#which as far as i can tell doesn't have a single source to it

[appleblueberry-pie]

I just read through all your 42 Miles posts and I am going to explode. I swear, I’m so obsessed he looks shy in comparison. On that note, what if the reader finds out about his yandere behavior…and is perfectly fine with it. Maybe they even encourage it, giggling like a schoolgirl when they catch him following them home and giving him extra kisses when he tells them how he killed the guy who flirted with them. Definitely not just describing myself here-

I LIKE IT. JUST A LITTLE BIT<3

Miles gets greedy when it comes to you. He shouldn't, but he just hates sharing. So, using the tools he has, he gets rid of all possible competition. It's dangerous, it's reckless, and it's not smart to do, but you make him do stupid, dangerous and reckless things. Can you blame him? You're everything he's ever asked for in a girl.

So sweet to him, giving him all of your attention whenever you can. Texting him often, reciprocating his energy and letting him give the love and energy he feels you deserve. And you deserve every drop of his energy.

But sometimes, he takes it too far. He's been mean-mugging everyone lately. His friends don't like him as much because they say he's been paranoid over 'some random bitch he be talkin to'. And he doesn't let things like talking behind his back, or yours, be taken lightly. Which is why they don't talk to him the next day, or the day after that.

And it's also why people don't talk to you anymore either. Or any of your male friends. Or your girl friends.....he drove them all away. Every time someone sees you, he's not too far behind. And you don't do a damn thing about it. Which causes rumors to spread, but they die as quickly as they fire up. Because he always finds the source before shit goes south. Still, you don't do a damn thing about it.

You don't necessarily encourage him to do it, but he always gets the same amount of love from you whether he gives hell to everyone else or not. So, he keeps doing it. If he wants all of you, he's going to have all of you.

If someone asks about you in a crooked tone, he gets iffy about it, and now they scared. If someone mentions your name, their feeling that sharp stare on the back of their neck, telling them to let their tongue slip one more time. Everyone's getting the hint and he'll make sure of it.

You always smile looking back at him when he follows you in the hallways or when he's following you home.

You let him give you overly-obsessive notes in your locker. You let him like all of your stories, all of your posts. You let him stalk every single one of your socials and even the ones no one is supposed to know abut. You let him blow up your phone.

When he finally has the courage to talk to your face, you two have been by each other's side like glue. You let him whisper in your ear when he doesn't want a damn soul to hear what you guys are talking about. You let him buy you lunch every day. He always holds your hand tight as shit when walking you to class. He can be a little late. He does almost everything for you. He's real good at helping you with homework(and getting rid of niggas that bother you), and it makes your stress load so much lighter.

He's such good boyfriend material.

[armoricaroyalty]

Film Grammar for Simmers

What is film grammar?

"Film grammar" refers the unstated "rules" of editing used in movies and TV. Different types of shots have different associations and are used by editors to convey different types of information to the audience. Many of these principles were first described in the early 20th century by Soviet directors, but they're used consistently across genre, medium, and even language: Bollywood musicals, English period dramas, Korean horror movies, and American action blockbusters all use many of the same techniques.

Because these rules are so universal, virtually everyone has some internalized understanding of them. Even if they can’t name the different types of shots or explain how editors use images to construct meaning, the average person can tell when the “rules” are being broken. If you’ve ever thought a movie or episode of TV was confusing without being able to say why, there’s a good chance that there was something off with the editing.

Learning and applying the basics of film grammar can give your story a slicker and more-polished feel, without having to download shaders or spend hours in photoshop. It also has the bonus of enhancing readability by allowing your audience to use their knowledge of film and TV to understand what's happening in your story. You can use it to call attention to significant plot details and avoid introducing confusion through unclear visual language.

Best of all, it doesn't cost a dime.

The basics: types of shots

Shots are the basic building block of film. In Sims storytelling, a single shot is analogous to a single screenshot. In film, different types of shots are distinguished by the position of the camera relative to the subject. There are three big categories of shots, with some variation: long shots (LS), medium shots (MS), and close-ups (CU). This diagram, created by Daniel Chandler and hosted on visual-memory.co.uk illustrates the difference:

Source: The 'Grammar' of Television and Film, Daniel Chandler, visual-memory.co.uk. Link.

In film, scenes typically progress through the different types of shots in sequence: long shot, medium shot, close-up. When a new scene begins and the characters arrive in a new location, we typically begin with a wide establishing shot of the building’s exterior to show the audience where the scene will be taking place. Next comes a long shot of an interior space, which tells the where the characters are positioned relative to one another. The next shot is a medium shot of the characters conversing, and then finally, a close-up as the conversation reaches its emotional or informational climax. Insert shots are used judiciously throughout to establish themes or offer visual exposition.

Here's another visual guide to the different types of shots, illustrated with stills from Disney animated films.

This guide is almost 2,000 words long! To save your dash, I've put the meat of it under the cut.

Long shot and extreme long shots

A long shot (sometimes also called a wide shot) is one where the entire subject (usually a building, person, or group of people) is visible within the frame. The camera is positioned far away from the subject, prioritizing the details of the background over the details of the subject.

One of the most common uses of long shots and extreme long shots are establishing shots. An establishing shot is the first shot in a scene, and it sets the tone for the scene and is intended to give the viewer the information they’ll need to follow the scene: where a scene is taking place, who is in the scene, and where they are positioned in relation to one another. Without an establishing shot, a scene can feel ungrounded or “floaty.” Readers will have a harder time understanding what’s happening in the scene because on some level, they’ll be trying to puzzle out the answers to the who and where questions, distracting them from the most important questions: what is happening and why?

(I actually like to start my scenes with two establishing shots: an environmental shot focusing on the scenery, and then a second shot that establishes the characters and their position within the space.)

Long shots and extreme long shots have other uses, as well. Because the subject is small relative to their surroundings, they have an impersonal effect which can be used for comedy or tragedy.

In Fargo (1996) uses an extreme long shot to visually illustrate the main character’s sense of defeat after failing to secure funding for a business deal.The shot begins with a car in an empty parking lot, and then we see the protagonist make his way up from the bottom of the frame. He is alone in the shot, he is small, and the camera is positioned above him, looking down from a god-like perspective. All of these factors work together to convey his emotional state: he’s small, he’s alone, and in this moment, we are literally looking down on him. This shot effectively conveys how powerless he feels without any dialogue or even showing his face.

The same impersonal effect can also be used for comic purposes. If a character says something stupid or fails to impress other characters, cutting directly from a close-up to a long shot has a visual effect akin to chirping crickets. In this instance, a long shot serves as a visual “wait, what?” and invites the audience to laugh at the character rather than with them.

Medium Shots

Medium shots are “neutral” in filmmaking. Long shots and close-ups convey special meaning in their choice to focus on either the subject or the background, but a medium shot is balanced, giving equal focus to the character and their surroundings. In a medium shot, the character takes up 50% of the frame. They’re typically depicted from the waist-up and the audience can see both their face and hands, allowing the audience to see the character's facial expression and read their body-language, both important for interpreting meaning.

In most movies and TV shows, medium shots are the bread and butter of dialogue-heavy scenes, with close-ups, long shots, and inserts used for punctuation and emphasis. If you’re closely following the conventions of filmmaking, most of your dialogue scenes will be medium shots following the convention of shot-reverse shot:

To keep long conversations from feeling too visually monotonous, consider staging the scene as a walk-and-talk. Having two characters move through a space can add a lot of dynamism and visual interest to a scene that might otherwise feel boring or stiff.

Close Ups

Close-ups are close shots of a character’s face. The camera is positioned relatively near to the subject, showing just their head and shoulders. In a close-up, we don’t see any details of the background or the expressions of other characters.

In film, close-ups are used for emphasis. If a character is experiencing a strong emotion or delivering an important line of dialogue, a close-up underscores the importance of the moment by inviting the audience to focus only on the character and their emotion.

Close-ups don’t necessarily need to focus on the speaker. If the important thing about a line of dialogue is another character’s reaction to it, a close-up of the reaction is more effective than a close-up of the delivery.

One of the most iconic shots in Parasite (2019) is of the protagonist driving his employer around while she sits in the backseat, speaking on the phone. Even though she’s the one speaking, the details of her conversation matter less than the protagonist’s reaction to it. While she chatters obliviously in the background, we focus on the protagonist’s disgruntled, resentful response to her thoughtless words and behavior.

In my opinion, Simblr really overuses close-ups in dialogue. A lot of conversation scenes are framed entirely in close-ups, which has the same effect of highlighting an entire page in a textbook. The reader can’t actually tell what information is important, because the visuals are screaming that everything is important. Overusing close-ups also cuts the viewer off from the character’s body language and prevents them from learning anything about the character via their surroundings.

For example, a scene set in someone’s bedroom is a great opportunity for some subtle characterization—is it tidy or messy? what kind of decor have they chosen? do they have a gaming computer, a guitar, an overflowing bookshelf?—but if the author chooses to use only close-ups, we lose out on a chance to get to know the character via indirect means.

