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#you'd think of all people
saltypiss · 2 months
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Something forever telling about people coming out of the woodworks to care about anti-semitism only when it comes down to some politicians in a primarily jewish country committing a genocide.
So much deflection and blame moving but say anything bad about Palestinians and they're not gonna hesitate to push all blame onto them for everything.
Ya'll jews know your politicians don't represent you, right? Or maybe they do. Either way, not a good look for anyone. Utitlizing such childish tactics will always be a calling card of pro-genociders. Do better. It's embarrassing.
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something i never hear mentioned about cursed monkey's paws is that when the final finger curls up, you are then left with an angry monkey fist that proceeds to beat you to death
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honey-doc · 1 month
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Why I appreciate Kabru and Mithrun's relationship in the story (with pictures!)
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I just want to express how much I loved reading through the chapter with the 6 days they spent together and how I think their relationship developed in a pretty sweet way.
I feel like a lot of people reduce their dynamic to "nurse and patient" and that makes me sad because I personally got a lot more from it than that.
I do wanna start off by saying I'm here appreciating their dynamic as it is in the text.
Read more (spoilers ofc):
The beginnings
When they first met, there was an air of intimidation surrounding Mithrun as the captain of the ominous Canaries. He demonstrates his proficiency as a fighter and leader which worried Kabru because he knew it would lead to the dungeon falling into elven hands once again. But this threatening aura begins to dim in Kabru's mind as they get to know each other.
Even before they fell down the hole, the both of them ended up relying on each other's abilities a number of times (when the underground governor turned out to be corrupted Mithrun defeated him and Mithrun needed Kabru's deduction skills during the battle on the first floor) which is already the beginning of a great dynamic
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(Kabwu is scared but Mithrun just asks for his help)
After Cithis tasked him with "taking care of Mithrun's needs" for the time being, Kabru treated Mithrun with proper respect and doesn't take advantage of his disability, even using his title “Captain” when he knew Mithrun wouldn’t have cared either way after learning about how he lost his desires. This is in contrast to Cithis who immediately took advantage of her position to mess around with Mithrun when she was taking care of him.
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(When Cithis was put in charge of taking care of Mithrun)
The whole time Kabru is with Mithrun, he treats him like a person and more than just someone to be taken care of, as also he relies on Mithrun's fighting skills, knowledge of the dungeon, and teleportation magic.
When you reduce their dynamic to just "caretaker and patient", you're ignoring Mithrun's own capabilities and making him seem totally helpless. It actually feels rather ableist. They have a more balanced relationship with what Mithrun brings to the table than you may think. Mithrun couldn't have survived down there on his own, but it's the same for Kabru (who famously dies every time he fights)!
Kabru doesn’t show signs of trying to manipulate Mithrun either, and he's no longer intimidated by him in the slightest once he learns he’s not a threat or after his life. Though he does instinctively revert to his "sparkly" persona to get Mithrun to eat the disgusting mushroom, it doesn’t work so Kabru just has him eat it normally and never tries it again. This is the beginning of Mithrun unintentionally encouraging Kabru to be more honest with others.
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(Kabru realizing he can chill out)
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(Kabru being unreserved and Mithrun being silly)
bonus funny moment:
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Bonding
Throughout the journey they talked to each other, shared things with each other, and ate with each other. And Kabru expresses genuine concern about whether Mithrun is comfortable (which is something he could live without and wasn't something the Canaries told him to do).
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(Kabru showing he wants to make him comfortable by making food for him which is a very important part of the narrative)
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(Kabru sharing intimate memories with Mithrun)
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(Kabru initiating conversation without hesitation or worry. This part also is referencing how Mithrun shared very important details of his life with Kabru. Kabru also ends up trusting Mithrun with information about Laios despite knowing he could possibly tell the other Canaries about him and impede his plans..which he does lol they do end up knowing about Laios before meeting him.)
For a bonus Lycion implies Kabru was taking better care of Mithrun than they had been which is interesting to me.
