Imagine fucking up so much that a music critic whose videos usually average about 15-30 minutes puts out a feature-length dunk on you.
Better yet, he put his Worst Pop Music of 2023 video on hold to make this, and his Worst Of lists are his best performing videos.
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Crimes Against Existence
The High Queen Phantom has expressed concerns about the state of law within the Mortal Realms.
Walker, sensing a chance to redeem himself in her eyes, volunteers to go out and report the state of the lands to the Queen. She seems pensive, but agrees. Under strict conditions that Walker must NOT detain nor arrest any mortals that would not have been taken into custody or otherwise punished by mortal authorities in the same situation.
She hands him an addendum to his book the Duke has written up for him to use as reference while he operates in the Mortal Realms.
He reluctantly agrees and makes his way to a mortal settlement with that he can sense has strong criminal influence.
He follows the trail to one of most crime-infested cities on Earth: Gotham. His guards clean out an old office, and he sits himself down into a desk.
He turns on the TV and tunes into a random channel. A man who seems like he'd fit with the Far Frozen is locked in combat with a skilled mortal in some sort of outfit. After a bit of research, Walker learns these are the rogues and vigilantes.
Well, this explained quite a few of the High Queen's problems. Though she doesn't know of them just yet.
Now, how do we rectify that?
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A frustrating development with the growing lack of reading comprehension I've personally noticed is an emerging fervor of insisting things aren't canon unless they are explicitly stated beyond all reasonable doubt.
I can not emphasize enough how harmful a mindset this is to have. Yes, it's wonderful to have characters outright say "I'm trans," but to deny a character's identity for not saying that is dangerous.
Plenty of real people prefer not to use specific labels. Historically, people didn't have our modern terms or modes of expression. Many modern cultures don't use these terms, either, and plenty of people within those that do can't safely openly identify.
If the only representation you accept as canon is within modern (and let's be honest, wealthy white able-bodied American) standards, then you are denying yourself and others a huge amount of representation and seriously limiting the media around you.
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I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)
As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)
He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.
(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)
It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.
(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)
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Thinking about the Presger as foils to the Radch. How in some ways the Presgar are to the Radch what the Radch are to the rest of the non-imperial galaxy: these bogeymen that could appear at any time without warning and destroy you and everything you love. How anyone who enters the Presger side of the station in considered to be legally dead--that they'll be taken apart and reconstructed--and how this parallels both the creation of ancillaries and the assimilation of empire. How the Presger train their Translators to act and speak like Radchaai. How Anaander tries to use the Presger as a scapegoat for her own dissolution (and how she's wrong, because the thing that makes the Presger terrifying is that they're completely incomprehensible. They don't destroy things for territory or resources; they're violence without motivation.) They're distorted mirrors of each other, so of course it makes sense that there are factions who believe they're actually all the same.
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