Inserts

An insert shot is when a shot of something other than a character’s face is inserted into a scene. Often, inserts are close-ups of a character’s hands or an object in the background. Insert shots can also be used to show us what a character is looking at or focusing on.

In rom-com The Prince & Me (2004) (see? I don’t just watch crime dramas…) the male lead is in an important meeting. We see him pick up a pen, look down at the papers in front of him, and apparently begin taking notes, but then we cut to an insert shot of his information packet. He’s doodling pictures of sports cars and is entirely disengaged from the conversation. Every other shot in the scene is an establishing shot or a medium shot or a close-up of someone speaking, but this insert gives us insight into the lead’s state of mind: he doesn’t want to be there and he isn’t paying attention.

Insert shots are, in my opinion, also used ineffectively on Simblr. A good insert gives us extra insight into what a character is thinking or focusing on, but a poorly-used insert feels…unfocused. A good insert might focus on pill bottles on a character’s desk to suggest a chemical dependency, on a family picture to suggest duty and loyalty, on a clock to suggest a time constraint, on a pile of dirty laundry or unanswered letters to suggest a character is struggling to keep up with their responsibilities. An ineffective insert shot might focus on the flowers in the background because they’re pretty, on a character’s hands because it seems artsy, on the place settings on a dining table because you spent forever placing each one individually and you’ll be damned if they don’t make it into the scene. These things might be lovely and they might break up a monotonous conversation and they might represent a lot of time and effort, but if they don’t contribute any meaning to a scene, consider cutting or repurposing them.

I want to emphasize: insert shots aren’t bad, but they should be carefully chosen to ensure they’re enhancing the meaning of the scene. Haphazard insert shots are distracting and can interfere with your reader’s ability to understand what is happening and why.

Putting it all together

One of the most basic principles of film theory is the Kuleshov effect, the idea that meaning in film comes from the interaction of two shots in sequence, and not from any single shot by itself. In the prototypical example, cutting from a close-up of a person’s neutral expression to a bowl of soup, children playing, or soldiers in a field suggests hunger, worry, or fear, respectively.

The Kuleshov effect is the essence of visual storytelling in a medium like Simblr. You can elevate your storytelling by thinking not only about each individual shot, but about the way they’ll interact and flow into one another.

Mastering the basics of film grammar is a great (free!) way to take your storytelling to the next level. To learn more, you can find tons of guides and explainers about film grammar for free online, and your local library doubtless has books that explain the same principles and offers additional analysis.

Happy simming!

[daresplaining]

Hi! Had a kinda weird question, but is it ever mentioned how Matt paid for his education or any student loans?

Hi! This has been touched on a few times, yes. One good source of information is Daredevil volume 3 #12, in which Matt tells a story from his early days rooming with Foggy at Columbia.

Matt: "[Being the teacher's pet] wasn't enough to float me out of a hell of student-grant bureaucracy. Unlike Foggy, I was eternally one step ahead of the bursar's office." Daredevil vol. 3 #12 by Mark Waid, Chris Samnee, Javier Rodriguez, and Joe Caramagna

This story takes place in law school and doesn't mention Matt's undergrad experience, but we learn that he was receiving financial aid (which seems believable for a high-achieving disabled student from a single-parent, low-income household; the Battlin' Jack Murdock mini-series also mentions that Matt was on a scholarship, implied to be tied to his disabled status), but was still struggling to pay (also unsurprising; Jack was still alive at this point, but it's hard to say how much money he was making). By the end of the story, Matt reveals that Foggy's well-to-do family stepped in at a certain point and helped keep him afloat until graduation (also unsurprising; Foggy's parents also financed the first Nelson & Murdock office).

Another thing to keep in mind about Matt's college experience is that the continuity changed in the early 80s. He wasn't always a Columbia grad; originally, he and Foggy attended the vaguely-named State College in upstate New York, and one of the reasons Matt picked that school was because it was affordable.

Daredevil vol. 1 #-1 by Joe Kelly, Gene Colan, Christie Scheele, Matt Ryan, and Richard Starkings

At this point, the only concrete thing we know about Matt's financial situation is that the money was coming from his father. The main reason Jack kept boxing past his prime, and the main reason he settled for signing on with the corrupt manager who eventually murdered him, was to afford Matt's college education.

Daredevil vol. 1 #1 by Stan Lee, Bill Everett, and Sam Rosen

With the shift to a much more prestigious and expensive alma mater, with the cost of college having skyrocketed since 1964, and with the sliding timescale to take into account, it has definitely become harder to believe that Jack's boxing earnings would have been enough to pay for more than a semester-or-two. It wouldn't surprise me at all if some future retelling of Matt's origin at least put him in a work study program of some kind to make some extra cash.

As far as loans are concerned, I think a lot of people tend to forget that Nelson & Murdock were/are a very well-known and successful law firm. They've had their low points, sure, but there are plenty of key periods in their careers when they were making a ton of money. The Bendis/Maleev run (in which Matt is a high-profile public figure and goes to court wearing $2,000 suits) is an easy example, but we can look much earlier than that too. Matt is referred to as "one of the finest trial lawyers in the nation" as early as Daredevil volume 1 #20, and check out his swanky, tricked-out Sutton Place brownstone:

Daredevil vol. 1 #167 by David Michelinie, Frank Miller, Klaus Janson, Glynis Wein, and Joe Rosen

Given this, I tend to think that Matt hasn't had too much trouble paying off his loans.

Thanks for the great question!

[anti-lies]

Attention: After Talking to Another Real System, I've Come to Believe That the Endo Community is Being Infiltrated and Controlled by CIA Operatives

I need everyone to be aware and be vigilant because the threat is real. The endogenic community was invented to divide us and keep us distracted.

Having combed over several big potential CIA operatives, I've narrowed the field down to four possibilities. Remember that any or all of these could be CIA operatives, but I'm certain at least one has to be.

Possible CIA plants

@guardianssystem: This system claims to be a pro-endo "traumagenic" system as a way to give themselves authority. They have activity across multiple websites including TikTok and X. They're notable for compiling this document of "sources" to prove endos exist. This document is everywhere. It has suspiciously become the main compilation of endo sources that they love to link to at every turn.

@cambriancrew: They're a tulpa "system" who runs r/tulpas. For anyone who doesn't know, "tulpamancy" is essentially a form of brainwashing. Tulpamancers say they can change a person's brain to give them headmates, and they've convinced multiple "doctors" to back them. All of this sounds like MK Ultra stuff. Cambrian Crew, besides being an outspoken endo, appears to be well connected, and used those connections to help organize an AMA on r/tulpas. In this AMA, their CIA-paid doctors claimed to have conducted brain scans on tulpamancers that showed changes in brain activity when their tulpas were possessing limbs.

@sysmedsaresexist: A nefarious saboteur, Sysmedsaresexist posed as a prominent anti-endo voice for YEARS, building up a massive anti endo following on this site. Between their SysmedsAreSexist and JustAnotherSyscourse blogs, they practically single-handedly ran the "#shit endos say" tag dedicated to mocking endos. But then all of a sudden, they turn? And like CambrianCrew, SysmedsAreSexist appears to have a close relationship to "doctors," posting a screenshot of an email from Colin Ross, an expert in DID, that appears to support the existence of endogenic systems. All of this looks like a years-long psyop to gain people's trust and convert them.

@sophieinwonderland: Finally, that brings us to Sophie, another tulpa "system." She also has her own page filled with endo "sources" though not as detailed or widely disseminated as Guardians'. The more I looked into this one, the more disturbed I became. Sophie is, as far as I can tell, the system who started "The Future is Plural," the mass movement which we all know seeks to traumatize children en masse and give them dissociative disorders. She also openly brags about teaching people methods to dissociate and hallucinate, says that she believes she can rewire people's brains, and cheerfully is arguing in favor of propaganda.

Please, whatever you do, do not engage with these people. Not only to avoid harassing them, but because if they are indeed CIA operatives, it may not be safe to do so directly. I may be putting myself at risk just by talking about this aloud, and I believe they're already trying to discredit me, but I feel someone has to talk about this.

Community input in finding the spies is incredibly important.

Knowing all of the facts, I'd like to know who you all think is most likely a CIA operative.

[celestialholz]

The Resurrectionist (or 'Crowley's dying briefly because character-building, and here's why')

I should start off by saying, friends, that I have written exactly zero books. (Bloody lot of fanfiction, but no actual novels). And I like coffee, but not particularly with oat milk. (The poison's metaphorical, not physical), but... well, you guys can keep both of 'em, because they're just not relevant to this conversation. I am also, as you may have already guessed, not Neil Gaiman. A chick can only speculate, but she does like to back it up with actual evidence.

No, I'm simply here to ask you a question.

What's the single worst thing Heaven could ever do to Aziraphale?

What would drive our angel so far from the clutches of Heaven that he would never, ever wish to return? What would set him unequivocally free from six millenia of assumed responsibility; what would make him realise that God can never change? What would strip everything away from him?

Because of course, this is what we have to do next series. This is Aziraphale's whole arc. If he doesn't try and change things and fail, he will always wonder. Always have a 'what if.' Will never be able to truly move on, will never be free from the eternal abuse cycle.