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Mithrun also shows that he has come to trust Kabru's decisions over the Canaries' when he says he wants to stay in the dungeon after fulfilling the caretaker requirement. They did talk to each other a lot, during that time. I wonder what Mithrun's Shapeshifter double of Kabru would look like now?
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Here, Kabru goes out of his way to make sure Mithrun doesn’t overexert himself by knocking him out after the demon leaves with Marcille (again, when his time taking care of him is already over), and I think that demonstrates an extra level of concern he holds for Mithrun.
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(Kabru holding back a hellbent Mithrun)
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(KNOCKOUT!)
He even managed to make Mithrun mad. It's probably because he "let the demon get away" but I think it's cute and funny because would he huff like that at anyone else? Lol
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When the demon breaks through the surface
Kabru begins panicking after Laios turns into the giant monster because he's wondering if he made the right decisions etc. If Mithrun didn’t care about Kabru at least a little bit, he would’ve just left him alone when he started losing it (right after Marcille did the same thing and she is technically more to blame for empowering the demon than Kabru was for not allowing Mithrun to go after it), but he went out of his way to snap him out of it.
It also means a lot to me that Mithrun even says Kabru's name, because in Japanese you can go your entire life without referring to someone by name and it wouldn't sound wrong (just rude) and it's the first time Mithrun says Kabru's name on screen (I checked).
Though it was with a slap, I think it says a lot, because if Mithrun didn’t care at all he wouldn’t have done anything and left him alone. It's not like Kabru could've done anything to stop the demon. He didn't even to tell him to do anything even though Kabru looked ready for an order.
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(To be honest I don't know exactly why Mithrun starts beating him up here but you can say it's another rare demonstration of emotion Kabru was able to evoke in him lol. Maybe it's payment for Kabru stopping him the first time. That can be interpreted as paying it back and/or paying it forward I think.)
The last few chapters
And in the end when Kabru’s motivating Mithrun to continue living his life, he speaks to him like they’re friends/have no rank between them despite using the Captain title for him the whole time. Even Lycion initially gets upset that he’s acting “too familiar” with Mithrun.
It feels like Mithrun changed so much in the short time he spent together with Kabru and before the final battle, and it’s thanks to Kabru that Mithrun finally starts to be able to move past his lingering obsession with the demon and begin to really heal.
This is despite the fact that he spent so much time with Milsril and the other elves who never managed to break through to him like that.
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(Before Kabru) (After Kabru)
And even after his role as Mithrun's caretaker was loong complete, he still shows concern for Mithrun and tells him to take a break when he's using up all his magic to slice the Falin meat (lmao).
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He didn't need to do that! But it shows how he at least slightly considers Mithrun some kind of friend.
It all culminates with Kabru helping Mithrun regain his wil to live and Mithrun confiding in Kabru. Their relationship is important. Kabru continuing to do things for Mithrun to me is more of a sign that he just plain cares about him. Isn't it normal when a friend needs medication for you to remind them to take it? I think it's like that.
Kabru is there with Mithrun when he comes out about his feelings of uselessness AND when Senshi helps him put a spin on the 'vegetable scraps' metaphor and he find meaning in his life again. He's the first one to see him cry :')
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Along with the fact that it feels like Mithrun is the first person we see Kabru doesn't feel the need to change his personality with or put on airs for since Mithrun doesn't need buttering up and he won't get offended if someone were to say something socially awkward, I think they made a pretty good team!
BUT ALSO the REAL reason I became endeared to them is cute shit like this:
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GOD I love them!!!!! There are so many funny sides to Mithrun Kabru was able to bring out, and really show his charm as a character. The true depths of their dynamic also grew on me over time :)
TLDR
All in all it’s so nice seeing how even though Mithrun is a really deadpan person, and Kabru is a really secretive and withheld person, they clearly seem to have developed some kind of bond with while they traveled together and even changed each other to an extent.
Doesn't Kabru feel more honest near the end? Maybe it's because of how much he talked to and shared with Mithrun during those 6 days so candidly...because they taaaalked a looooot like wow.
