Henkelmax and Breadloaf, who designed the pathfinding/behaviour from scratch

(8:49) They had a debugging mode used to test the pathfinding of the snails, shown in the podcast and in Grian's credits

(10:09) Grian wants most of the credit to go to the development team and artists, as he was mostly in charge of ideas & organization!

(10:39) Grian's only regret with the snails was that they were too fast in session 3, leading to unexpectedly many deaths. They were apparently not so difficult to get away from during testing, but perhaps the testers were more used to them than the players were

(11:44) Grian: "We did develop to the lowest common denominator" ie. prioritizing how players would struggle over how worrying about if players would do too well

(12:56) Oli's voice for the snails was iconic. It cost Impulse a life because he intentionally stayed closer to it to hear the voice lol

(13:42) Danny was in charge of the snail models and animations

(14:11) During testing, the snails just sounded like Oli, which made it feel weird. They pitched up his voice so that it'd be less immediately recognizable

(15:18) The snails' jumping attack was meant to be clearly telegraphed: they would stop, wiggle, make a "ooeee" sound before jumping. Many players had their friendly creatures volume turned very low/off (as cows and other mobs are loud), which made this attack much less obvious for them

(16:57) The growing/shrinking had the least testing done for it, as it was the simplest conceptually and to program. This meant that the falling off of blocks due to the shrinking hitboxes wasn't anticipated

(17:55) Before the 1st session, Grian told them that he didn't think anyone would die to the wild card. Pearl's death made Grian pretty nervous, as he didn't want everyone dying too early in the season

(19:29) 6 lives were given, knowing that many of the death to the wild cards were unexpected/unfair. The intent was for ~3 lives to be allocated for wild cards, and ~3 for PvP.

(21:13) The developers were all fans of the Life Series!

(22:43) The shrinking/growing was intentionally pretty simple to ease players/viewers into the concept and build up toward more dramatic wild cards like the snails

(25:38) In the hunger episode, Grian didn't know which foods would be good

(25:58) Grian thinks that "it's unfair that Grian already knows everything" is valid criticism, but that it's important for him to be involved with the ideas. Having someone else do that is like having someone else record his videos: Life Series is his brainchild

(26:35) Well before the season began, while they were still developing the concept, Grian asked the other players for wild card ideas that would meet a few criteria. All of them ended up being unused for one reason or another. Impulse thinks his ideas were very "inside the box" because he was viewing things through what was possible in vanilla Minecraft. His idea was to have a scavenger hunt where the players would search to find a relic. The first person to find it would get a buff. Skizz's idea was for every player to turn into a random passive mob for every given interval of time. They would have to find every other player of the same mob type as them or else the whole group loses a life.

(29:44) The food qualities were weighted by the rarity of the item, so very common blocks like dirt and cobblestone would never give anything good. The other items were randomly selected

(30:23) Regular blocks/items cannot be made edible normally, so they had to circumvent that and custom code a fix for items not stacking correctly

(32:41) While a lot of players do want to win, the main priority is creating entertainment, which prioritizes playing recklessly

(33:20) The food wild card wasn't included in the finale because it would've felt like "too much". There was a higher risk of technical issues since it changed the data values of items, and Grian didn't want someone's last death to be because they ate their sword. In his mind, it was a good and fun wild card, but didn't need to be repeated in the finale. Impulse points out that they all would have collected more rare items by that point, removing the incentive to search for blocks to eat

(33:46) The wild cards in the finale were nerfed from their original sessions. The shrinking/growing had a smaller height range, the snails moved slower, etc.

(36:21) The personalized snail skins were a late addition by Danny, who made 18 skins very quickly

(36:49) Grian did not anticipate the snails becoming as popular with fans as they were. After the session released, they had the idea to release the snail merchandise, which directly funded the rest of the season

(39:20) Grian spent what "felt like every day" testing with the developers. They'd record the sessions on Tuesdays, meet up with the dev team, talk about what need to be done, testing, bugs, etc, edit and upload on Saturday, and would get a few days grace before starting again

(40:01) After the snail session, Grian was worried that the season would be very short due to all the deaths. They were considering toning down the later wild cards but ultimately didn't change them too much

(40:36) The time wild card was carefully balanced. If it had gone even a little faster, many players likely would have died because they wouldn't have time to react to threats like baby zombies or creepers.

