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#nature essays
vriskan8or · 1 month
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let her go
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officialspec · 6 months
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ill be honest as much as i love to criticise the use of fatphobia for comedy ill never be able to hold the fatphobic jokes in kung fu panda against it
like yea those movies are guilty of dipping into The Usual Tropes for a cheap laugh but not only is the character writing for the fat characters the strongest and most sympathetic ive Ever seen literally just the character designs of the pandas in the 3rd movie get me choked up sometimes. theyre all so appealing and clearly treated with the same care and attention as everyone else without copping out and making them Barely Fat. po is already a size that doesnt exist in film protags and hes still the thinnest person in that whole village and that meant a lot to me
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pokeberry5 · 9 months
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thug beatdown round 2: electric boogaloo
(extras, cw flashing gif:)
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alt:
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the fit:
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morgulien · 9 months
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“Tolkien wasn’t good at writing women” well explain this
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nethnad · 6 months
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thinking about time lords and their fucked up little society again and i just realized how devastating the revelation of the drums in the end of time is in relation to the master's character.
because of all the renegade time lords in the universe, i think it's the master who most exemplifies the philosophical outlook that the time lords have towards the rest of the universe. they're stuffy observers, administrators, yes - but this position is one they've decided for themselves because of this concept of supremacy over other life forms. imposed and upheld this idea that other species that lack a time sense are less-than, primitive. and the master buys into this hard.
and i mean... compared to the doctor, the master is good at being a time lord. he buys into these supremacist concepts, this idea that every other species (and especially humans) is practically a meaningless ant in the grand scheme of the universe. takes it to the extreme, yes, but its the same underlying principle. he's a good student (despite whatever chibnall might think) - that one time lord from terror of the autons (identity forever a mystery) (its brax) even says "he did receive a higher degree of cosmic science than you." the master could play their game if he wanted to. he's remarkably comfortable with being on gallifrey/the idea of gallifrey(in eot/tlotl) than the doctor ever is. where the doctor avoids the subject of the lord presidency like the plague, the master is like "well if you kill the president you ARE the president! and then you have all of gallifrey!" and when the doctor destroys gallifrey (nominally), the master tries to rebuild it in the sound of drums/last of the time lords. tries to emulate their society. honor them in his little fucked up way. he brings them back from the time war!
and what does he get for it? how did the time lords treat him in response?
they decide to implant the sound of drums in his head, stretching back until he's a child. puts this insufferable noise, this splitting headache, in his head for his entire life. all so that they may live while he dies. because he is diseased, because of them. he has swallowed the pill, bought their propaganda, he has followed the rules, he tried to rebuild them he tried. and in response he is chewed up and spit out like trash so that rassilon's god complex can survive while the universe crumbles.
how crushing must that be to someone? to have your whole worldview - that you are better, you are chosen, you are special - come crumbling down in a few short moments? to see the revered founder-god of the civilization you have so desperately tried to revive look at you and say "you are diseased," even though he was the one to poison you in the first place?
and as his heart is torn to pieces... when rassilon says "no more," and charges his gauntlet, the master - who has spent countless lives fighting death with his bare hands - does not move.
part of me thinks he does not want to.
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queenlucythevaliant · 4 months
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For what it means is this, among other things: that for whatever reason God chose to make man as he is—limited and suffering and subject to sorrows and death—he had the honesty and courage to take his own medicine. Whatever game he is playing with his creation, he has kept his own rules and played fair. He can exact nothing from man that he has not exacted from himself. He has himself gone through the whole of human experience, from the trivial irritations of family life and the cramping restrictions of hard work and lack of money to the worst horrors of pain and humiliation, defeat, despair, and death. When he was a man, he played the man. He was born in poverty and died in disgrace and thought it well worthwhile.
Dorothy Sayers on the Incarnation, "The Greatest Drama Ever Staged" (emphasis mine)
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lolli-popples · 3 months
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The Missing Link in Scott's Characterization
(Wrote this in a random document and I think it's good so I'm loosely transcribing it here)
These are some of my thoughts on a crucial facet of Scott's character in the Life Series that I think is overlooked by the fandom.
