the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.
capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.
now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.
and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.
and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.
and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".
it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"
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there’s a great write up by someone on here that i will have to search for in which they discuss how the ultimate evil for david lynch is sexual violence against women (even more severe than murder, which is often auxiliary to that type of specific violence); twin peaks is incredibly soapy—on purpose! lynch and frost are playing with form and content on purpose to examine incredibly difficult subject matter through a (for lack of a better word) more palatable format—which most of the time i think works to its advantage and makes those moments of visible horror so much more effective (i use “visible” rather than “true” or other similar adjectives because the horror is always there, it’s embedded in the entire town, shows up in every generation we see in screen and we watch them grapple with it in different ways, but that’s a separate post)
however—and i’ve talked about this before—i find that once you’ve watched fire walk with me it is so much harder to watch the show because the ignorance of nearly every single member of the town (yes, including cooper) pervades the way the action unfolds. twin peaks viewers knew the premise of the show going in and we get to discover details and information alongside the characters. when albert rosenfield comes in as the only voice of reason and reality, it’s set up to be jarring to both the townspeople and to the viewer. why?
sheryl lee said in an interview, “fire walk with me was very difficult for me to watch… and, emotionally it’s a reminder: this is a movie, but this continues to happen every day and how can we stop it? when i watch fire walk with me now, as a mother, i watch it and i think look at all those signs that were being exhibited. this girl was in danger, and look at all these people that were in her life. what would have happened if someone, somewhere, somehow could have helped or stopped it? that’s hard to watch.”
much has been discussed critically about fire walk with me and whether or not it’s exploitative in the ways that it portrays sexual violence against women. while lynch does not shy away from making that violence visible, it is done so in an attempt to make the viewer examine their own relationship to that violence and how it shows up in their own lives. the audience is forced to think about the ways that they are complicit in how and why these violent acts occur and what they can do to stop it, which is why for many it is an uncomfortable watch. for others, it is a painful (and speaking from my own perspective) necessary watch because lynch didn’t make a horror movie, he made a documentary.
fire walk with me is necessary (in my humblest of opinions) to understand why the pieces that lynch and frost put into twin peaks work. there’s so much backstory to how they weren’t originally going to reveal who laura palmer’s killer was until ABC made them, lynch wasn’t around during much of the second season so things got a little off the rails storytelling-wise, etc. etc. but fire walk with me allows them to tie difficult, often horrifying threads (ben horne unknowingly attempting to have sex with his daughter, the townspeople’s distancing of albert, the hands of random townspeople trembling as BOB attempts to claw back into the material world, the list goes on and on) back to the central thesis of “sexual violence is the ultimate evil, it is completely avoidable, and you have a responsibility to recognize the signs and stop being complicit”
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astarion, the man who was dying and offered eternal life, but had no idea that it meant becoming a slave to a sadistic master.
astarion, the man who had his freedom and bodily autonomy ripped away from him.
astarion, the man who was forced to befriend, seduce and sleep with people to lure them back to his master, resulting in severe sexual trauma and the struggle to form any sort of intimate relationship.
astarion, the man who was horribly punished whenever he refused his master’s orders (one punishment being sealed away in a dusty tomb, starving, for an entire year. he scratched his hands raw trying to carve his way out).
astarion, the man who was forced to eat rats.
astarion, the man who hasn’t even been able to see his own face since he turned.
astarion, the man who had his body mutilated as cazador carved scars onto his back, which he later found out was to bind him to a ritual.
astarion, the man who is so severely traumatised that he admitted he doesn’t know how to say “no” or ask for help (and he feels guilty when he does).
astarion, the man who waited two centuries to be helped and freed from torture, but no one came.
astarion, the man who was always treated like a monster when all he wanted was to be treated like a person.
astarion, the man who came up to you in the middle of the night just to thank you for defending him and allowing him to make his own decisions.
astarion, the man who said that no one ever looked out for him or showed him kindness, and that you’re the only one. “other people don’t have a heart like you. you’re you. no one is like that.”
astarion, the man who broke the cycle of power and terror that started centuries ago thanks to the love, care and compassion that you showed him when no one else did.
astarion, the man who confessed that he loves you and feels safe with you; something he has never felt with anyone before.
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Headcanon, theory, prediction, whatever you want to call it,
but I think the reason that the universe Miquel hijacked collapsed, and not Miles, despite them both being “anomalies” is because Miquel was trying to change someone else’s story, as opposed to Miles who inspires other people to change their own stories.
Like, Miquel tried to force himself into a universe that wasn’t his. He took the place of his counterpart and pretended to be him, he was playing a part that wasn’t meant for him, he was changing a story that wasn’t his. And the universe rejected that.
Whereas Miles inspires people to change their own stories. His universe didn’t collapse because that’s HIS universe. It’s HIS story to tell, and sure the plot changed along the way, but he’s still telling it.
The same with 42-Miles. His story was drastically changed because he wasn’t bitten by that spider, but his universe isn’t collapsing because he’s the one still telling the story. He’s still shaping his own future.
And like how Miles inspired Peter B to have Mayday at all. Without Miles, Peter wouldn’t have gone back to his and he wouldn’t have had Mayday. But his universe isn’t collapsing because that’s a decision PETER made. No one forced him to make up with MJ and have Mayday. But Miles gave him faith and inspired him to go back and give life another try. (Don’t even get me started how Peter would have literally DIED if not for Miles. He was going to stay in Miles dimension. He was fully ready to deteriorate. He literally would have died if not for Miles saying “NO BITCH YOU GOTTA GO HOME” much less inspiring him to have Mayday, I’m just saying I’m just saying.)