(40:57) While sessions normally run for a variable amount of time, session 4 was hardcoded at 2 hours. Grian ended the session ~10 minutes early, just after they hit max speed, because he felt like things were getting dicey

(42:46) When the wild card first activates, it looks a lot like the server had frozen or crashed. Grian told the players before the session started that it would look like the game was broken, but that it isn't broken. Skizz tabbed out anyway and missed the beginning 😔

(43:30) Having the rain start just as the wild card began was a good visual indicator of time slowing down. This was a suggestion from the dev team (probably Brace)

(44:41) Impulse and Grian "cheesed" the end of the session by going branch mining. Grian wanted players to take advantage of the wild cards (eg. mining quickly, helping to kill someone), and not have them just be an annoyance.

(45:30) Keeping the client and server-side time stay in sync was challenging. The sky's motion was changed to be smoother on client-side. The players were also not as fast as the server (around 2x faster), the server was going faster than that, and the time of day was even faster

(46:56) The sounds were pitched up/down based on the speed to add to the effect

(27:46) In testing, if the players were made 7x faster, it would be basically unplayable, which was why it was capped at 2x speed. This made mobs very dangerous, as they were now faster than players and could catch up to you and kill you easily

(49:01) On several occasions, they had to extend the fuse duration of creepers to make them more fair. In the time session, their speed was only increased by ~10%

(49:39) Usually, Grian was the one to test the wild cards and notice when things like creeper speed would be an issue, since he was the one with experience making videos

(50:50) A challenge with balancing wild cards is accounting for the playstyles of so many players: reckless players like Scar and Skizz, "kind and gentle" players like Bigb who would stay off to the sides, and "the sweat squad" (Scott, Impulse) who play very cautiously

(52:48) Trivia Bot was the only wild card that was not planned in advance. Grian was struggling to come up with a wild card for that episode, and wanted to have a wild card available that could give people lives in case many people died to early wild cards without it feeling cheap.

(53:33) Trivia seemed a little boring on its face, so presentation was essential

(54:34) This one made Grian the most stressed due to all the moving parts involved in making it (coding and pathfinding mostly by Henkelmax, visuals by Hoffen, audio/music, questions)

(55:08) Trivia Bot's design was based on Grumbot and Mettaton from Undertale. Hoffen drew concept art shown in the video

(58:32) They show Trivia Bot's custom animation for becoming a snail and it's really cool

(59:12) The music was the most stressful part of the project. Grian spent 2-3 days looking through Epidemic Sounds for a Trivia Bot theme song and couldn't find anything good. He commissioned Zera @hopepetal for a theme song, which is played in the podcast. However, Grian realized he needed a full audio package, so he commissioned Oli late in development, who created the final soundtrack and many audio variations

(1:01:38) Grian wants to send appreciation for everyone who worked on the project, even if their work ultimately went unused

(1:02:58) Skizz was happy to give back however he could by staying on standby in the final episode as a zombie, as the players were able to "reap all the benefits" of the hard work of the development team

(1:05:21) Grian didn't know any of the trivia questions beforehand, which were done by fans of the series. The goal was for ~50% of the questions to be answered correctly, which was approximately met

(1:07:11) Players couldn't get questions about themselves because it would be too easy. This would encourage players to leave their bot, allowing other players to mess with them

(1:07:57) Grian felt a little left out from the discovery element of the wild cards, and decided to mess with Scar by hiding his bot. He wasn't expecting Scar to die from it, and could tell that he was genuinely a little upset by it. Grian felt bad about it, which led to a genuine in-game alliance between them

(1:12:32) Grian was very close to letting Trivia Bot give lives as rewards, but decided it would feel too cheap

(1:14:38) Mob swap was slightly toned down, with more camels and sniffers spawning

(1:15:07) Evokers didn't drop totems anymore. Instead, there was a minuscule chance a warden or wither would spawn, which would drop a totem if killed. Grian was a little disappointed that the warden got cheesed in the end

(1:17:45) Having the mobs start passive and turn hostile was mostly for the presentation, building anticipation, and so players could predict where mobs would spawn and react accordingly, making things feel less unfair

(1:20:32) There was no superpower made for Skizz (or Mumbo presumably)

(1:20:38) The superpowers were another late addition. There was a large design doc where Grian created all the powers, which were handed over to Henkelmax and completed over 4 days

(1:21:42) Grian avoided superpowers involving strength, that could cause someone to die easily. Most of the powers were social or movement-based, which couldn't be used for offence as easily

(1:22:25) Some powers were randomly assigned, others weren't. Impulse's was random. Cleo's, Bigb's, Lizzie's, Grian's were assigned.