From my personal viewpoint, people put a lot of emphasis on Scott's caring about his allies over everything else. I think this is an important characteristic. However, I think this being shown as the most central trait is a detriment to how people read his involvement with the overarching narrative. It might be less of a problem if he wasn't directly involved with the final fight of nearly every Life Series.
Because of this combination of things, his main interaction with fans' reading of the final fight is being willing to do anything to make sure his friends win. It gives people the tendency to attribute some victories partially to him, which upsets people who want main read of the story to focus entirely on the winner. But this also has meant that one of Scott's main traits is overlooked.
Just as much, and often, more than Scott values his allies, he values fairness. To showcase this, let's look at Limited and Last Life, where he had the most control on how the final fight took place.
In Last Life, when it's down to the final four, Scott *could* have teamed up with Pearl, his ally all season, to kill Martyn and Ren. That aligns with wanting either your or your allies to win, no? But he doesn't. He suggests they split to the 4 corners of the map and have a fair fight on equal footing. Very fair.
With Limited Life it's even more apparent. Scott and Martyn have an impressive amount of time. They could both still die multiple times. Impulse is running out, and there's a numbers advantage. They could have killed Impulse and Scott could have let Martyn win, or Scott could have given Martyn his time to fight Impulse alone. But instead, he suggests they all go down to the same amount and have a fair fight.
In both situations, Scott puts fairness *over* an alliance victory. Even though Limited Life didn't end up ending fairly, that had nothing to do with Scott.
Double Life certainly has the strongest claim on Scott "letting someone win". That his death is an apology for abandoning Pearl.
But if you listen to what Scott says in the finale, he never apologizes. He says he didn't think they'd get this far, he says she deserves this more than him, and then he says the iconic "Tilly death do us part."
Scott didn't fight Pearl. But I don't think it came out of remorse. I think that too, came from a sense of fairness. Which is that Pearl, by all accounts, DOES deserve this win. If they fought it would basically be up to a draw. To chance. Scott has every chance of winning. But if you go over the events of Scott's final episode, he mostly runs. He survives. While Pearl 1v2'd two separate pairs and won! The only reason Pearl hasn't killed Scott already, who has been her enemy all season, is because they were randomly assigned to be soul-linked. A concept Scott has fought since the very beginning. He knows that while he never hurt their chances, Pearl is the reason they are here, and Pearl is the reason he is here. It wouldn't be fair for Pearl to lose to what is basically a coin flip. So, he doesn't leave it up to random chance.
So yes, Scott is loyal and does care about his allies, he proves that again and again. But the way he is involved in how the series end shows that his sense of order and fairness are equally important. Also, I think viewing his contributions from this angle help remedy some of the reasons people don't like his usual characterization because of how it effects the agency of other characters.
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fawnaura · 3 months
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It is one of the perils of our so-called civilized age that we do not yet acknowledge enough, or cherish enough, this connection between soul and landscape—between our own best possibilities, and the view from our own windows. We need the world as much as it needs us, and we need it in privacy, intimacy, and surety. We need the field from which the lark rises—bird that is more than itself, that is the voice of the universe: vigorous, godly joy.