And so the severing has to be monumental, and everlasting. Then we get our happy ending. Storytelling, loves, done flawlessly. (Again, not a novelist... just a girl who's been writing for over half of her lifetime.)

And so, I ask again:

What's the single worst thing Heaven could ever do to Aziraphale?

And, well, it's a manifold question isn't it, with lots of potential ans - no I'm just kidding. Very simple question, very simple answer.

So congratulations to the very likely hundreds of you who have just said 'murder Crowley,' because a. you're very much correct and b. we've all just predicted the end of series three.

(... I mean, probably not the very end. But the emotional crux, definitely.)

And naturally, I'm not talking discorporation. I'm talking 'wiped from the universe altogether, leaving our angel eternally alone' kinda murder. The real shit. The good shit. Never mind any of this 'editing the Book of Life leading to an ineffable paradox' kinda bullshit - this is Heaven, the natural source point of holy water. One miracled Supersoaker and our demon's ancient history, friends.

Because y'see guys, severing Aziraphale's connection isn't the only problem we face in terms of narrative romance. We've also got Crowley, who has spent six millennia being in love with a guy who just takes, takes, takes... him for granted.

And this is NOT to say that Aziraphale gives him nothing back - he so very clearly does. (I am a consummate Aziraphale apologist, Crowley's just as much of a fool post-series two as our angel is, and Aziraphale needs this, as I've mentioned.) But... Crowley is his teacher. His moral guide. His protector. It mostly goes one way, and despite all of that and him being happy to be that guy for all this time... right when it matters most, Aziraphale (to Crowley, at least) has abandoned him. He's told him he isn't good enough.

(... Which is bollocks. That's not what Aziraphale's said at all, they're both as overprotective as each other and have a desperate, painful longing to keep one another safe in their own best way. But it sure fucking looks like it to CROWLEY, which is what matters.)

And so, we have two issues in achieving our happy-ever-after.

Sundering Aziraphale from Heaven forever;

Ensuring Crowley trusts him fully and knows completely that he is Aziraphale's only choice.

(And also by GOD do they need to have a proper conversation, but that one kinda goes without saying. It'll happen.) We have to even up this relationship; we have to make it absolute narrative equilibrium, and I am absolutely sure Neil knows this probably far better than I do.

... And so, how do we achieve both these things in one hit, whilst also telling a Second Coming story and holding a celestial war?

Well, we kill Crowley. Obviously. Not until episode five or six and after an emotional, romantic reunion of mutual understanding, but... we kill Crowley.

... And then Aziraphale brings him back. Yes, from complete death.

I would like at this juncture to remind you that miracles, apparently (and this is a thing we've just learned guys, almost like it's suddenly going to be relevant ongoing) are measured in Lazarii.

(Great thanks to the Aziraphale to my Crowley, @porgthespacepenguin, for these few screenshots I'm showing off here today. You'd never leave me, not even for my own good. <3)

Lazarii is very obviously named after Jesus' apparently greatest miracle, of raising Lazarus from the dead in the book of John. They managed to achieve twenty-five times the necessary amount of energy it takes to bring someone back from death... without actually fucking trying.

Let's take a look at the book of John a sec. Or more specifically, its eleventh chapter and twenty-fifth verse.

Jesus told her, "I am the resurrection and the life. The person who believes in me, even though he dies, will live."

My thanks to Neil once again for murdering me like Heaven's going to murder Crowley. Cold blood, point-blank.

'Who believes in me.' Huh. Only for the past six thousand years, Aziraphale dear...

Here's a little of what the internet has to say about the number 25 in numerology, by the way.

And may I also remind you at this stage that there is a pub in this series called The Resurrectionist, and only Aziraphale goes into it.

I mean sure, Crowley's booksitting and trying to make the ladies hilariously like him and Aziraphale fall in love in the same way he himself did, but the fact remains... one relevant pub name. One guy. (We all need a narrative excuse sometimes Neil, I get you.)

Considering all this, friends, let me ask you another question. This one's a little more wordy, that's on me.

What do you think would happen when a being capable of raising someone from the dead twelve and a half times over for the sake of his beloved's protection loses said beloved beyond all doubt?

... And this will be after he gains the ultimate celestial power-up, by the way. In case we'd forgotten that that alone is also about to boost Aziraphale to the fucking stratosphere, and finally put him on an equal footing with Crowley. (Who is clearly an ex-archangel, but not Lucifer, so Neil's since said.)

... And I think we know the answer, don't we? The kind of miracle that

(You can't see me, but I'm staring into the camera like I'm one of The Office main cast right now.)

This is the kind of power that fucks with reality - the kind of power that scares Heaven and Hell to absolute death, hence Metatron being in the DMs. And crucially, this miracle was boosted because of love. Because of a desire to keep the status quo, their 'own side'. You amplify both those conditions to the nth degree by destroying one of them? It's over, lads. Resurrection is the beginning.

Resurrection evens up a playing field. It destroys Aziraphale and renews him in one hit; it proves to Crowley once and for all that Aziraphale loves him exactly as he is.

... It's a no-brainer, pals.

And what do they do after this? Well, fuck up the celestial order, naturally. I have theories, the main one of them being that they're going to be God and Satan respectively and unite Heaven and Hell in eternal marriage, but... that's just a theory. A television theory.

The resurrection thing? Not so much.

... See, this is the thing, my friends. You don't need to have written a 16k essay to predict the future.

All you need is the ability to tell a story, an observant eye for that which is already present, and a simple question. (Followed by a mildly more complex one. It's a working allegory.)

... I'm just going to leave you with this one shot of Aziraphale picking up his own destiny. Because poetic cinema.

[undercityrezident]

So, did anyone else notice during Memory 4 that the Dueling Peaks is a complete and single mountain?

So that means, at some point between when Zelda arrived and the present day, according to Shay at the Lakeside Stable (in Breath of the Wild), "...legends say that a dragon god split the mountain in half to forge a way through, and that's how how it went from one to two."

It's worth mentioning that he talked about this while also mentioning "the presence of the shadow of a large creature on the surface of Lake Floria," which largely connects this dialogue to Farosh, the dragon often seen diving into the waterfalls near the peak of Mount Floria (in Breath of the Wild). The fact all this information comes from the same source may be the game's way of telling us that Farosh was responsible for the state of the Dueling Peaks.

However, I have a hypothesis to offer (which contains intensive TotK story spoilers, hence the readmore):

The way the camera pans in the memory to show the Dueling Peaks (or peak, rather, in this era), feels somewhat purposeful to me. And knowing that Zelda becomes a dragon in order to help restore the Master Sword over the aeons, I can't help but wonder if she might've been the reason why it happens.

Not that I blame her of course. She's a newly minted dragon, likely bursting with emotion and pain she doesn't understand or know how to cope with as she's just lost her sense of self. She could've gone mad for a time, flying erratically and ploughing through a mountain in her time of grief before settling into her new draconic existence.

Does this disprove that Farosh, or any of the other three dragons could've been responsible?

No, it doesn't. But I propose the idea that the other three dragons have existed much longer than her. By the nature of their names, they're connected to the three goddesses, Nayru, Farore, and Din, and have likely been around since the world's origin (or very close to it). Further, the Zonai have many carvings and depictions of dragons, meaning that dragons existed during and likely prior to this era, given their longevity.

Why is this important? We can look to how the three main dragons behave: they have regular patterns of flight, likely formed out of habit or preference, and do not go out of their way to harm people or impact the landscape in any significant way. For the most part, they're high in the sky where little can reach them, save for a hero with a paraglider.

Grant you, their paths have changed since TotK debuted, but the landscape itself has changed, as has the state of the world in general. The depths are now readily accessible, and perhaps there's an obligation on their part to survey it or maintain order wherever they can venture.

But my main point is that the dragons, given time, tend to settle and keep to their own habits and paths. If the three dragons already existed long before Zelda transformed, it's unlikely one of the other three dragons would find reason to deviate from their normal behaviour and plough through a mountain to split it in two.

But the new Light Dragon hasn't settled yet. She's wracked with emotion, grief, and new power she doesn't know how to control. She could almost be considered a newborn in that sense, and what might a newborn with nearly god-like powers do?

Split a mountain in half because it was in her way...

Also, keep in mind the former Temple of Time where Zelda transformed is not all too distant from that once unified Dueling Peak. As well, Zelda's own draconic trailblazing hasn't been consistent either in the present. At the beginning of TotK, she's seen flying in circles near the Great Sky Island before she boldly plunges through the cloud layer to open up Hyrule to Link once he's finished his trials there. As far as dragons go, Zelda doesn't have the same temperament as the other three.

It's true that there could be another dragon, or being that approximates one, that is responsible for the splitting of the Dueling Peaks. Maybe it was a more nefarious dragon sharing heritage with the likes of Volvagia, Argorok, or some progenitor of the Gleeoks.

Still, I think that it would be interesting to believe that the once gentle Zelda's sacrifice may have had a bigger hand in shaping the future of Hyrule than only her dutiful task of revitalizing the Master Sword. It would further contrast the change between the woman she was and the dragon she became, and emphasize the tragic nature of what she had to do in order for us to finally defeat Ganondorf.