They mean so goddamn much to me. I don’t need them to be in a romantic relationship but I do want them to be together forever :'))) or like at least hang out when they have off time since they're still in the same country lol. Praying for Kui to make another side comic of them some time (crying).
Thanks for reading if you made it this far, I mostly arranged this because it makes me sad to see people reduce their dynamic to only one singular aspect.
Anyways ya...love 'em (heart hands)
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broodygaming · 3 months
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C2 Spoilers
it drives me NUTS when people say that Taliesin and Matt decided together backstage to kill off Molly. It makes 0 sense and it's ??? just such an unnecessary rumor to spread. People on reddit often spout it like it's just a known fact. Like, as if Taliesin didn't famously complain about having to pull all nighters over a busy weekend to roll and conceptualize a new character cuz he had ZERO backup. As if Molly didn't JUST have a huge lore drop and was clearly building to be a major focus of the next branch of the story. As if Matt didn't have LOADS of lore and planning already done that he had to to redo and reconfigure to fit with the Tomb Takers going and exhuming Molly to continue their plans. Matt said he had this whole thing where Lucien was gonna show up in a different body and hunt down the M9 to kill Molly and take his old body back. He SAID that!
Idk why this drives me nuts. It just feels... almost disrespectful. Like. Y'all. Taliesin isn't a baby. He fucked up. It's okay. He made a dumb choice in the heat of the battle and doubled down and it got his character killed. Things escalated and there wasn't a healer and it's JUST as simple as that. Stop making shit up to justify something that only SEEMS LIKE IT'S ORDAINED because these people are talented story tellers. Blowing all the work they did to reconfigure the story and just HAND WAVING and being like "they planned it ahead of time" is just rude. If it all seems preplanned it's cuz Matt busted his patootie off and reweaved a frayed tapestry into a beautiful work. Happy accidents and all that. CMON.
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null-skull · 13 days
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John, sweetie, it has been forty-one (41) episodes, I can assure you Arthur did not see you
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fishofthewoods · 24 days
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Oh my god I woke up this morning and my Stardew Valley meta post had almost 150 notes????? Hello?????????? Anyways I started writing this last night because @moon-is-pretty-tonight left nice tags on the original so thank you so much!!
We know from the starting scenes of the game that the farmer's grandfather loved Stardew Valley. So why did he leave? Pelican Town is a good place to grow old; George and Evelyn are just fine. It's a fine place to raise a kid, but maybe he just wanted to raise his child closer to real schools and other children.
Or maybe, just maybe, he understood.
Was there a day when he was in his thirties where he looked at his friends and realized they weren't like him? That he could run faster than them, work longer, explore deeper into the hidden places of the valley?
Was there a day when he went to the wizard to ask him for help, for knowledge if nothing else? Did he learn then that his family was different? Special? Chosen? And how did he react? He couldn't possibly raise a child in the valley if they would be as strange and fey as him. He had to leave. There was no other way.
But years later, on his deathbed, did he regret that choice?
Is that why he gave the farmer the letter?
Is that why they went back home?
When the farmer steps off the bus that first day, the valley is still on the cusp of winter, just barely tipping over into spring. The flowers are starting to bloom, but a chill still hangs in the air. As soon as the farmer's boots touch the soil there's a change. The air gets warmer. The trees get greener. Not by too much, not all at once, but it changes.
The junimos watch the farmer as they do their work. They're new to farming, but take to it with frightening speed; their first batch of crops is perfect. None of the townsfolk tell them that parsnips don't normally grow in less than a week, that cauliflowers don't grow to be ten feet tall, that fairies don't visit when the sun goes down and grow potatoes and beans and tulips overnight. The junimos talk amongst themselves in their strange, wild language, and agree: this is the one. They're back. The valley recognizes its own, even when they've left for a generation. The farmers have come home.
Things change fast in the valley. The community center, empty and decrepit for so many years, is rejuvenated. (Lewis says it was abandoned only a few weeks after the farmer's grandfather left. Strange coincidence, he says, that it both came and went with the farmer's family.) The mines and the quarry, similarly abandoned, are explored for the first time in ages. The town becomes cleaner, brighter, more vibrant, happier.
