i think my father is judging me for my choice of hyperfixation
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Something about The Lost Boys, a deeply, deliberately queer movie all about vampires (so necessarily obsessed with blood transfer/exchange), where being attracted to the wrong person, taking risks around them, taking their tainted blood into your body, will change your life irrevocably and doom you to death, coming out in 1987, and saying that the real source of the majority of the problems caused by sharing tainted blood is a respectable middle-aged middle-class white man obsessed with power, heteronormativity, and the replication and eternal enshrinement of the nuclear family structure, and that the only way to survive and cure the infection is to destroy him...whoooo.
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Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared
The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!
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"Your son?"
"My apprentice, but I think of him like a son."
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Love as a Strength and Weakness in 5x08
Re: Callum drawing love from strength vs love never been an unequivocal good in TDP (written post-S4).
Let's talk, briefly, about love as a strength and a weakness in 5x08, as the episode highlights this dichotomy very well. To begin, we have Callum and Finnegrin's differing viewpoints on it, specifically:
C: See? So long as we protect each other, so long as we love each other, you can never control us.
F: All that talk about how love makes you stronger, but the second you see that elf girl in pain, you completely lost yourself.
And to a certain degree, they're both right. Callum's epiphany of "You don't control anything" is something that applies to both Callum and Finnegrin because it's the innermost truth of the arcanum they now both share.
Callum's love for Rayla allows him to be controlled, shown when he gives up the spell (and by doing dark magic).
But it's also what sets him free from Finnegrin's (immobilization) blood freezing spell. Love here is why Finnegrin is also ultimately unable to control him, too.
However, I want to talk more specifically about the hands in Finnegrin's Wake (yes, again, because there's still more to talk about) in regards to the epiphany scene in particular with more detail than I gave it in the linked meta a few lines above. Let's look at the framing, shall we?
When Finnegrin first gives Callum the rattle snake tail (a literal warning sign that Callum is goaded and then does crush out of desperation), we see Callum clasp his wrist, like a chain, and the shot of his palm open wide.
We get a similar open hand shot as he starts to connect to the Ocean arcanum, thereby showing his acceptance of being willing to use dark magic to save Rayla (and his loved ones) is indeed crucial to him unlocking the Ocean arcanum. Rayla is likewise highlighted because she was on the one tethered to this poem earlier on in the season (x2). Callum mimics the crushing of the slug as the final physical / metaphysical stage required for the magic to take hold.
And, rather symbolically, the dark storm we saw at first as well as the rain begins to fade. The light comes out and the chaos recedes. He's weathered the storm and come out drastically changed for it, but him unlocking the Ocean arcanum is strength and is a positive: it allows him to free himself. It brings back the light. It's tethered to Love.
But the episode doesn't end on a triumphant note, because it's not interested in easy answers or straight forward paths. Instead, it's interested in dualities and dark sides, and that Callum's love for her will unlock both great things - and terrible ones.
And so again, we return to the hand clasp - the metaphorical chain - because as much as love has given him strength and having Rayla in his life is worth it to Callum, it's still not without its complications ("Now you're back: that's kind of good, and it's kind of bad" / "We have to hold pain and love in our hearts at the same time"). She makes him strong and supports and loves him, but she's also his weakness and leaves him worryingly exploitable, if only to his own nerves and reservations.
And, y'know, probably Aaravos' plans, too.