[veryinjuredperson]

i'm not sure how many people will actually see this post, but anyone who does, hi! i'm vip, and i have some pressing questions on my ol' mind!

so, i'm... severly mental ill, to say the least of it, diagnosed with depression, adhd, anxiety, bpd, professional suspicions of autism and ptsd, and personal suspicions of some sort of dissociative disorder.

to make this easier, im going to breakdown what's been happening...

so, i can't say i've ever noticed being GONE from the present per say, but it's more like... i'm sort of present at all times, but have different personalities or voices who crop up and direct me. my tones change, sometimes my accent changes, my mood changes, the words i use change, certain skill sets might change, thought processes change, etc.

i've struggled with identity for a long time, i just don't like to share that fact usually, particularly because it scares the shit out of me and also due to the fact that i am constantly telling myself that i must be an attention seeker and a faker and a liar, even though i have only spoken about my suspicions of potentially being a system with a single trusted person.

some voices have names, there are several who are at least based on fictional characters, and others who aren't... sometimes i can communicate more clearly between separate voices, and other times it feels like one train of thought that's jumping back and forth for a single mental conversation, like i say something and then respond to myself but it still doesn't feel like just me? i have had people point out that i'm acting different before, but i have a consistent stream of consciousness, so i feel like that's kind of... idk... i feel like that's not how systems work, is it? bc it's less like individual people who take the reigns and more like i am a sort of central core, and then there are little voices or influences, some stronger or bolder than others, who sort of... blend in with me? and influence what i'm doing... so like... i know what's going on, i feel in control, but i don't feel... normal?

if anyone has any way they can help me decipher some of this, please let me know. for now, i've taken to using plural kit and simply plural to log these personality shifts.

i do intend to speak to a psychiatrist and/or at least a therapist about this, but i haven't been able to get that far quite yet. any help in the meantime would be greatly appreciated.

( i have trauma, but a lot of my childhood from at least anything prior to 6th grade is rather blurry, there's memories here and there, some clearer than others, some just gone, i know i've had some pretty bad medical trauma all prior to the age of three, but also some beyond that, i know my parents have always fought a lot, i know that i never stayed in one school for longer than a single grade year, i know i had very inconsistent friendships, i know i played pretend or even "played games with myself" including "hide and seek" which was... generally just sad... but yeah, i do have trauma, i js dont know if it's enough to cause what happened? oh! i also started school a year earlier than most, so i turned 10 part way into 5th grade, i know a lot of sources say that this stuff had to happen prior to... 9? 7? it's unclear... but... just letting that be known )

[brb-on-a-quest]

I had a thought last night, and even though the only canon bat source I've had is WFA, and I've only *just* started getting into fanfic, so characterizations may not be accurate/have been done before, but IDK. I need this to exist out there.

Timothy Drake-Wayne writes fics sometimes.

It started off with the necessity of creating so many fake IDs. One thing led to another and Tim was coming up with backstories for all the Johns, Marys, and Joes that he invented while doing his Gotham digital surveillance. After all, he was trying to make these people's fake IDs look as real as possible, which meant more than just a name on a couple of sheets of paper.

It means creating a fake digital footprint. For each one.

So, on the rare occasions when things are calmer, and he's not immediately needed, he sits on his computer and types out head cannons for each of the OCs he has created. He spends a lot of time doing research on different cultures, neurodivergencies, physical abilities, and backgrounds to try and 1) paint accurate pictures and 2) learn. He hides the world building tidbits in a secret folder that he's taken so many measures to hide from Oracle (she already knows, but she doesn't actively look after finally figuring out what the folder of names, complete with physical descriptions, life stories, and preferences is out of respect for Timothy). (Also, all this writing knowledge actually comes in handy for crime-solving things, but he doesn't fully realize it at the time).

Tim even went as far as to make social media accounts for some of his favorites and posts bits and pieces of the head cannons to make them, again, seem like real people. Just in case. As a precaution. You never know.

Jason finds out somehow, in a freak accident and collision of siblings that so often happens. Tim is sweating bullets, trying to steel himself for the endless teasing. He is fully prepared to delete every single file that's in that folder and deny that it ever exists for all eternity.

Except Jason doesn't. Jason's too much of a literary nerd (granted, he prefers more classic literature than social media fics, but this is another thing he can connect with his little brother on- he's *excited*) to tease Tim about the writing. He kind of persuades Tim to take more time for his hobby because Tim has some markings of talent in his very specific creative niche. Tim may have also convinced Jason to try it exactly once, to create a fake Twitter profile for Mr. Darcy and create shitposts from his point of view. He has a great time with it once, and then he moves on (but sometimes he creates other accounts for other characters that Tim doesn't know about).

They make a pact between the two of them not to tell the others; they'd ask too many questions and make it less fun.

But every once in a while, Tim would walk into Jason's place to crash for a bit, steal all of his Red Bull, update Jason on his writing projects, and get writing advice.

[sapphire-weapon]

I don't know if this is just my perception, but I've noticed that Krauser uses Ashley several times as a way to provoke Leon (especially during their final fight).

In their first encounter, immediately after Leon realizes it was Krauser who kidnapped Ashley, the camera focuses on his angry face and then on his hand about to grab his gun. As if the knowledge that it was Krauser who was to blame for Ashley's kidnapping was Leon's motivation to start fighting back.

Then there's that cinematic where Leon arrives just in time to see Krauser take Ashley away with nothing he can do to stop him. Krauser even walks slower and without bothering to turn to look at Leon, not even when he shouts Ashley's name. In Separate Ways, we see Krauser start running with Ashley in tow as soon as Leon can no longer see them.

After killing Salazar and using the elevator, if we use the rifle to get a closer look at the speedboat, Krauser turns to look at Leon, while Ashley is unconscious in the back seat, almost as if he is challenging him.

During their final fight, Krauser mocks Leon's concern for Ashley, and then tells him that he won't be able to save her, and that's when Leon explodes again.

Krauser taunts again when he tells Leon to hurry up or who knows what could happen to Ashley.

And near the end of the fight, Krauser tells Leon that if he needs motivation, he should think about Ashley.

I think Capcom's intention was to show how deeply Leon cares about Ashley through Krauser. That's why I can't take seriously people who say Leon only cares about Ashley because 'it's his job', it just doesn't fucking make sense, it's like they haven't played the damn game, or just decided to ignore all that.

there's a lot going on here, actually, and it goes deeper than just Ashley herself. Krauser absolutely dangles Ashley over Leon's head, don't get me wrong, because he knows that it's a source of angst and insecurity for him -- but it goes far deeper than just this one woman.

Krauser says at one point that he knows Leon's potential better than anyone -- he knows Leon better than anyone. and he may just be right.

in OG, Krauser asks Leon: "what is it that you fight for, comrade?" to which Leon responds: "my past, I suppose."

now, take that little snippet of a conversation and stretch it out over the course of four years of military training. it's likely that Krauser had to dig deep into Leon's psyche in order to motivate him to perform at his absolute best -- and what's at the center of everything for Leon is what happened in Raccoon City. Krauser likely knows every detail of what happened that night.

and what happened that night was that Leon failed to save the life of a single person.

so, since LeonA is canon in the Remake-verse, let's take a look at the list of people Leon failed to save in Raccoon City:

the cop in the gas station

Officer Elliott

Marvin Branaugh

Ben Bertolucci

Annette Birkin

Ada Wong

I don't know if you're keeping score, but that's... just about every person that Leon meets. the only exceptions to this are Kendo and his daughter (who Leon never attempted to save), Claire (who never needed saving), and...

Sherry, whom Leon then gets kidnapped and held hostage almost as soon as he volunteers to take sole custody of her.

so, when Krauser says to him: "you can't save anyone" he means anyone. the US government sent a man who's never been able to save anyone but himself on a mission alone to rescue the president's daughter. if anyone knew his history and his track record, he likely wouldn't have been the agent assigned to do this.

but the only person who knew it was Krauser, because Krauser's the only one who ever got close enough for Leon to tell. and since Krauser's now a traitor and a terrorist, he uses that knowledge as a cudgel to beat Leon with.

so -- yes, Krauser is purposefully using Ashley as a knife to twist in Leon's heart, and yes, saving her is more than "just doing my job" for him. it's extremely personal for him for many reasons. and as he starts to feel more and more affection for her, this need to save her becomes more and more intense, and it becomes easier and easier for Krauser to weaponize that against him.

and this is just storytelling 101. as the story goes on, the stakes have to rise higher and higher until they reach an absolute crescendo at the climax. and since Leon is so physically capable and very little in RE4make comes off as an actual threat to him, his stakes are mental and emotional in nature. as his feelings for Ashley intensify, so too does his anxiety about being able to save her.

the climax of RE4make's story is the walk to Luis's lab, and by then, Leon's feelings for Ashley have gotten so strong, and his need to save her has become so intense, that he sees her life alone as comparable to all of the people who died in front of him in Raccoon City.

if he can just save her, that would absolve him of his other failures.

that's why the script was written so that Ashley says the actual words to him in the ending.

this is the culmination of Leon's several character arcs in the series so far; it's the payoff for his character development; it's the catharsis for the angst he brings into RE4make with him.

