okay so. plates.
there's a post floating around on here somewhere about a ceramics class where half the students were instructed to make as many pots as possible no matter the quality, and the other half were instructed to make only one high-quality pot. by the end of the class, the students who had made lots of pots were making better pots than the ones who were supposed to make one perfect pot, and the lesson there was that you get better at things by making more things and letting yourself be bad at it, rather than trying to make one perfect thing.
you have to make shitty things because you have to make things, because making things at all is more important than making good things, because making shitty things is how you make better things.
a friend made the joke that "maybe not THAT shitty though, like that's not even a shitty pot anymore that's just a plate," and while i kind of agree (that's a whole different post), i also immediately went another layer deep with the metaphor: even if it's not a pot, a plate will still teach you things. a plate has its own purpose, independent of a pot - it's job isn't to be a pot, it's not going to teach you the same things that a pot would, but it has a purpose too. just because it's not what you wanted to make or meant to make doesn't mean it's not useful! nothing made is ever wasted.
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can we talk about the choice to make luther the one with the music. here is a portrait of seven five siblings. none of them are in each others lives anymore. theyre dragged back together by their fathers funeral and find themselves nearly strangers, and none of them are particularly interested in changing that. but luther. luther wants them to be a team. he resents them for leaving and he resents them for not wanting to stay and solve this mystery. he is The Leader and as The Leader its his job to bring the gang back together and absolutely nobody is the least bit interested in heeding him.
but then. the first time that theres an indication that these people do have potential to be a family again. and its because luther plays a song.
its so beautiful. they could have given the music collection to any of them!! wouldn't it feel so in character for it to have been allison or klaus? or, for that matter, viktor? but they gave it to luther. the hardass who has been annoyed with everyone this whole time, the guy who is taking this all too seriously, THATS the one they give the 80s pop music to.
because he wants them to work together. and the show tells us yes, he he has that power, to help heal his family. but only by being a person with a music collection who does goofy dances and loves model planes. and not by being a superhero
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sits up in bed. so lana and ema definitely thought they were responsible for edgeworth "choosing death", right?
(the rest of this post was supposed to go in the tags, because it's not very well organised or written, but it got too long so. here are the slightly edited tags for your reading pleasure (or otherwise)):
i was going to make this solely about ema because she's the obvious one with her open adoration of edgeworth, but the thing about rfta is that it goes to great lengths to emphasise the connection between lana and edgeworth as well.
the sl-9 incident showed that lana grows attached to people deeply, hence angel starr's comment on how, when neil marshall died, 'she (lana) felt like her own brother had died.' with edgeworth, i think it was similar but worse. because he's not just a coworker or subordinate who's dear to her. he saved her life. and it cost him his own.
at the beginning of the case, edgeworth says he was mistaken for thinking that lana was always looking out for him post sl-9 (a statement interesting on its own because that's when everyone else says she grew distant), and, later on, he brings ema fingerprinting powder because lana asked him to. then, of course, there's the 'lady luck' comment he makes.
similarly, on lana's side, you obviously have the end of the trial when she says he did well, but there's also that additional moment post-trial where she's the only one to notice — in a group comprising her, ema, phoenix and gumshoe — that he's 'hiding', listening to their conversation. point is, there's enough to suggest that she might have been the nearest thing edgeworth had to a mia; his 'chief prosecutor' to phoenix's plain 'chief'. they're as close as two people can be in a relationship where one of them is constantly lying and the other is von karma's star pupil.
rfta is pretty straightforwardly depicted as the case which solidified edgeworth's resolve to do what he did; i don't think i have to prove that. rumours about him have reached new heights, his car and knife were involved in goodman's murder, he makes an unprecedented mistake in court by failing to connect the evidence room and carpark incidents, thus forcing the chief of police to enter the trial to do so himself, and he's publicly revealed to have relied on falsified evidence to secure a conviction in the sl-9 case, all of which only happened because of lana. jake marshall even claims that from the beginning — that if you trace edgeworth's rumours back to their source, you end up meeting one person: lana skye.
and it gets worse because at the end of rfta, she thinks he's fine!! she literally says, 'i was afraid the pressure would break you, but you rose above it,' and reminds him he's nothing like gant because he's not alone. she leaves the case thinking he will be okay. and then, what, like a week passes, and she finds out that he wasn't, and that he's gone, and it's her fault. even after she was freed from gant's control, even after she had finally stopped lying, she couldn't prevent herself from claiming another life. so much for 'lady luck', i suppose.