Mary Oliver, from Long Life: Essays & Other Writings; 'Home'
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ghostingcrows · 1 year
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I used to talk about this a lot but 
IDW Prowl is probably one of the most complex characters in the comics and I absolutely hate it when hes reduced down to “the asshole character”
Cause like
Yeah sure hes got a bit of a stick up his ass
But I feel like people just end there analysis of him there
Has he committed a lot of war crimes and done unethical stuff
Yes
But so has literally EVERYONE else in this universe
Starscream is literally the pinnacle of war crimes
The comics make a point calling out even Optimus for his questionable actions and orders during the war with the Dinobots saying he makes them do the dirty work for him
Megatron literally commits genocide and yet his story ends with an alternate version of him going free and exploring the universe with the LL
The literal war lord was treated better and is looked upon more positively than Prowl and I think it just came down to how fucked Prowl got by the writers
Because while Megatrons redemption was all in your face and you got a shit ton of flashbacks that try to justify the eventual atrocities he would commit you don’t get that with Prowl
Even when Prowl is absolutely in the right you constantly have it disregarded by characters making jokes about him overreacting (being mad OP is sending the space tyrant away with free reign of his own ship isn’t overreacting btw-) and as such you start to think of him as a genuinely irrational character when hes not
Prowl is bad at keeping the relationships he forms yes 
But he is not always at fault for that
While his relationship with CD ended poorly Chromedome is also shown to be kinda of a dick sometimes and commits his fair share of fucked up things such as when he literally ATTACKS PROWL AND FORCES HIS WAY INTO HIS MIND TO PROTECT HIMSELF FROM THE CONSEQUENCE OF HIS ACTIONS WHEN PROWL THREATENS TO TELL REWIND ABOUT THE SHITTY STUFF HE DID IN HIS PAST
This leads to Prowls inevitable snowball out of control when this attack leads to an opening for Bombshell (I think its been a while since I read the comics) to use his tech to mind control him forcing him into combining with the contructicons
Something we learn is an immensely intimate thing with their minds being kinda melded 
This was something Prowl did not want 
And when all was said and done and he was calmed down he still had to live with that gesalt he was forced into with them following him around like fanboys
Nobody ever even really stopped to check in on him 
And as such he understandable went a little bit insane
He had just faced an immensely traumatic invasion of his body and mind and on top of stress form feeling like everything was out of his control and like he couldn’t stop the bad things from happening alongside bitter emotions being brought back up with a return visit to Earth and reunion with spike AND the fact that he feels like Optimus doesn’t trust him and like hes just letting Starscream do whatever he want (something that understandably freaks him out seeing as how he spent 4 million years fighting Starscream) he just kinda snaps
He trys to destroy the space bridge so that no one else can leave or get through and so he can regain some semblance of control
Is it wrong
Yes
But he was not in a good state of mind and no one was helping him at all 
And immediately following his arrest afterward Prowl is confronted by OP who is supposed to be his friend and when Prowl doesn’t say the right things to him to placate him Optimus’ response is to punch him out a window and beat the shit out of him
And not being given any room to breath this is immediately follow up my him getting kidnapped by Tarantulas who is very obviously an impactful and negative part of his past
Prowl just has bad event, one after the other, happen to him over and over again and not only does no one check up on him afterwards to see if hes okay but everyone actively makes fun of him for being understandable unstable
Prowl is a fucking tragedy and not many people seem to be able to see beyond what characters in the comics think of him
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bi-shop · 10 months
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kind of a dumb idea but hear me out ... maybe just Maybe we should throw angst at constance more ... like , lots of it ... throw her down the stairs , idk ...
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theyarewrestling · 24 days
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Dan and Phil, The Blair Witch Project, and taking back agency.
In their latest video, «DanAndPhilCRAFTS - Slime» Dan and Phil have made a very clear homage to the 1999 found footage film «The Blair Witch Project» directed by Daniel Myrick and Eduardo Sanchez. The movie tells a story about a group of students, who travel to a small town in order to film a documentary about a local legend. In the process of filming, however, they get lost in the woods and never make it out of there, being haunted and then presumably killed by the witch. In this essay I am going to analyze how the visual narrative is structured in both films in relation to one another, the way «Slime» differs from «Blair Witch» and how that difference conveys the shift in Dan and Phil’s public presence.
Let's start with imagery associated with the paranormal in both films. In Blair Witch one of the signs of the witch's presence become the "dolls" made out of sticks. They are filmed by the characters, who are naturally freaked out by the dolls appearing seemingly out of thin air, signaling the presence of the dangerous and inhuman Other.
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Dolls are also used in Dan and Phil's video, the main difference being that the pair are not haunted by the paranormal and unexplainable Other, no, they willingly put the dolls there, they are taking active steps in bringing about their own doom.