Leon was a man who couldn't save anyone, but he ends RE4make as a hero.

his 21-year-old self would be so proud.

[uboat53]

LONG RANT (TM) time? LONG RANT (TM) time.

INTRODUCTION

One of the most insidious tactics in politics is the tactic of making wild and false allegations. I'm not talking about traditional spin, where a politician presents generally accurate information in the most positive way for their position, we all do that at some level. No, I'm talking about wild allegations, usually made in only a sentence or two without any supporting evidence, that are so false that it's clear that even the person making the allegation couldn't have reasonably believed it.

This is a modified form of the Gish Gallop, a technique which weaponizes lies. Duane Gish, a creationist and inventor of the Gish Gallop, discovered that, while it only takes a second or two to tell a lie, it takes far longer than that to disprove it. He would, therefore, begin every debate by spewing a torrent of wild falsehoods, forcing his opponent to spend their entire time debunking them rather than making any argument of their own.

Similarly, people in politics today, particularly MAGA Republicans, will often make wild accusations knowing that people with short attention spans will hear the accusation but won't pay attention long enough to hear the rebuttal. Even worse, through a process known as the "spacing effect", a lie repeated often enough will embed itself in the mind of people who hear it even if it is actually rebutted.

HOW TO ADDRESS IT

Given that, how can we approach this tactic?

First of all, I want you to get out of the habit of just reading the claim itself; read the name of the person making the claim. People who use this tactic rely on other people just reading information and accepting it as true without checking the source. Get used to paying attention to who is saying what and start to test some of their statements. Granted, a lot of stuff that people say is hard to fact-check, but a lot of it isn't; check those things to see if they're true. This will allow you to put together patterns where you can recognize things like "hey, this guy tells a lot of lies" or "this news source doesn't report news that's good/bad for one side." Knowing this helps you better understand the information you're receiving.

Secondly, once you recognize a pattern of lies or even a single case of an egregious lie, get used to ignoring that source of information. You don't have to listen to something just because someone says it and you don't have to turn off your brain when you engage in politics. If someone lies a lot or even if you just caught them in one particularly bad lie, it's okay to take that into account like you would with other people in your life and stop trusting them.

AN EXAMPLE

I'm going to start with an example that I saw recently. We're going to look Jeffrey Clark. If you know him at all, you probably know him as the Justice Department lawyer who wanted to give Trump permission to send the military to seize ballot boxes after the 2020 election. Only the full-throated opposition of every other lawyer in the government stopped Trump from making him acting-Attorney General.

These days he's being investigated by several layers of law enforcement for his actions around the 2020 election, the Washington D.C. Bar is in the processing of disbarring him, he's been indicted in Georgia for his actions around the 2020 elections, and he's currently working for a think tank closely linked with the Trump campaign. Here's his Wikipedia article if you're interested in learning more.

On September 23rd, Elon Musk retweeted a post by Jeffrey Clark in which Clark complained that no one could find a transcript of any case that Kamala Harris had prosecuted, giving him a much larger audience than he had on his own. Let's look at that claim, shall we?

So Kamala Harris has been Vice-President since 2020, was a Senator from 2016-2020, was Attorney General of California from 2010-2016, and was District Attorney of San Francisco from 2002-2010. None of these are positions where a person would personally try or argue cases in court. However, she was a deputy district attorney in Alameda County from 1990-1998, a deputy district attorney in San Francisco from 1998-2000, and a San Francisco City Attorney from 2000-2002. All of these are positions where she may have tried cases herself.

This is convenient because these are specific places with specific dates. Court transcripts are public records, so all you'd need to do is go to the courthouse in question and request the transcripts. I haven't tried San Francisco, but the Alameda County Court website has a search function where you can search for cases by name. Once you have the case number, you can request the transcript for that case. All of that costs money and requires you to make a login, so I haven't done it, but it's something you could do for around $100 or less. I haven't checked the San Francisco Courts, but I imagine it's similar there as well.

And I'm sure Jeffrey Clark, Attorney-at-Law, knows all of this. I'm not a lawyer and have no formal legal training and I know all of this, so he certainly does. In other words, this is not just a clearly false claim, it's a clearly false claim that the person who made it KNEW was clearly false when he made it.

RESULTS

As we've seen, this isn't a pattern of lies (though Jeffrey Clark certainly has that as well), but it is a particularly egregious one. Mr. Clark made an accusation here that he clearly knew was false even as he made it. He lied about as thoroughly as it's possible to lie, but he did it in a way that he thought he could weasel out of.

You see, Mr. Clark phrased it as an innocent query, "I'm just asking questions", because he thought that, when called on the fact that he implied Harris' case transcripts were being hidden, he could just say that he hadn't said that. But we know that he would have known they're not being hidden, his purpose in asking the question was to imply the answer in people's minds without having to take responsibility for it. In this way it's actually much worse than just a standard lie.

You can also make some assumptions about Elon Musk in all of this given that he shared this post as well. Clearly he has retweeted at least one fairly major claim without fact-checking it. Looking back on a few other things he's reposted, it seems as if he has a pattern of doing this. If you're taking what he posts at face value, it's pretty likely that you're getting a lot of misinformation fed to you.

CONCLUSION

So here I've given you a test and an example of that test applied to a real-life case. I think I've made it clear that Jeffrey Clark is a person who lies very deliberately about things he definitely knows are false and does so in a way that he thinks lets him deny responsibility for the lie. Because of that, it's safe to say that you should not trust anything he says unless you can verify it with a reputable source and you may want to question trusting what Elon Musk posts as well.

But don't think that's the end of it, take this test and apply it everywhere! If you catch someone lying a lot, or if you catch them in a particularly egregious lie like this one, stop trusting them!

There are so many sources of information around these days saying so many different things that you'll never be able to sort through it all unless you start whittling your information diet down to the people and groups that are consistently saying accurate things. Much of the information we receive is hard to fact-check, so our best method is to fact-check the things that aren't hard to check and use them to determine the reliability of a source.

Curating a good diet of information starts with cutting out the worst and least accurate sources of information. Hope this helps!

[raguonmynieceandnephew]

I fucking love Shadowlands and I am tired of being silent

This is probably gonna be long. TL;DR at the end.

Look, Shadowlands is the second worst expansion this game has ever shipped, besides WoD. I know this is a WILD opening sentence for a defense argument, but I am a romantic, not fucking delusional. This is a fact. Point blank period. The content drought was absurd, the legendary system was completely fucked, the maw in general, the lore reduced Arthas and Garrosh quite literally to dust, The Jailer as the main villain and FUCKING THORGAST, the overall alt unfriendliness, borrowed power cranked to a million, and I have expressed how much of a fucking joke I think putting Pelagos as the new Arbriter was.

It was bad.

This has been stablished, not just by me, but by the entirety of the wow community.

But even though I agree, all these things made the game worse, I still enjoyed my experience, and I have a positive outlook on the expansion overall, which seems to be the greatest sin a World of Warcraft player can commit: I liked Shadowlands. I dare to say I liked it more than I did Dragonflight, if I think really hard about it.

You simply cannot say you liked Shadowlands in the any circle of the WoW community online, from what I have seen. I remember Kraken Latte put it in first place in a rank she made of all expansions and got shit on for days on twitter, with people failing to see what she saw in the game.

Now, I feel like I have pointlessly yapping till now, so without further ado, here are some of the Shadowlands features i like the most:

1 - THREADS OF FATE

I am a simple man, who likes to do 2 things in wow: Mythic+ and leveling. That is pretty much it. I don't PvP, I rarely raid and I occasionally indulge in RPing as a Tidesage on Moonguard. And let me tell you, this baby right here was lifechanging.

Threads of Fate is by far, the single best feature (before Warbands, lol) in my entire World of Warcraft experience. I loved it. I loved it dearly. I don't think I have ever had so much fun leveling 60-70 through Revendreth and Ardenweald with ToF. I still have the route I took memorized, it was SO good. So many bonus objectives back to back to back, world quests and that goddamn gorgeous blue forest had the FATTEST questing hubs in the game.

I was so excited to play this combined with Chromie Time, like IT WAS ON BETA, until it was ruthlessly taken away from me for no goddamn reason AT ALL. Like, what the actual fuck blizzard. Y'all don't understand how delightful it would have been to level like that in ardenweald in the mid thirty levels, right after clearing Loch Modan (or the Silverspine and Hillsbrad, for horde). I barely touched SL since it got removed.

BRING IT BACK BLIZZARD, I AM BEGGING YOU, JUST DO THIS ONE SOLID FOR ME.

2 - COVENANT CALLINGS

Speaking of features I thoroughly enjoyed that were pried from my hands, we have the best iteration of daily quests this game has ever had. They actually worked as good dailies that gave actual gold, was a good reliable source of reputation and was amazing for anima and cosmetics.