And the thing is I don’t think Miquel realizes that. He’s so caught up in his grief and anger that he’s completely consumed with following canon and my never disrupting ANYTHING. He doesn’t realize that that universe collapsed because he tried to change someone ELSES story. He tried to become someone else to live their story. He didn’t try to make his own and that’s not how it works.
Idk just thinking thots tonight, And ATSV is always at the top of my brain
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do you have any particular thoughts regarding marcille being a half-elf? its interesting to me considering the fact that she seems self-conscious about being a half-elf, but denies it when its brought up
i remember marcille looking visibly uncomfortable over laios simply asking her how old she is, which i think the only reason she might feel nervous about this is because it might reveal her as a half-elf to him.
she's never corrected anybody whose called her an elf either.
never mind the circumstances of the reveal, in which thistle goes on about how half-elves are inferior and accusing her of wanting to become full blooded elf, she seemed particularly upset like he struck a nerve-
i wish the half-elf thing was built upon more. also, underrated marcille line:
okay so i revisited this sequence just to make sure I could back myself up and it's just... man. there's a lot going on.
the first reaction we get from Marcille is this huge panel that takes up half of the page
she is viscerally affected. flushing to the tips of her ears with the intensity of it. and we see it again, a few pages later
so it might seem like she's embarrassed about it and lying to herself, but... I really think it's just that Thistle is accidentally hitting sore spots. If you really look at what he says to get these reactions
"you'll live out your entire life [...] and die that way too"
"a hundred years from now, nobody will be there"
Hear me out. I think, if he stuck to harping on about her inferiority without bringing up how terrifyingly long-lived she is, she wouldn't have been as bothered. But right now, Thistle is accidentally hitting all the marks on Marcille's deepest fears-- and this is after the Winged Lion promised her that her dreams could come true in an extremely vulnerable moment, so it also hits her slightly guilty conscience as well.
I do truly believe that Marcille isn't bothered about being a half-elf the way that people assume she'd be bothered by it. To her, the biggest problem with being a half-elf is that it's isolating.
On one hand, it's not hard to imagine why she'd distance herself from elves in the west. A lot of them can clock her as a half-elf on sight, unlike other races, and therefore she's always branded with this weird stigma of being Othered -- I would even say that she considers herself lucky for being born outside of elven culture instead of having to grow up in it. I mean, just... look at the way elves talk about her.
Skipping past the uncomfortable implication of what 'not tolerating the existence' of half-elves would actually entail, this is incredibly fucking annoying. You can see why she wouldn't want to be around elves much. You see a lot of Marcille reacting badly here, but honestly, almost all of it can be attributed to her freaking out that her bluff completely failed. She's honestly more paying attention to Izutsumi's footsteps and trying to coordinate an opportunity to escape.
And in the end, you see her built-up frustration at being asked if she wants to be a full-blooded elf like 2-3 times in a row.
Yeah, yeah, "the lady doth protest too much," and all. But we know Marcille. We know that she's a lot more embarrassed and horrendously unconvincing when she's being prodded about something she's actually self-conscious about.
Moving onto the flipside of things, it might seem weird that she "pretends" to be a full elf around other races, but it's not really that strange if you think about it. Again, people are weird about her being infertile or whatever, and a lots of them don't even know much about what sets half-elves apart from everyone else. I mean, look at how uncomfortable Laios is just asking her about it
and look at how exasperated and resigned she looks
And like... she's right. Where would that come up in normal conversation? Why would she go out of her way to tell them? She's functionally a normal elf to other races anyway -- got the ears, the abnormally long "childhood", and the huge mana capacity. Unless it's directly relevant or important for people to know, I don't think it's all that strange or indicative of insecurity that she prefers not to bother with it.
(This combined with her sense of being an "outsider" to elf culture also explains why she thinks elf superiority is embarrassing. She sees the way elves treat short-lived races from the "outsider" perspective nonetheless, and thinks it's obnoxious; especially more so because she usually has to play the elf around short-lived races and deal with the reputation of arrogance that elves have built up.)
The sad thing is, this all means that... she doesn't actually fit in anywhere. She doesn't like going out West much because of how elves treat her. But she's also an outsider in the continents she was born in, treated like this exotic long-lived alien choosing to live among short-lived races for some reason. She is always an outsider, the Other, no matter where she goes. Add in the fact that she'll live longer than literally anyone she knows, and it's honestly kind of heartbreaking.
And I think that's the crux of it. Marcille really doesn't act like she's at all self-conscious about being a half-elf because of any feelings of inferiority or being half-made or whatever. She considers herself a perfectly legitimate being and might even, in some ways, consider herself superior to normal elves because she's not blind with elf supremacy or whatever. (And whatever "elven biases" she displays, all of them are born more out of the fact that she's kind of bad at conceptualizing how other races age and mature compared to herself, not that she actually considers herself better or more mature simply for being an elf.)
I think that whatever self-consciousness Marcille has about being a half-elf is, instead, related to terror and loneliness. The reminder that it ensures she'll never truly belong anywhere for the rest of her very long life. The reminder that, in truth, even she's not actually sure how old she is by other races' standards (hence the discomfort when asked how old she is). She doesn't want to not be a half elf, or be a full elf or full tall-man-- in her ideal world, she's still a half-elf. She just gets to live out her life at the same pace with the people she loves and doesn't have to say goodbye again and again and again until she dies.
and one last very important panel, right after Mithrun tells her that all her desires would be devoured
In her ideal world, she's still a half-elf and reality magically starts marching at her pace. But failing that, the second best thing is that she's still a half-elf-- but one who is able to accept reality and let go of her fear.
(But the rest of the story pans out the way it does because, to Marcille, taking reality apart and reshaping it was less scary than simply and fully reconciling with it.)
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