(1:24:25) Grian gave himself the mimic because it could easily backfire (like in Grian's fall damage death), and because it would've been confusing for a player who wasn't aware of the other powers. They likely would've spent the episode just figuring out how everything worked and not actually using the power to its best ability

Lots of discussion about the superpowers and how they interacted in the episode itself, go watch if you're interested :)

(1:33:38) Talk on how the series "standard" rules evolved since 3rd Life. There was no keep inventory, and no restrictions on enchanting levels or potions, which created slow or unbalanced fights

(1:36:23) 3rd Life was designed to be an experimental series, which made Grian eager to improve it. For example, some people just weren't dying in 3L, leading to the boogeyman in LL, and so on

(1:37:17) The goal with the seasons isn't to one-up the previous one, but to create a different experience every time, which keeps things engaging for the creators

(1:38:31) At the end of each session, Grian would ask the group if they had fun and how they felt about the wild cards. According the Skizz, the answer was "a resounding yes"

(1:39:08) Grian had moments throughout the season where he personally felt like things didn't go well for him, and was anxious for the rest of the group's episodes. Things worked out while editing the raw footage, though. His issues were never with the wild cards themselves, but his own actions (traps not working, spending too long branch mining), but would always find funny moments in his footage

(1:43:41) Everyone in the Life Series cast genuinely likes and genuinely respects everybody else in the group. This allows them to make the show and get mad at each other, because they know it's all just in-character

(1:44:50) It'd be hard to top Wild Life in spectacle, and Grian doesn't want to start an arms race with himself. The next season could potentially be closer to 3rd Life, but Grian's not sure yet. For Grian, Wild Life was the most enjoyable

(1:45:20) Grian: "As long as people keep enjoying [the Life Series] then I'd love to keep doing it"

(1:49:35) With the finale, Grian knew how the wild cards played out the previous sessions and was able to adjust them

(1:49:56) Grian's goal was to create safe chaos where everyone knew what was happening and wouldn't die to them, which didn't go entirely to plan. The snails were 60% of their original speed and people still died

(1:51:03) Grian made a precise timeline of when each wild card would start/stop, it wasn't randomized.

(1:54:16) All the superpowers were randomized, with Bdubs' power being removed from circulation because it didn't have much use in a finale setting

(1:56:10) It was important for Grian that in the final moments, the wild cards were removed, so there were no interruptions. The timing worked out well because there were a few people left and it ended within ~10 minutes (this implies that the change wasn't based on # of players alive, as people had speculated based on Gem's death)

(1:58:48) The players all randomly switched to zombie skins throughout the session to mess with people on NameMC. Well-played :)

[chronologically-challenged]

I think that the party's communication issues can be summed up as "man, is it awkward to tell someone that you want to spend the rest of your life with them if you've only know them for a few months? Probably."

[fromtheseventhhell]

Unlocked a new piece of "Arya can't control herself' lore and, apparently, people think her ability to control herself comes from her pretending to be someone else. So it isn't Arya who has self-control, it's Arry/Weasel/Nan/etc. and that's why she wouldn't be able to control herself in KL, cause she couldn't handle being "Arya". I am fascinated by people twisting themselves into pretzels to deny Arya's capabilities, at this point it's an unhealthy compulsion 😭

[pumpkinsouppe]

There’s def a lot I wish to be in Tears of the Kingdom, especially things like regional/diverse enemies. But the thing I really wish to see is Link express negative emotions. And not just “he’s angry at fighting enemies” but rather he’s angry and tired and upset and confused at his situation. He has followed orders from the king the moment he touched the master sword as a CHILD. We don’t even know if he truly got to be a child because his whole life has been about duty. And I’m pretty sure in this timeline he was descended from the Hylian knights so who knows how long he’s been training to just be a standard knight before the master sword.