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i’ve been thinking a lot about what is so unique and appealing about 80s robin jay’s moral standing that got completely lost in plot later on. and i think a huge part of it is that in a genre so focused on crime-fighting, his motivations and approach don’t focus on the category of crime at all. in fact, he doesn’t seem to believe in any moral dogma; and it’s not motivated by nihilism, but rather his open-heartedness and relational ethical outlook.
we first meet (post-crisis) jay when he is stealing. when confronted about his actions by bruce he’s confident that he didn’t do anything wrong – he’s not apologetic, he doesn’t seem to think that he has morally failed on any account. later on, when confronted by batman again, jay says that he’s no “crook.” at this point, the reader might assume that jay has no concept of wrong-doing, or that stealing is just not one of the deeds that he considers wrong-doing. yet, later on we see jay so intent on stopping ma gunn and her students, refusing to be implicit in their actions. there are, of course, lots of reasons for which we can assume he was against stealing in this specific instance (an authority figure being involved, the target, the motivations, the school itself being an abusive environment etc.), but what we gather is that jay has an extremely strong sense of justice and is committed to moral duty. that's all typical for characters in superhero comics, isn't it? however, what remains distinctive is that this moral duty is not dictated by any dogma – he trusts his moral instincts. this attitude – his distrust toward power structures, confidence in his moral compass, and situational approach, is something that is maintained throughout his robin run. it is also evident in how he evaluates other people – we never see him condemning his parents, for example, and that includes willis, who was a petty criminal. i think from there arises the potential for a rift between bruce and jay that could be, have jay lived, far more utilised in batman comics than it was within his short robin run.
after all, while bruce’s approach is often called a ‘philosophy of love and care,’ he doesn’t ascribe to the ethics of care [eoc] (as defined in modern scholarship btw) in the same way that jay does. ethics of care ‘deny that morality consists in obedience to a universal law’ and focus on the ideals of caring for other people and non-institutionalized justice. bruce, while obviously caring, is still bound by his belief in the legal system and deontological norms. he is benevolent, but he is also ultimately morally committed to the idea of a legal system and thus frames criminals as failing to meet these moral (legal-adjacent) standards (even when he recognizes it is a result of their circumstances). in other words, he might think that a criminal is a good person despite leading a life of crime. meanwhile, for jay there is no despite; jay doesn't think that engaging in crime says anything about a person's moral personality at all. morality, for him, is more of an emotional practice, grounded in empathy and the question of what he can do for people ‘here and now.’ he doesn’t ascribe to maxims nor utilitarian calculations. for jay, in morality, there’s no place for impartiality that bruce believes in; moral decisions are embedded within a net of interpersonal relationships and social structures that cannot be generalised like the law or even a “moral code” does it. it’s all about responsiveness.
to sum up, jay's moral compass is relative and passionate in a way that doesn't fit batman's philosophy. this is mostly because bruce wants to avoid the sort of arbitrariness that seems to guide eoc. also, both for vigilantism, and jay, eoc poses a challenge in the sense that it doesn't create a certain 'intellectualised' distance from both the victims and the perpetrators; there's no proximity in the judgment; it's emotional.
all of this is of course hardly relevant post-2004. there might be minimal space for accommodating some of it within the canon progression (for example, the fact that eoc typically emphasises the responsibility that comes with pre-existing familial relationships and allows for prioritizing them, as well as the flexibility regarding moral deliberations), but the utilitarian framework and the question of stopping the crime vs controlling the underworld is not something that can be easily reconciled with jay’s previous lack of interest in labeling crime.
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in my head and in my heart, i know for a fact that all 3 todoroki children have really unfavorable habits that they got from endeavor.
fuyumi is mean. just honest to god mean. she doesn't even mean it most of them time. just being everyone's emotional support all the time causes her to suppress her meaner emotions and when someone pushes, it all comes out. but there is nothing in the world sharper than fuyumi's tongue on a bad day.
natsuo, ever the middle child. always there and always forgotten. natsuo is quick to get physically aggressive. never on people, god no. but he'll punch through walls like it's nothing. he's had his fingers broken and set more times than he can remember. he hates this part of himself. he already looks so much like enji, does he need to have his father's destructive rage too?
shouto... where to even begin with shouto. the child kept under enji's thumb the longest. shouto is more like enji than he would like to admit. he eats his food the way enji eats his food, greens first then everything else. he does his morning routine a near copy of his father's. this is what happens when you spend every waking moment of the first 15 years of your life with your abuser. that being said, shouto, ignoring the ever present constant thrum of anger that hides just below his skin, shouts a lot when he's angry. it comes from the chest, booming and seething. it scares people. he knows this and he hates that he cannot stop himself.
they don't like thinking about but when it happens all of them can't help but think i'm just like dad.