While in «Blair Witch» the dolls are placed ominously in between tree branches, filmed from below to make them look like they’re floating above the camera, being forces of a power that the characters ought to be afraid of, in «Slime» the dolls are nailed to a steady surface at camera-level, and while they do provide an unnerving atmosphere, they are not a danger to the characters, at least not a danger they’re not aware of.
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The same can be said for other "occult" imagery and artifacts. While in «Blair Witch» the characters finding strange symbols and even bloody remains in the forest strengthens the tension and suspense, signaling the close presence of the witch, in «Slime» all of the unnerving, "occult" and "satanic" exists under the characters' control. Dan draws the symbol on the wall himself, the animal skulls are presumably also brought in by the characters. Instead of being signs of danger, uncontrollable, they are merely tools in the hands of the pair.
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The interior of the shack where the students meet their end in the 1999 film is filthy and decaying, which only strengthens the fear within the characters and us as the audience. It is filmed using close up shots which show the shack in it's decrepit and unnerving state. The shack that Dan and Phil's video is filmed in also seems abandoned from the interior, it is broken down, dark and dusty. However, instead of being mortified, like the characters of «Blair Witch», they occupy the space quite comfortably. Instead of being haunted by the building, they become the ones who haunt it, once again taking back control of their own demise. The interior is filmed at strange angles, almost reminiscent of German Expressionist films, in which the odd angles conveyed the detachment from reality and perpetual insanity, which in Dan and Phil's case could be used to depict the pair's descent into madness which leads them to their ritual.
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Nature plays a crucial role in «Blair Witch» as the witch herself is never shown. The characters are "surrounded" by the unnerving dark trees, which presumably hide the horror that is never allowed to be seen directly.
Dan and Phil make an obvious homage to that with their shots of the trees, however there is a major difference. While the shot is still desaturated and somewhat unnerving, the flowers on the tree are in bloom, symbolizing a new beginning and the hope that comes with it. The new "life" that is going to happen after the pair summons Baphomet.
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In «Blair Witch» Heather's final message is a long shot filled with pure fear and desperation. Dan and Phil's shot mimicking it is almost unnecessary as it lasts only a few seconds, however in those few moments it manages to showcase the pair as a unit, they are calm and in the process of their ritual, determined to bring it to fruition. While Heather is left alone in the dark forest in which she will die, Dan and Phil are not alone: they are in this together, they are a team. If they die, it's because they chose to do so. "Creativity is nothing without friendship".
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Now for the infamous "Blair Witching it in the corner". In this memorable scene from the 1999 film one of the students is stood in the corner facing the wall. Heather and the audience both know that, according to the Blair witch mythology, this position is a prelude to being killed, as that is how the murderer, who was persuaded by the witch, used to place his victims, for he couldn't bear to look them in the eyes. This face-to-the-wall position conveys pure helplessness at the hands of the persecutor. In «Slime» there is a scene that makes an obvious homage to the «Blair Witch» scene: Phil is stood in a dark corner of a room, the shot is in black and white. There is, however, a stark difference: Phil is facing the camera. With just this one change the scene no longer feels like a display of helplessness. Phil is looking straight at us, he is not a victim at the hands of unknown horrors, he is in control.
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The way the "monster" is presented in both films differs significantly. A big part of the horror in «Blair Witch» is our inability to ever see the witch herself. The "monster" not being shown to the camera is a trope as old as low-budget horror: it helps build suspense and also hides the lack of budget. In «Blair Witch» the rapid movement of the camera also makes it feel like the horror is too great for a human mind to comprehend, too great to be caught on camera, Lovecraftian in nature.
The 1999 movie starts with the characters interviewing Blair locals, who tell the characters and us, the audience, the legend of the Blair witch. The witch was sentenced to death for practicing witchcraft, so she haunts those who try to disturb her peace. Here we can make the connection between those persecuted for "practicing witchcraft" aka being Other with being queer and being othered and, historically, persecuted for it.