and the game reiterates this multiple times. gumshoe states at the start that edgeworth's ties to those higher up in the department have made him the subject of constant rumours, and phoenix says (in front of ema) that he shouldn't be held responsible for the forged evidence because that was all lana's doing, which then leads to edgeworth commenting (again in front of ema) that he feels as though 'something inside him has died.' it all goes back to lana. we can argue and say that it was technically gant's doing that caused all of this, but lana still took actions that led to it. even her complicated friendship with edgeworth isn't spared; it's that closeness between them that exacerbated those rumours. how could she not feel responsible in some way?
and with ema, it's rather obvious, isn't it? if she hadn't gone poking her nose into things, none of this would have happened or come to light. and, of course, she'd never choose anyone over her sister, not for anything in the world — it's simply not a question, but that's the problem, isn't it? it's not a question. it's not some hypothetical moral dilemma. it just is. she may not have killed neil marshall, but she still has one king of prosecutor's blood on her hands. and now she has to live with that. she just. has. to live with it. no matter if he chose otherwise.
moving on from that a little, i think it's actually wild how much of ema's journey to becoming a forensics investigator is paved with bad memories. neil marshall's death and her subsequent inability to testify are what drives her to begin pursuing it, her first proper investigation results in her idol's "death" and when she finally graduates, the person who saved her sister has been disbarred, and she can't even help because she isn't allowed to. all that pain and constant pursuit of her goals, and she's still the same ema skye, still that girl shrouded in darkness, always one step behind the truth, one step a little too late. no wonder she was angry in aa:aj. i would be furious.
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my favorite headcanon to ponder is that as soon as they enter the Champions League - and it becomes official that this level of cardiovascular training is going to become Jamie's new longterm normal - Roy immediately bans him from running on pavement (so that he'll still have cartilage in his knees by age 60, and because no trainer ever cared enough to do that for Roy and he's gonna do better by Jamie if it kills him).
However...
--they can't limit all his running to a treadmill or track either, because that's a GREAT way to get hurt when he's on the pitch.
Cue a hilarious montage of Jamie biking to some park, folding the bike to carry over a shoulder while running through said park, hopping back on the bike once he reaches the road, biking until he reaches a grass/dirt track along the river, running until the dirt track runs out, biking again, etc.
Cut to a shot of Roy frowning studiously because This Isn't Working Out, before he turns to Jamie and dead-serious, he asks, "Can you run the pavement on your hands?"
And Jamie is 😭😭😭 on the inside but verbally he's just "uh....yeah! Yeah sure I mean yeah no don't think so but yeah sure yeah why not I'll give it a go?"
Cut to Jamie managing seven whole haphazard steps in a handstand before, "aiyeeee..." and a close-up of Roy cringing with his fists over his mouth.
Cut to Roy frowning studiously again. This time Jamie's got a big abrasion on his cheek. Again, deadly serious-
"Could you cartwheel the asphalt bits?"
Cut to Jamie cartwheeling over and over and over like. well, like a wheel, making good speed...
in a very much NOT straight line, until he cartwheels right into a bush.
"Well." Roy's got his studious frown, Jamie's got his scraped cheek and leaves in his hair. "I think we're out of options."
And Jamie's face falls. "Coach no. Please I can figure it out. Just need to keep trying things don't I?"
But Roy's shaking his head.
And Jamie just looks sadder and sadder, and he starts to look a little scared. "Coach really I can just run the pavement like I used to it's f-"
"Nope. I'm calling it."
We linger on Jamie's devastated face.
Quick cut to Jamie's torso. He's running on the road. He reaches the park. He runs through the park and reaches pavement again. He runs the pavement until he reaches the dirt track by the river. He runs the dirt track until it ends, transitioning straight onto the road once again. Scene cuts to him panting at Richmond Green once he's all done. He slowly straightens up, turning to Roy (who it's revealed bicycled the whole way with him) with the angriest, most murderous glare we've ever seen cross Jamie's face.
Roy breaks into his first grin of the entire montage.
We finally pan down to Jamie's feet
--clad in every runner's favorite pseudo-orthopedic clown shoes. They let you run on a beautiful, cartilage-preserving cloud (edit: ASSUMING you don't immediately let your stride get sloppy, which people often do! that's important, can't believe i didn't say it initially!) and not even Jamie can make them look slick.
*This post dedicated to my own hoka-related humiliations. They're lovely at what they're designed for but oyyyye. tbf hoka does make slightly less gigantic, less hideous models (ones that visually limit themselves to the type of loud garishness that Jamie would actually probably adore). But also tbf, you KNOW Roy would insist on Jamie cycling through the dumbest, ugliest, most embarrassing, "it's yer fuckin knees, Tartt come on!" models he could find.
(Bonus: Practically overnight, Jamie suddenly becomes an expert in every dirt, grass, and otherwise natural running trail in all of London because as long as there's no concrete or asphalt anywhere on his run, he can go back to his normal low drop shoes.) (Edit: which, to reiterate, is a much better choice for both your joints and feet, than running pavement in hokas!)
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