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can someone else please please look at this set of images before i go insane
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Hiiiii! So, a few days ago you were talking about the whole thing with Amy, Rory, and River. And when I saw those posts a thought arose in my head and I wish to share it with you.
Since River grew up with Amy and Rory as Mels. And Mels was Amy's best friend do you think that they ever talked about children? Since I know that it can come up when talking with friends, and like... do you think that Amy might've ever expressed whether or not she wanted children?
And if she didn't, that Mels would've had to listen to her mother say that she doesn't want children? The idea is so heartbreaking and sooo interesting.
What do you think about it?
no, no, see, you're so right and this drives me wild.
because, the way i see it, i don't think amy wanted children. she's somewhere on the 'hasn't thought about it' to 'vaguely negative feelings about it happening' range to me, which falls sharply into 'Not Happening Ever Again' post-s6. (specifically, in terms of having a kid herself, even if she could, i really don't think she would. i do love that she and rory end up adopting a kid later, because that does make sense, for amy pond who grew up alone in one universe with her family swallowed by cracks in time before the doctor helped her set it right again, for her to want to make sure another child won't be alone in the world like she was. getting off-track here.)
and that's so. because the first real memory river/mels has of amy is of amy shooting at her. and depending on how well the silence fucked up the rest of her memory, it might be one of the very first memories she has at all. that's how she met her mother, crying for help and getting a bullet instead. her mother tried to kill her, so of course, you have to think. she must have needed to hear that she was wanted, right? even if she was taken away, even if amy shot her, at some point, melody must have been wanted?
river is good at getting people to do what she wants, but she is very, very bad at subtlety. and mels is younger, has less practice, so when she wants to know this, she's just going to ask. blunt and quick, easy enough because amy's used to the way mels will open her mouth and you just have to be ready to roll with what comes out if you want to keep up. it's why they're such good friends (like mother, like daughter.)
they're nine, and mels asks if amy wants kids, and amy wrinkles up her nose and says she won't have time for children, obviously, once her raggedy doctor finally comes back. they're fifteen, and amy and rory dance will they-won't they in a way that makes mels twitchy to watch, and taunting amy about wanting to have rory's babies is a good way to get on her nerves. but amy calls her gross, tells her she's got more life planned than children would leave room for, and besides, imagine her, a mom? it'd be a disaster.
mels does. a lot. she looks at her mother and just sees her best friend instead. she's not even sure what she wishes was there, but. maybe amy's right. and besides. imagine her, a daughter, instead of the ticking time bomb she really is? it'd be a disaster.
they're sixteen, seventeen, eighteen, and on. mels stands on the outside of a love story that births a universe. and her. how do you compete with that? not that she would know, not yet, she hasn't been there. but it doesn't make her feel any less alienated when amy and rory talk in whispers about a half-remembered world that's bled through to this life, about roman soldiers and boxes and the big bang of belief.
all these memories, they never mention children. on amy's wedding day, she's different, not like someone remembering a dream but someone who lived it. rory stands straighter, won't leave her side, and they're both so much older than they were yesterday. maybe now, right? a wedding's as good a time as any to decide you want kids.