This + the recent nerfs to the Dragonracing WQs make me feel like blizzard doesn't like when players make their gold independently, like, jesus christ not all of us have time to be profession moguls.

3 - THE 4 ZONES

What inspired this post was the fact that SL raids are now on legacy loot (if you didn't know, now you do) and I had to go to Bastion to buy the weapons with the thingy that drops from Nathria and...look at this. Just look at this.

This place is one of the most beautiful things this game has to offer. Like, the entire zone is gorgeous byt seeing this for the first time since DF came out legit moved me bro, LOOK AT IT.

And while the covenants were kind of a shit show gameplay-wise, in EVERY SINGLE OTHER ASPECT, it was a 10/10 feature, argue with your mom. Aesthetics, themes, everything, simply gorgeous. Also, it got bonus points from me bcs i really do not like to use training dummies in current expansions because of the sheer amount of people blasting them at any given time, so each covenant having their own Dummy Room, was a ++++ for me.

4 - THE NECROLORDS OF MALDRAXXUS

The Necrolords were the best covenant, their campaign was the best and their characters were the best. Like, come on now.

Draka? Mother. Vashj? Mother. Emeni? Mother. Sin'dane? Mother Stradama? Grandmother. Like, are you kidding me? I know lore was one of the Weakest points of SL overall, but you are insane if you include anything involving these guys. Even the Korthia campaign was enjoyable when they had the spotlight. And I only listed the female characters lmao, don't forget The Primus, Krexus's meme death, the five houses, Morgraine, Grahmal, Marileth, like C'MON!

5 - THE DUNGEONS

Except for the Theater of Pain, and arguably the De Other Side (I personaly love it), Shadowlands has the best overall roster of dungeons in the entire game.

Sanguine Dephts is, in my opinion the second best dungeon in WoW, period, behind only Freehold, Tazavesh is the best Mega Dungeon they ever made. Mists is a banger, Plaguefall is a banger except for the tentacles, Halls of Atonement, Spires (controversial take, ik), Necrotic Wake is amazing, like, you can say whatever you want about SL, but you cannot talk shit about its dungeon design.

Except ToP.

Fuck ToP.

Now, it's getting late so imma speedrun the rest of the items:

6 - COSMETICS

SL changed the transmog game, and all cosmetics from it (all the mounts and sets from all sources) look phenomenal, and if you disagree you are simply lying to yourself.

7 - ZERETH MORTIS

The zone was good and had tons of stuff to do and collect, plus, the introduction to the Catalysts was a plus.

also, nothing will be funnier than Taelia fucking Fordragon being the talking quest bubble for WQs in THE REALM OF ULTRA DEATH

8 - RAIDS

CN: Vibes? Immaculate. SoD: Horrible systems, cool mechanics SoFO: Cool systems, mid mechanics overall a positive for me

9 - CHARACTERS

Already mentioned a lot of characters from Maldraxxus, here are my other faves: Lady Moonberry, the gay unicorm, Denathrius, Theothar, basically ever steward, The Accuser, Kael'thas, General Draven, Remornia and many more.

There are probably more reasons to list to justify my love for SL despite all the bad it has in it, but I simply do not have the mental fuel to keep going rn, i need sleep.

TL;DR: I like Shadowlands despite it being bad and would appreciate it if ppl didn't throw a fit everytime someone talks about it in any sort of positive light. I then listed Threads of Fate, Callings, the first 4 zones, dungeon design, the fuckton of collectibles, characters and the beginning of the shift in game philosophy as positive and valid reasons to be a SL enjoyer.

[slasherscream]

the crazy ass boys gang or yandere until dawn boys spending the holidays with the reader/reader’s family? 👀

A/N: a little late on this but better now than never! happy holidays my loves (tried to keep the headcanons vague so you could imagine a variety of winter holidays in here, but i'm sorry if it's still christmas centric, honey, that's what i celebrate and so i tend to get carried away with it)

TIP-JAR

crazy ass boys gang + spending the holidays with reader

billy loomis:

It will be a hard sell to get him to enjoy the holidays with you. I won't lie to you. The reason? Besides the fact that he thinks he's too cool for the holidays, they bring up a lot of.... undealt with feelings regarding his own family. You might be tempted to let him grump it out because that will be easier. Resist! He wants you to pull him from his totally-not-seasonal-depression into holiday bliss with you. He just wants you to earn it.

So put on your working boots and get to it. Drag him into tradition, decorate the house, fill it with the smell of well-cooked food. Eventually, the cheer and vigor with which you do everything will get to him. He'll begrudgingly join in and find himself enjoying the holidays for the first time in years.

Pick one battle at a time and leave the roadblock of celebrating with your family for next year's holiday season. Trust me.

josh washington:

Polar opposite of Billy. He loves the holidays. All of the holidays! He's incredibly happy to spend them with you, no matter how many years you've spent them together before. Each year feels special to him, in the corniest way possible.

The biggest problem during the holiday season is deciding who you'll be celebrating with. Are you going to party with mutual friends this year? Go to his family's house or yours? Everyone wants to see you two during the holidays. You're everyone's favorite couple.

You two sometimes stretch yourselves a little thin, practically promising to be in two places at once! While that can add stress to the most magical time of the year, you try and relax and focus on what really matters in your few moments of downtime: each other.

stu macher:

Stu isn't one for traditional holidays at home with the family because that's never how he spent his growing up. The holidays meant trips around the world to far-off places. He doesn't want to give that up now that you're together. In fact, he wants to travel even more, especially if you aren't well-traveled.

The holidays for Stu are synonymous with adventure. If you humor him, he'll make it worth your while and let you pick the location of your trip. The best part is, no matter how expensive the trip gets, he pays for the whole thing.

His family has the money. Why not spend it? Actually, the best part is one of his love languages, as a rich boy, is gift-giving... and he does not consider paying for the holiday vacation his holiday gift to you. You're getting that expensive vacation plus a boatload of gifts under the Christmas tree. He knows how to spoil his partner when he wants to, that's for sure.

jd/jason dean:

Is completely willing to spend the holidays with your family (but I cannot stress this enough); do not take him home to celebrate with your family unless you have a perfect relationship with every single member. He will sense discord in relationships and he will choose to say the tiniest remark perfect for igniting holiday chaos and discontent.

Why? He couldn't tell you why. Maybe chaos is more fun than holiday harmony. When he senses a problem, his instinct is to dig into that problem to find its source. It's an addiction of his.

Other than that, during the holidays, instead of succumbing to melancholy over the past, he strives to make your time together as sweet as possible. He goes along with tradition with minimal cynical commentary and enjoys the happiness the holidays bring you. If you're content, he's content.

kevin khatchadourian:

As disrespectfully as possible, he hates the holidays and hates that you want to celebrate them. Any of them. The more you push, the more irritated he becomes.

Everything about the holidays highlights all the parts of society he finds most unpalatable. The fake cheer people greet each other with. Consumerism. The vigor with which they adore and worship their religious figures. It all makes him sick.

Still... there is a certain glow about you around this time of year. So when you ask him to do things, he goes along with your inane wishes with gritted teeth holding back the venomous words he wants so badly to say (do you have any idea how much he holds back for your sake?) Compliance is truly the best gift you can receive from Kevin any time of year.

nathan prescott:

Before you, he'd spend most of his holidays under the influence of whatever substance he could get his hands on first. He's slowed down on the abuse of most things since being with you. Still, the holidays are no walk in the park for him.

There's no way you'll spend the holidays with his family, even if his father "requested" his presence. He'd break his own leg to keep from having to look his father in the eye.

When you bring up the possibility of spending the holidays with your family, he's a little upset, he wanted to spend the holidays with you. When you clarify that you meant the two of you spending time with your family... well, he had a small panic attack, admittedly.

No matter how much you reassure him that everything will be fine, nothing helps until he actually meets your family and is warmly received. He'll be a little awkward the entire time, but the sheer warmth of love coming from everyone around him is enough to make him cry. Come next year it will be Nathan who suggests spending the holidays with your family again.

sebastian valmont:

To Sebastian, the holidays means receiving a few very expensive (but ultimately quite meaningless) gifts from his father which he reciprocates and then going back to pretending, like neither the holidays nor his father, exist. Cold? Certainly. Sad? Absolutely. But that's how it's always been.

If there was ever a Christmas full of love, it happened before he could remember, so it might as well have never happened at all.

Now you're here and things are different. There's a buzz in the air this time of year. You talk, you dance, you cook, you smile. You do everything together, attached at the hip. You drag him to spend time with your family and even that is tolerable, and Sebastian hates spending time with anyone's family (even yours.)

Being with you has been blissful, even with everything you had to overcome to be happy with one another. How well the holidays went will cement the knowledge in his head that you're what's it for him. You're what he wants, for now and always.

He'll surprise you on New Years Eve with one last tiny present, or that's what he tells you, as he puts you in the car and drives you to an unknown location, blindfolded the whole way there. When you arrive, he'll guide you tenderly up some steps and through a door, and then he'll take off the blindfold. You'll be standing in the most beautiful home you've ever seen. A place plucked directly from your wildest dreams (or all your late night talks with Sebastian).