This interpretation correlates well with the fact that the "monster", in this case the devil Baphomet, is present in «Slime». More than that, Dan and Phil actively seek him out. In the final scene of the short film, Baphomet has his arms around the pair, claiming them. The characters are willingly allying themselves with the Other. Dan and Phil see the "monster" and yet they do not run away, instead, they worship him. In the theme of reclaiming your agency, this could symbolize coming out, proudly and purposefully becoming part of the Other.
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They are doomed from the start, but they are not helpless victims of the Other, scary and unknown, they are the ones bringing about their own doom. This is taking your agency back, and I feel like this narrative rhymes really well with Dan and Phil's current presence on the internet. While the early years of their careers were filled with public speculation and being stripped of their agency, something that "was just theirs" being scrutinized by the public, which definitely affected the way they had to behave, their current self-described "chaos era" is very different. They no longer make the effort to pretend to be anything they're not. They are the ones in control of the narrative, keeping their private life private, while also sharing way more openly and freely, knowing that we know and not really caring about the public's perception, as post coming out they have taken the power and agency back into their own hands.
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chimaerakitten · 6 months
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So the Temeraire series doesn’t do the Pern-derived magic/telepathic bond thing, and it’s nice to have some variety on that count since the telepathy thing is pretty widespread. But there’s this passage in crucible of gold that’s like—
Wait, my thriftbooks order arrived, let me go grab the quote
Or, Temeraire thought, he might as easily have gone alone--more easily, in fact; he had to carry Forthing cupped in his talons, and it was not at all convenient to always be looking to make sure he had not dropped out; Temeraire was not aware of him in quite the same way as of Laurence.
(Emphasis mine)
And this combined with the number of times it’s mentioned that (Russians aside) aviators just don’t seem to be capable of fearing their own dragons (and not just aviators who raised the dragons from the egg—it’s the same with inherited dragons) indicates to me that there’s something really interesting psychologically/biologically going on “under the hood,” there, so to speak.
And maybe this is just me and all those anthropology classes I took in college but that actually makes a lot of sense?
The historical record in the series dates the intentional breeding of dragons to a couple thousand years in the past, in china, but there’s a lot of evidence that there’s been a looser symbiotic relationship between humans and dragons a lot longer than that. Namely the domesticated elephants and the dragons in the Americas being the same species and of the same attitudes towards humans as dragons in Eurasia. So that’s likely at least 20 thousand years of symbiosis/mutual domestication, (if we assume they migrated together, which I do because it’s the simplest explanation) and it could well be much longer than that. That’s a long ass time. Like. The spread of IRL lactase persistence took less time than this.
And much like the benefits of being able to drink milk as an adult, the benefits of mutualism with an intelligent dinosaur-sized flying predator would absolutely have selective pressure on human populations. That’s just a given. I would talk about early hominins being third-tier scavengers here and Pleistocene megafauna and the canonical prevention of malaria via dragon proximity as compared to sickle cell anemia, but nobody wants me to regurgitate my entire biological anthropology 215 class in a tumblr post. Just trust me on this one.
Basically, the entire human species in the Temeraire universe will have been under a lot of positive selective pressure to be good symbiosis buddies to the dragons, so it’s no wonder aviator attachment is so intense.
This is likewise true for the dragons. A lot can be put down to intentional breeding in the last couple thousand years, but the foundation of dragons being prosocial with humans would have to be laid before then. Humans have domesticated predators IRL, but dragons are like 2-3 orders of magnitude larger than wolves and it took a long time to get dogs. The romans wouldn’t have had any luck if the dragons weren’t already partially on board. My theory is that this would have started way back. Australopithecus times, way back, because— [Anth 215 sneaks up behind me whilst the jaws theme plays] ANYWAY there’s a few benefits I can guess at for dragons having assistance hunting from small bands of persistence predators on occasion. I also think this would have intensified post-Pleistocene as the megafauna that would have been the dragons’ main prey went extinct and eventually agriculture would be the only way to replace— [Jaws theme intensifies] JUST TRUST ME BRO.