Link SHOULD be angry that he’s stuck in this cycle of rebirth. Even when he died, the fall of Hyrule was blamed on him and he didn’t even get to stay dead. He was woken up and had to finish his duties while also being constantly reminded that his death is what lead Hyrule to look like is does. He should be angry, angry at Ganon and Demise and at the Hylian Royalty for forcing him into this situation over and over and over.

And this is exactly why I hope TOTK is similar to Majora’s Mask. Not because Majora’s Mask was scary. But because it dealt with the grief and isolation and depression Link had to face after going through an incredible traumatic journey, and then losing all of his friends as a result. Most notably losing the ONE friend who was with him the entire time. Who completely understood everything Link went through because she experienced the same thing. And she was the entire reason Majora’s Mask even happened in the first place, because Link was desperately searching for Navi because he was scared to be alone. I want TOTK to explore these hard and brutal emotions for both Link and Zelda. I want them both to be scared, angry, and distraught. I want them to cry over themselves and be selfish. I want them to do something impactful that isn’t for the sake of Hyrule. I hope there’s conflict with the Goddess Hylia. I hope they reject her outstretched hand after she has burdened two children to sacrifice themselves for the good of Hyrule.

I want there to be a good resolution to TOTK. I want both Link and Zelda to choose their own path even if that means leaving Hyrule. But I want the path to resolution to be painful and really explore Link’s true emotions. He is stoic and mute because he is burdened with the weight of the world. What good is a knight who talks when he is judged based on his actions and ability to use a sword.

With Zelda’s warning that she thinks that even Link can’t succeed, I hope we do see helplessness in Link. Again to Majora’s Mask we did get to see Link helpless. He was transformed into a small Deku Scrub with no weapons, no horse, and was an outlier in a town filled with humans. But he learned to work through that helplessness. He embraced the spirit who had to give his life for Link to look the way he does and figure out new ways to fight and communicate. He later became grateful for the Zora and Goron who let him use their spirits to aide his journey. He was able to confront Majora’s because he was never truly alone. Everyone he’s ever met has given him strength even if they aren’t with him presently.

And that’s what I hope to see in Link in TOTK. A helplessness due to his isolated burden, faced against something he could never win against alone. And thankfully we did get that to an extent in BOTW with the champions and even Zelda. But even then, fighting the divine beasts was optional. Link in a sense could have faced Ganon alone. Hell people even fight Ganon with no clothes and only carrying sticks.

No, I want Link, even in the most powerful armor with the most powerful weapon, to be helpless. And I want him to be angry about it. And upset. And hurt. Because he has earned the right to express every painful emotion for his circumstance and he deserves to be able to express his frustration. It is okay if he isn’t the hero.

[thefrogdalorian]

I think on this fine Saturday afternoon it's a good opportunity to take a breather and remember that there are really no ethical paparazzi pictures. Every single one is inherently exploitative.

Just because photos were taken on a movie set, when someone is 'working,' does not make the practice any less invasive and creepy. Imagine just going about your day, doing your job and having some weirdo snapping pictures of you to sell without your consent for others to endlessly repost online.

There are thousands of pictures of your favourite actor online already. Plenty taken with his knowledge and consent. I'd really like to see more of them on my dash, rather than the creeper shots.

And don't get me started how disseminating these pictures directly leads to people going to said sets. What starts off as admiring how good someone looks has real world implications.

No, hanging around a movie set and disrupting people doing their jobs is not harmless fun or a way to show your appreciation.

If you hang around a movie set, you are a stalker.

Don't tell me that it's okay to take your online admiration for someone offline. You may admire him but he does not, and will never, personally know you. He will never be your friend/boyfriend/daddy. He is a stranger.

The only way meeting your favourite actor is going to happen is at a convention or maaaaaybe a movie premiere if you're incredibly fortunate. You know, places they appear specifically to meet fans (or not in the case of premieres, where the purpose is to promote a movie. Which is also completely understandable if actors don't stop. You are not owed an interaction).

Of course, you cannot help it if you randomly run into someone you admire in the wild. Even then, consider that they probably won't be all too thrilled to be approached in public by a complete stranger. It's up to you to gauge the situation, but remember there is a person at the heart of all of this.