"Move in with me?" He'd say, somehow smug and earnest at the exact same time.

It's a wonderful way to bring in the New Year.

david mccall:

Will insist on spending time with your family if your relationship with them is good. But if it's bad? Even better, he gets you all to himself.

Goes along with everything you want to do. He's at your beck and call. Whatever you want is yours and nothing you ask is too much. He'll cook with you for hours. He'll clean the house from top to bottom and then smile when you tell him you still have to decorate together. He loves the domesticity of it all.

When you give him his gift he'll be genuinely choked up. You'd already discussed the fact that you were exchanging gifts this year, but it still moves him to receive this physical reminder that you know him, and that you care. Frankly, he hasn't received many gifts in the course of his lifetime. Yours means everything to him.

Even though you both agreed to just one gift each, when you wake up that morning there will be a pile of gifts waiting for you. What can David say? He likes to spoil you.

sparrow!ben hargreeves:

The holidays are the busiest time of year when it comes to preventing crime. People are more desperate around the holidays, more prone to violence than words during the most "magical" time of the year. The holidays have never meant much, just a promise of more crime to fight. Still, this is the worst holiday for him yet.

Stuck in some strange, alternate world his father created, all his Sparrow siblings dead and all the Umbrellas having gone their separate ways? When he's not fighting crime, he's keeping himself wasted. Rebuilding a legacy for himself as a superhero when he did all this groundwork for himself when he was just a kid in the original timeline. It's brutal. It's humiliating.

It's not all bad though... there is, of course, you. The super-powered plus one that the Umbrellas had dragged along through two separate apocalypses until you'd apparently manifested into his reality. When everyone went their separate ways, you'd, for some reason, stuck with Ben.

He tries to pretend, but you both know he's grateful for your company, even though he's an asshole on his best of days.

You're not an Umbrella anymore. And he isn't a Sparrow. Now you're a super-hero duo and it works, somehow. You make a good team.

In a short time, against the odds (the odds being Ben's award-winning personality), you've become friends. Maybe even a weird, two-person family. Except he's pretty sure most families don't have the suffocating amount of sexual tension you do.

You've kissed before. Under the light of a dying universe, when you were pretty sure you were both going to cease to exist. You opened up to each other that night. But then there was the stress of... kinda saving the world? And then you wound up in this new, broken, strange one. You haven't talked about the kiss since.

He feels like he's going crazy.

Especially because you live together. He's not sure why he insisted on moving in together (because he's in love with you? because he's never lived alone before? because he misses his family?) but he did. Now he deals with the consequences every day. He hears you singing in the shower to start your day. He hatefully makes you cups of coffee that he insists are poison for the body (don't bring up the fact that he got blackout last night) when you have a long day ahead of you. He preps you for the interviews you two have started doing together, the whole world entranced by this new super-hero duo that the two of you make. He even holds your hand before your public appearances, because he knows you get stage fright.

There's something deeply wrong with him.

He tries to get you both to focus on crime this year, but you fight him every step of the way. Let's decorate, you chirp! Let's watch holiday movies, you smile. Let's cook our favorite foods together instead of getting them delivered, you beg. It's all maddening!

And now, having made it through all the holidays relatively emotionally distant and unscathed, you have the nerve to be laid up against him, staring up at him with big, drooping eyes waiting for midnight to hit on New Years Eve, and you ask him if he misses his family.

He snaps and finally kisses you, months of wanting and waiting and burning boiling over into this moment.

How could he miss his family when you're sitting right beside him?

[ladyluscinia]

Hi there! I just read your meta about how Izzy knows the real Edward and not just Blackbeard, and that got me thinking… why does Ed tell Stede he doesn’t have any friends? I’d initially chalked this up to Izzy only wanting to be friends with Blackbeard, but if Izzy knows and is loyal to the real Ed, why doesn’t Ed consider him a friend?

Hi! You just stumbled on one of my favorite things to talk about that now I get to add S2 context to, so thank you!

Ok... Edward & his total denial of friendship. There's the big reason - which is completely divorced from the reality of any of his relationships - and then there's the smaller, related reason that I'm not even sure Edward is fully aware of.

Reason #1 (the big one) why Edward says he doesn't have any friends is because he's having a depressive breakdown in a bathtub when he says it.

It all comes back to the fact Edward hates himself, which was fairly clear in S1 and now made explicit in S2. Specifically in 2x03. Which, in a season full of excellently timed flashbacks and echoed scenes from S1, still contains the single example that made me leap from my seat in pure vindication.

When Edward tackles his conjured Hornigold to kill him, before he realizes he's in the gravy basket, we great a great line...

"It all boils down to this. You're afraid you're unlovable."

...followed by a set a flashbacks that feel chosen specifically for me 😌

Edward killing his dad, with the voiceover "I'm not a good person Stede..." cut to Izzy's destroyed laugh right before Edward left the room in 2x02, and then cut back to the bathtub from 1x06 to finish "...That's why I don't have any friends." Stede affirms he is Edward's friend and then it ends on the crew's mutiny from 2x02 and the absolute darkest point of Edward's depressive spirals so far.

That is literally an explicit connection I couldn't have dreamed of in the S1 hiatus.

Because, like... Edward's whole thing is that he's been on the edge of drowning under this lifelong struggle against depression since we met him. He does fundamentally believe in his darkest moments that he is monstrous and poisonous and no one could ever love him, but it's not a logical belief. He's not making an assessment of his relationships as he sees them, he's voicing his self-loathing and depression.

And the parallel between "I don't have any friends" and "I'm unlovable" is soooo crunchy because we know for a fact the second statement is just depression talking. Not even just Stede! Edward spends the first two episodes actively resisting evidence to the contrary in his spiral because it hurts too much - Izzy blatantly confessing his love didn't break through, it just got him shot for trying.

To go back to the bathtub in 1x06, Stede's affirmation there wasn't any more effective than Izzy's confession in S2. It gets Edward to get up out of the bathtub and pull himself back together, but the very next episode opens with Edward getting antsy and trying to leave before Stede can reject him. In 1x08 he's still half-waiting for Stede to notice there's something wrong with him.

Edward always has a little dark voice in the back of his mind saying that Calico Jack isn't his friend, and Izzy isn't his friend, and Stede isn't his friend... but it's Edward's voice. One he'll have to fight against forever, one that will sound really persuasive in his darkest moments (like when he's in a bathtub admitting its source out loud for the first time in his life), but also one that is lying.

So... that's the big reason.

Now, Reason #2 is a bit more nuanced - Edward is really repressed.

This is pretty much entirely the fault of Reason #1, but it is technically a different thing. Because Edward hates himself and has a flawed perspective of all his relationships, he instinctively holds himself back from them to some degree.

This kinda gets into the whole Izzy vs Stede thing, because Edward has a very small collection of interests and desires that he shoved into a small box as things he didn't deserve well before becoming a pirate (due to both mommy and daddy trauma), and then he never brought those things up with anyone close to him. Until he met Stede, who was basically the walking embodiment of several of those interests/desires and a person who Edward uniquely did not have a script or baseline for interacting with, so he ended up doing the reverse and diving into exploring all that as the core of this one singular relationship.

Which has left him very unbalanced.

Like, he's not wholly engaging in the relationship due to fear of rejection either way. There's nothing intrinsically healthier about letting Izzy know all his ugliest bits or Stede know all his most hidden emotional vulnerabilities. And the fear of rejection in both cases is based in his depression / conviction he's unlovable, not evidence that Izzy would react poorly or whatever.

But if he was capable of evaluating his relationships objectively, he might have felt a little like even Izzy who knew him so well wasn't as close of friend as he truly desired, simply because he puts away that box of things around him. Only... Izzy doesn't make him do that. That box was probably put away before Izzy even met him.

And like... Edward can feel his feelings about Izzy not knowing the super important emotional things he wants him to know, but it's still on Edward for not even trying to tell him.

(This got longer than I meant it to, lol. Anyway here's my hiatus post where I'm nice to Calico Jack on this topic too.)

[sevensoulmates]

Spec on what Tommy's (possible) sexuality might be?

In relation to some spec I'm seeing going around about how Tommy identifies his sexuality, I'm so curious to see what that's gonna be and how he came to figure it out.

Here's what we know:

Tommy had a girlfriend in Chimney Begins because Captain Gerrard asked Tommy when his girlfriend was coming by the station to cook them all dinner. But then again he was kinda cagey in answering the Captain about her coming.

In Hen Begins, Sal insinuates that Tommy is "more of a Team Jacob kind of guy" aka Gay because Tommy finds Kristen Stewart "too broody". Tommy takes this in stride, sending Sal a joking air kiss, but it's by far the biggest hint we've gotten about Tommy possibly not being straight during the time he worked with the 118. However this line was likely originally intended to show casual workplace homophobia in order to make Hen uncomfortable, and not really to be like "oh hey Tommy's queer". But it ends up working out for the writers that they already had this tidbit in here.