All this to say that humans being able to very quickly lose all instinctive fear of the dinosaur-sized flying predators they spend their time around and said predators developing not only attachment to humans but particular awareness of their humans specifically so as to prevent any possible accidental harm makes a lot of sense from an evolutionary biology perspective. It’s evidence of the same mutualistic relationship biologically shaping both species across the broader time spans that the series hints at.
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omaano · 1 year
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"I bet it was the martini that blew your cover." "You can judge my drinking habits after you got me out of here, Djarin!"
I've seen one (1) James Bond movie my entire life back when 00Q was a whole thing on this hellsite, but I'm ready to die on the hill that Din would make a great Q who knows how to work in the field and can poke at gadgets just fine, but also gets very passive agressive when he has to work overtime - he asked for the office job because his kid is going to school and they are working on building a normal-adjacent nighttime routine, which is very difficult when the agent he's working with cannot stick to a plan.
For the Spies/Assassins square on my Bobadin AU bingo for @bobadinweek
(I've seen all the John Wick movies though, so if Boba's pose is familiar, that is why)
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millenniummmbop · 2 years
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I saw your girl!kaiba art over 12 hours ago and haven't been able to stop thinking about it. Autistic girlboss.
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BAD BITCHES ONLY!!! 😤
(and yugi)
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ghost-bxrd · 2 months
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I want Fae!Dick to scare Deathstroke, or Jason using his "scary big brother privileges" 🥺
Omg literally can you imagine tho!?
Like, I don’t know much about Deathstroke, only that he’s apparently had a phase or two where he’s obsessed with Robin and making him his apprentice.
And Dick? Oh boy did Slade bite off more than he could chew with that particular sidekick.
Dick is amused.
When Slade tries to threaten him? Well, sure. Okay, he can play along. He’s got his gimmick with the titans right now and Bruce isn’t here to lecture him on morals. So, bring it, old man! And Slade? Totally convinced he scared the kid into submission? He’s in for a nasty surprise, because he was expecting an angry, terrified kid who was gonna fight him every step of the way. Someone he’d have fun breaking and molding into his version of a good soldier.
He’s not prepared for Dick “several rows of teeth” Grayson, for Robin “you should really work on leaving so many loopholes in your instructions” sidekick to Batman, for Richard “I am about to make you regret the day your mom and dad had their first kiss” Grayson-Wayne.
And Slade does. He regrets it so, so much. By day seven he’s ready to throw in the towel when he once again wakes up in the middle of a swamp with Robin splashing through the murky waters like it’s a day at the beach, animatedly talking to a something that looks like an alligator but has way too many eyes and feathers to be one.
“What? You only said not to move anywhere with trees again. We’re in a swamp!”
“This counts as the woods!”
“You said trees tho” :))))
“There ARE trees!!!!”
“They’re mangroves, jackass. God, read the room. They’re real sensitive about being called trees.”
(Slade will forever deny that he sheds a tear out of sheer relief when Batman comes to pick up his weird af kid)
And I’m afraid Jason would never actively have to invoke scary older brother privileges. It’s more of a “Dick, I know I complained about my maths teacher one (1) time, but please don’t have the deer eat her.”
Dick, who was totally about to tell the deer to eat her: “… Not even a nibble?” 🥺
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longreads · 1 year
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“In 2012, I was working at a hotel in Glacier National Park when a man I’d just met invited me for a day of tubing and drinking beer on the river. Little did I know, I would nearly drown in the rapids.
But this story doesn’t begin in the water.
This story begins at Many Glacier Hotel the night before the start of the summer season. The employees, most of us new to each other, new to Glacier, gathered in a basement theater space typically reserved for a folk singer who performed songs about mountaineering. A seasoned National Park Service ranger stood before us in the usual wide-brimmed hat and stiff green trousers.
‘Glacier National Park is dangerous,” she said. “And every year, there are fatalities. Climbing accidents, deadly encounters with animals. Some of you have experience in nature. Some of you are new to it. Either way, statistically, one of you will die this summer.’”
Krista Diamond’s new essay, “That Girl is Going to Get Herself Killed,” reckons with the dangerous allure of the wilderness and our inability to assign order to it. Read it today! 
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