Boundaries and respect are a kindness which deserves to be extended to each and every human being regardless of their looks/talent/fame/wealth.

Fandoms blur those lines a little too often for my liking and I think just scrutinising what you're interacting with, or what behaviour you could be possibly falling down that slippery slope towards is nice to do every once in a while.

I mean no malice with this post and it is not directed at anyone in particular. It's something I cannot help but feel strongly about because I've seen this destructive cycle time and again in fandoms over the years. It's not healthy and it makes us all a little bit more disconnected from our humanity for it...

[anghraine]

Today's unhinged "good God I hate how much extreme generosity I'm expected to extend to the Peter Jackson films by people who make wildly bad faith arguments about things I like" rant:

I am very deeply tired of people insisting with zero evidence that of course the LOTR films are imperfect, but the difficulties of adapting LOTR are such that it wasn't possible for them to be better than they were—in, apparently, any respect. They just couldn't be done better, at all, because it was so hard to make something watchable at all.

This is always just like ... really? Really?? Just what prevented them from making better decisions about anything? What exactly made casting every actor of color as barely differentiated villainous hordes in the twenty-first century so necessary and unavoidable? The glamorization and vast expansions of battle scenes and insertion of "heroic" war crimes was the highest film as a medium could aspire to in the early 2000s because of what insuperable force?

What made it impossible to give Arwen a coherent character arc? The films could not have been made without the underlying assumption that most of the cast are NPCs who will only do the right thing, when they will, if prodded or manipulated or influenced by main characters? In what way is this an inevitability of adaptation or film that simply couldn't have been conceptualized differently, much less better?

There is zero explanation or justification for why any of this stuff (or the myriad other flaws) had to be that way and couldn't have been done better in any way at any point. It's just stated that the films that exist must be the best films that could have existed because they're the ones that do exist and are popular. QED.

That doesn't make any sense, though, and it doesn't convince anyone who doesn't already agree. The idea that they could not have been better in any way (including their worst quality, which again, is the extremely racist casting), that some force was preventing not only the actual filmmakers but any filmmakers that could possibly exist from doing anything better just seems patently absurd.

You can like them and respect what they did achieve without demanding that everyone buy into a baseless and irrational argument that their pop culture success means nothing about them could possibly have been done any better. Look, I was in my mid to late teens at the time. I remember the early 2000s quite well. It wasn't now, but we are not talking about an age so divorced from our own that any of these things were somehow fundamental to the media landscape.

There are ways in which the LOTR films were very good that were essential to their popularity then and now. This does not require anyone to accept that it was literally impossible for them to be better than they are or that some defense is required against every criticism of them ever.

I am not, incidentally, talking about removing Bombadil, an entirely understandable and defensible decision that the film defenders in my notes somehow always feel the need to bring up. I know that changes had to be made, that adaptation is not a word for word transcription, that it would always be a difficult text to adapt, that structurally minor elements had to go, that they are cinematically beautiful films that a lot of work and love went into. I know this. EVERYONE knows this, because for the last 20 years it's been impossible to criticize anything about them without being reminded. Their accomplishments, and their existence, do not mean that any choice made by the filmmakers must definitionally have been the right call and could not possibly have been better in any way.

[ovrarches]

ykw the whole plot of hamilton makes more sense when u realize people could not stay away from that siren of a man

[ettadunham]

sometimes i remember the hunger games and how nobody actually paid attention to what was in those books

[itwoodbeprefect]

happy 1 year anniversary to the election results that were so fucked they had me trying to take my mind off of things by watching what seemed like a toxic chinese queerbait show only to find something far more thoughtful and genuinely queer and interesting than expected and end up watching a bunch more unrelated things that are talked about in vaguely the same realms of the internet and then watch bad buddy twice in a row and fall into an endless bingewatch of thai media (some of which is mediocre, some of which is bad, much of which is simply pretty good, and some of which is genuinely incredible) and go, well, it would be a waste of all this language input i'm accidentally giving myself right now if i didn't at least learn a few words. thus accidentally locking myself into watching even more thai media because now i gain serotonin from hearing a sentence i know i could write