In Bobby Begins Again Tommy tells Hen and Chim "I'm telling you, single is easier. Having the scars impresses women, getting 'em freaks 'em out." Which heavily implies dating/being attracted to women. In the same conversation, he later brings up a quote from Fight Club the movie, and in case anyone wasn't aware, has long been interpreted as a queer allegory due to large amounts of homoerotic material in the source material and film adaptations.

All of that being said, there are arguments for Tommy possibly being bisexual, or possibly being an in-the-closet gay man. Whichever direction they choose to take Tommy will be telling for the future of the plot for different reasons.

If Tommy ends up being bisexual like Buck, then more than likely they'll end up having a lot of parallels to experiences Buck has had in the past, further cementing to the audience that Buck has been bi this whole time but just didn't realize it. It could also parallel Buck's current situation (hiding him and Tommy from Eddie + the 118) and possibly the catalyst for Buck to come out to the rest of the 118.

But, if Tommy ends up being gay, and had to hide it and/or repress it for most of the time he had been with the 118, that could prove very interesting for the ways in which he strongly parallels Eddie.

7x04 spent a lot of time hammering home to the audience that Tommy is extremely similar to Eddie. I wouldn't be surprised if they take this a step further by having Tommy have a queer experience similar to how many of us believe Eddie's to be. That being growing up in a hypermasculine environment, filled with shame and plenty of reasons to repress and/or keep that information to himself. And only figuring out who he is later in life.

Personally, I would prefer it if they went this route with Tommy. Not only because I think it would strongly parallel a possible queer Eddie storyline, but it would also provide a contrast for Buck. By that I mean if Tommy says "well, my relationships with women never felt right, and I realized later it's because I wasn't attracted to them at all" then Buck can firmly place himself in the bisexual category in contrast by clarifying that he was and still is attracted to women, but now realizes he likes men too. And it doesn't hurt that it could be possible foreshadowing for Eddie, and/or parallels to Eddie's storyline with Marisol in the episode with something possibly not feeling right between them.

Either way, I'm excited to see to learn more about Tommy in 7x05. I'm also hoping for a bit more acknowledgment for how shitty he was to Hen and Chim in the beginning. It's a good way to show 10+ years of character development in one convo.

[gallifreyriver]

Update to this post because a year later they're still trying it.

They vote again tomorrow, March 13th, to try and ban TikTok- only this time they're doing all they can to claim it's not a TikTik ban.

They claim it's to "protect Americans from 'Foreign Adversary Controlled Applications'" despite singling out ByteDance/TikTok specifically, and mentioning TikTok in literally the first sentence.

They also claim it's not a "ban," they're just giving TikTok the "opportunity" to divest from ByteDance and sell it's company, algorithms and source code to a non-communist county (the US) within 180 days or the US will take action and make the app inaccessible to USA Americans, which make up 150 million of TikTok's user base, the largest TikTok audience by country so far.

One could call this a shakedown, that effectively the US is trying to steal a popular and profitable company. "That's a nice company you got there, be a shame if you... I don't know... lost 150 million users- Wouldn't it?"

[Edit: Forgot to add that even though the US has 150 million TikTok users, that's still only like 8%-ish of TikTiks total userbase- making this "shakedown" an example of how Congress is embarrassingly USA-centric. TikTok will not sell just to avoid losing just 7%-8% of it's userbase, and Congress must know that- if not, that just proves the point even more. This bill is for all intents and purposes a BAN, regardless how they try to spin it, and they're being very USA-centric and Xenophobic about it]

Anyway-

This is the second vote. A House committee voted unanimously on Mar. 7th to advance the bill, and it will be voted on again by a Republican controlled House.

Please call or email your representatives and tell them to vote "No" on bill H.R. 7521.

This isn't about just losing an app. TikTok is unique in that it is currently the easiest place to organize and spread information that otherwise doesn't get as much coverage. It allows for real time coverage and updates by those living through major events going on around the word, and has allowed for increased awareness for such events that we likely wouldn't hear about otherwise. (i.e: the genocide in Palestine, Cop City, any of the bills trying to take trans rights/abortion rights away, etc)

If you don't know your representatives, just google "who are my representatives" and the first results should be links that will help you find them based on your zip code

And if you don't know what to write I can help you there too.

You can write something as simple as just:

Vote "No" on bill H.R. 7521.

Seriously, that's all you need.

Or, if you want something a little more in depth, here's a script that you can either copy and paste or reword to your liking. I just re-worded the script from the ACLU link above to fit more specifically about the current bill (Though let's be honest, for all intents and purposes Congress is pulling the same shit in a different hat)

Dear Representative, I’m writing today to strongly urge you to protect our constitutional rights to free expression and to receive information, and to vote no on any bill that would give the federal government the power to ban entire social media platforms. Bill H.R. 7521 is designed to allow the government to ban TikTok in the US and would likely result in bans of other businesses and applications as well. Given what we know about TikTok, it’s clear that a ban would violate the First Amendment rights of millions of Americans who use the app to communicate and express themselves daily. Should these bills move to a vote, I urge you to vote “No.” In a purported attempt to protect the data of US persons from the Chinese government, these bills will instead block Americans from engaging in political discussions, artistic expression, and the free exchange of ideas. We have a First Amendment right to use TikTok and other platforms to exchange our thoughts, ideas, and opinions with people around the country and around the world. Please oppose any bill designed to limit our right to express ourselves — both online and off. Thank you.

Reminder, they vote tomorrow, Wednesday March 13th.

So please reblog this to spread the word and contact your representatives to tell them to vote "No" on this bill.

Do not be mistaken in thinking your opinion doesn't matter- it does matter so much. Do not let yourself be silenced!

[gayferrari]

feel like fia banned something on red bull and it was kept under the rug, because the loss of performance so quick is not normal

Imo they're doing this to make the title fight possible, by nerfing red bull and turning a blind eye to mclaren wings

I think they saw that even with mclaren becoming the fastest car, they would still have no chances against max in red bull so they nerfed the car. Maybe the brake thing idk. There was a lot of talk about that and suddenly not anymore. We never found out which teams were using it.

Ok, so. Standard disclaimer that I'm not an engineer. However. 1) if the FIA had banned something it would be a matter of public record. It would not be shouted from the rooftops with a megaphone because these things are kept quiet, but it would be on record and more importantly 2) if RBR felt they had been unfairly penalised they would throw a whole massive shit fit. We would hear of it.

More broadly, talking about Red Bull's loss of performance this year: I don't actually think there's anything fishy about it at all. It's a combination of various factors.

Other teams catching up. RBR were that good last year because literally every other team has been struggling since the new regs have been introduced. They were doing very well to begin with, but the rest of the field was doing abysmal. Other teams have since stepped up, which makes the field way more competitive at the top

Some issues in development. Reportedly, RBR have hit the ceiling of the performance they are able to extract from the car (given regs & the directions they have developed the car in) and are now in the phase where you start fiddling frantically with what you have hoping to squeeze some drops of performance from somewhere. This can backfire — see how a single update in Barcelona nerfed the Ferrari for months.

Relatedly! These cars appear to be very finicky and temperamental. Just small set-up differences make a lot of difference. If you don't nail it, you risk going backwards instead of improving on your current set-up. Look at how hit and miss Ferrari and Mercedes have been this season despite going broadly in an upwards direction. Development can be very hit-and-miss.

Lack of wind tunnel time and/or bad wind tunnel data. I don't have a source at hand and I wouldn't bet money on this but: I'm reasonably sure it came out recently that the models RBR have been using for their wind tunnel simulations don't actually have a strong correlation with track data. This contributed to going in a less-than-optimal direction development-wise

Max masking some issues out of sheer ability. Again, current gen cars are very temperamental, but Max is a very adaptable driver; it's not the first time that his skills mask the fact that car development is going in a direction of sacrificing driveability for performance until it just becomes undrivable. See this essay by @vro0m with some examples re: 2020 season.

Finally, some brain drain. I'm very much team "Newey is just one person", but he's not the only highly intelligent person that has left the team. (My friend with a bike tells me the poaching attempts are going strong.) I doubt this plays as huge of a part as some people seem to think but it's a small factor.

ALL OF THIS contributed to what's objectively a small but significant drop in performance. But because we are talking about a top F1 team, where the difference is made in the margin and tenths of seconds and the other top teams are currently at risk of catching up, relatively they've had a big drop compared to the rest of the field (who are going up).

As far as I know, the asymmetrical braking reg was all but confirmed to be targeted at Red Bull, but it doesn't mean the FIA arbitrarily nerfed Red Bull just because. It means that RBR were using a regulation grey area to patch up an issue they'd discovered, and regulations were tightened so they had to find a different workaround. Mclaren front wings (which Mercedes are also using) have been declared okay, so you can bet at least RBR and Ferrari will have them by COTA. The flappy rear wing is another issue and we'll see how they rule on it.

tldr: I don't believe the governing organisation for an engineering competition would decide arbitrarily to nerf the engineering side of the sport because it's the only way Lando can beat Max. It's just that a series of small issues all snowballed at once and became a big problem.

tldr #2: if I made major engineering bundles etc feel free to correct me I am but a non-stem tumblrina who reads articles written by actual engineers