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‘what’re u going to do w ur degree’ nothing. i’m going to start blowing things up

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the thing about the three musketeers (book) is that there are three musketeers (guys) and also a fourth dude who's always hanging out with them and is part of the friend group. yet he is not one of the three musketeers

#damn.

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thank you ^^ Im afraid theres not much more to tell than that since it didnt end up having themes of identity the way I thought it would for like the first hour or so. But now that Ive thought about it a bit more, I actually find it interesting that Joh Fredersen would give his son a name thats just a shortened version of his last name, I think it reveals how he views Freder as more of an extension of himself than an autonomous human being

Oh, that actually reminds me of something else. So Ive been comparing the movie and the musical in my head, and one thing that I noticed was that in the musical there was a clear implication that Freder was supposed to take his fathers place one day in running Metropolis, which is not the case in the movie. Like, in the musical we meet Joh Fredersen and see their relationship before Freder meets Maria and goes down to the worker city, and we learn that hes explicitly not allowed to go there and that hes been refusing to learn about how to run the city unless he gets to see whats going on down there (which i think is a pretty questionable writing decision, because if he feels so strongly about this already, why would Maria be necessary as a catalyst to get him to go, but whatever), and then when he goes to see the workers for himself theres this bit where Joh goes "he cannot see the working conditions down there because he actually has a moral compass and he would be upset if he saw them" with the implication being that Freder was supposed to be in charge of the city one day without ever finding out how it actually worked

In the movie on the other hand, Joh Fredersen never says anything to indicate that he has any plans for whats going to happen when he dies, and it doesnt seem like Freder has any involvement with the city nor was he ever going to be involved with it. And that makes sense when you consider the whole idea of the club of sons, which is essentially that men created and now work to maintain a paradise for their sons where they effectively live in this pleasant stasis without ever having to work for anything, but it really doesnt bode well for the longevity of this society, and also, if we're talking about Joh seeing Freder mostly as an extension of himself, this setup effectively keeps Freder (and the other guys like him) in this kind of subservient 'child-role' where he can never really act as an autonomous human being because he can never achieve true indepedance from his father, which I find very interesting and very horrifying

when I watched Metropolis (1927) i misread or misunderstood something and for a brief while I thought 'Freder' was the main characters last name and everyone was just calling him by his last name, which i didnt question because at the point in the film it seemed like everyone who was interacting with him was 'beneath him' somehow and also, since the dialogue cards also called him that i thought theres gonna be something about identity or maybe even dehumanization in a "children are defined by their parents' actions"-kinda way, but then he goes to talk to his dad and hes also calling him Freder which is weird to me of course but again, Im watching with the assumption that this is somehow gonna tie in to some theme about identity so I dont really dwell on the fact this weirdo is calling his son by last name. Then theres a dialogue card that i dont misread thats like 'something something Joh Fredersen' and Im like ohhhhhhh nvm, thats their last name and Freder is... the protagonists first name then? okay sure. But once I realize that I start thinking. okay so, i have a hard time explaning whats going on in my head when I watch movie especially without sounding stupid so bear with me here. You know how in medieval europe most people didnt really have last names the same way we do now, they either just had their occupation or their father's first name + -son at the end? Yeah, so I was thinking about the name Frederson as a corruption of Fredersson (Freder's Son) and how that could potentially play into some identity-related themes, because for some reason within the first few minutes I just got really attached to the idea of this movie having themes like that somehow. And like, i guess I wasnt entirely wrong but idk, i wouldnt really say this movie has anything to say about identity so much as I would say that it has the characters swap places a lot. Anyway, then shit goes conpletely off the rails and i forget about my precious Identity Themes for the remainder of the film

And Im telling you all of this because i watched the film a few days and I watched the musical based on it the same day as the film and just a few hours ago I listened to the 2001 german radiodrama and only now did it truly hit me that Freder's full name is.... Freder Fredersen. thats what his dad called him. Honestly that might be the worst of all his crimes against humanity

#idk if this fully makes sense i feel like i just kinda rambled for a bit here #but oughhhhhh i cant stop thinking about the fucked up implication of metropolis #also i know the characters in the musical have different names but i prefer the ones from the movie so i just went with those #metropolis 1927

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could you please entertain at my daughter's 7th birthday party

I will blog at her party

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I was born to be the master of deadly puzzle island

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Yu-Gi-Oh Singapore dub

#BURN YOURSELF

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i'm sorry but this is one of the most unbelievable things i've seen in this entire franchise so far, you can't just sell me on the idea that this living ventriloquist dummy impregnated a woman you can't tell me something like that

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why small kittens are always either the most pathetic or the most evil creature you've ever seen

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the self is a guy you made up to get mad at

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Your straight male friends after two beers: "Hgey man can I smell your hair"

Your friend with the haunted shamisen: [plucks a baleful chord of ill portent]

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I need a way to say this character makes me feel insane amounts of lust but not in a sexual or romantic way

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the idea that restrooms, locker rooms, etc need to be single-sex spaces in order for women to be safe is patriarchy's way of signalling to men & boys that society doesn't expect them to behave themselves around women. it is directly antifeminist. it would be antifeminist even if trans people did not exist. a feminist society would demand that women should be safe in all spaces even when there are men there.

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women tolerate me but they really like it when im in pain or lost and desperate in a cave. odd but i would never question women

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i out pizza'd the hut

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fuck this whole world