mels not being at amy & rory's wedding is such an obvious lazy way of them trying to explain why they totally didn't just throw this plot twist together at the last minute that i'm not even going to acknowledge it. of course she was at their wedding. she's their best friend. there's too many people around the doctor, and she wasn't ready today of all days, so despite this horrible burning need under her skin to strike, she stays her hand. doesn't let him dance with her because she might just tear his throat out if he gets too close. stays with amy and rory as the maid of honor should. she must have been there for the awkward questions that always gets asked, 'so, any plans for a baby?' 'when am i getting grandkids?' 'oh, you two are going to have gorgeous children together.' standing a few feet from amy in her wedding dress and watching her mother tense and grit her teeth and brush off the questions. watching her look nervously at rory but never ask if he means it when his mom asks him if he'd prefer a son or a daughter, and rory answers 'either one, some day, not anytime soon.'
god i'm just going on and on, aren't i. but really, what's it like to know that amy never changed her mind. the next time she sees them, she's already been born and stolen. i don't like let's kill hitler for. so many reasons. but there is something compelling about how recklessly river lashes out at the world, at the doctor. even her sacrifice at the end is almost suicidal, throwing all her regenerations into this man without knowing if that will even work or if it might kill her to do it. but it makes more sense in the context of someone who has reached the end of a long, long wait for some kind of indication, any kind, that her mother wanted to have her. and finally been told, no. she didn't choose melody.
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I made a post about some Bangel and Cangel parallels I've noticed (not all of them that exist, just some ones--for instance--that I've picked up on while reading the tie-in books), that I'll link at the bottom of this post... but with picture limit, I couldn't mention my last point in it, so I decided to just make a separate post about it here. So here it is.
Though, unfortunately, this one deals with the sensitive topic of Angel saving both Buffy and Cordelia from sexual assault -le sigh-
Anyway, starting out, here's the moment with Cordelia (as I think that in the chronology of the S3 books, that one happens first?).
Edit: I also respectfully ask that the shippers of both ships be kind to each other here, please. Thank you.
Cordelia:
Buffy:
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What gets me is that they cut out a lot from the pilot but kept in the fact that Carlos has a tendency to kiss the men Mary likes...
This obviously has nothing to do with anything that might happen in the future, especially between men in uniform.
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wait coming back just to add that i was thinking abt the generational element of the af.tons just being a fucked up family line and i'm. fine. i swear i'm f
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Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared
The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!
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now if we hit nana with the DFO stick...
Where's that family tree I made an ever ago where all the holders were connected to AfO and most were his kids.... Anyway I think in this case AfO would have absolutely taken Hana as a replacement daughter, even if he also took Tenko to weaponize. This would have led to AfO complaining about his sibling, child, and now also great grandchild betraying him, because Hana would not be happy about that and would choose violence like her grandmother before her
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I want to raise this man from the dead
Crepus Ragnvindr is lucky he’s dead because otherwise he would have to put up with the shenanigans I do with the other sus characters in the game. Like, I already bother Cyrus and Timaeus and the Fatui in Mondstadt a lot trying to figure out wtf those guys know. The last thing Mondstadt needs is another sus NPC present, ESPECIALLY given all the questions I have for him.
Like, were you a harbinger or just a shady dude? Was it Dottore who gave you the delusion directly? Did you know that Kaeya was from Khaenri’ah and if not what did you think was going on? What was your relationship with the Knights, did you idolize them as much as your son or did you realize that they were as susceptible to corruption as anyone else as you grew old? And why did you let your son join the organization if you knew how effed up it was? ON THAT NOTE WHY TF WAS DILUC ALLOWED TO BECOME A CAPTAIN AT THE AGE OF 14?? SIR I GENERALLY THINK YOU WERE PROBABLY A DECENT DAD WHO TRIED HIS BEST BUT LIKE WTF IS UP WITH THAT DECISION SPECIFICALLY???
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also i forgot it's the one year anniversary since legends got cancelled but i guess it is huh
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dude who just read the dear jake tome: no hold on hold on hold on
dude who is thinking about the implication that several of the survivor's relatives found a way into the fog to look for their loved ones: aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
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just remembered that one time i got last-named on the internet and i my brain broke for like 15 seconds while i tried to figure out who they were trying to summon with 'Ache'
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