And it is happier. Not just the environment, but the people. It's the talk of the town for weeks when Haley does her first closet purge. Leah's art show in the town square is a huge success. Shane's smiling for the first time since he moved to the valley. All of them, when asked, say it's all thanks to the farmer.
People love to ask why Lewis didn't fix the community center on his own. Why Willy never repaired the boat to ginger island. Why Abigail or Marlon never went down to fix the elevator in the mines, or why Clint didn't fix the minecarts.
But isn't it so much more interesting to ask how those things were there in the first place? How they got so broken down? If the stories the townspeople tell are true, the valley was once a beautiful place, flourishing and full of life; why did that change? When did it change?
Was it when the farmer's grandfather, the locus of the valley, its chosen representative, left town?
And if so, what happens when the farmer comes back?
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r0semultiverse · 2 months
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so im listening to the potd audio commentary and jodie's talking about covid restrictions and filming flux and how the restrictions were more intense at the start of filming (was that end of 2020/start of 2021?) and she says "by the time we finished, we could hug" and damn they took that opportunity didnt they
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canisalbus · 7 months
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you say machete has to be closeted then why's he always wearing them little heels
Maybe he thinks he's a tiny bit nicer looking in them.
#no in fact he's just a little ahead of the curve let me try to explain#again I'm not a historian I'm just sharing what I've read I might be misremembering stuff so don't quote me on this#high heels became extremely fashionable in the early 1600's probably just a few decades after Machete's time#and they were originally worn by men#because they were inspired by Persian riding boots#if your shoes had heels you'd have easier time keeping your feet in the stirrups (think of cowboy boots)#Europeans saw them thought they looked snazzy and they became wildly popular in noble circles fairly quickly#for some hundred years or so high heels were the epitome of class wealth power and status and they were essentially genderless#remember that concepts of masculinity and femininity are fluid and change over time#things that were seen as manly a few centuries ago may seem downright effeminate to a modern viewer#it's all matter of perspective neither is objectively more correct than the other#they started to separate into men's heels and women's heels around mid 1700's iirc but the changes weren't massive even then#and only truly went out of vogue when the French Revolution hit in 1789#and people all across the continent were suddenly put off by everything that reminded them#of the frivolousness and extravagance of royalty and aristicracy#so in his canon timeline I don't think people are looking at him and going “hmmm that's pretty gay”#because heels hadn't become gendered yet#maybe he likes how they accentuate his already tiny paws and make his legs look even longer than they are#he's interested in fashion or at least likes to dress nicely in high quality garments#he tries very hard to look his best despite never really feeling comfortable in his skin#he was a real shrimp as a kid and even though he eventually grew up to be a beanpole he might still find the extra height appealing#no one's going to look down on him ever again#I admit the way I draw them is a lot more modern than the true historical style at the time but not outrageously so#artistic freedom and all that in the end I'm not aiming for 100% accuracy#modern au Machete has no excuses though he's just a little bit fruity#if the guy feels empowered by wearing little clip cloppers let him#answered#anonymous#Machete
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angelsdean · 6 months
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I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.
So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?
Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.
Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.
Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.
So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)
And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."
So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)
And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."
But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.
Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)
So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.
Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.
Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.
Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.
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smth smth about 'the thing that the character did that you thought was rly rly funny in the moment is actually linked to a terrible trauma that lies within said character.' or wahtever.
#jrwi show#jrwi fanart#jrwi riptide#gillion tidestrider#made this within a short span of wahtever bc i gotta go up to the mountains for my stupid gay job tonight n im trying#nnot to frrRREAAAK THE FUCK OUUTTTTTTi dont wanna work but. get that bread we fuckin shall i guess#ONWARDS TO THE FISH TORMENT!! sometimes flowers feel pain when you trim them before their blossoming. atleast i imagine so#i used to draw gillion with loooong hair tied into a big ol braid. and then it was confirmed that he had short hair when he was little.#AT FIRST I WAS SAD. but then i realized the duality of. when they were little. gill had short hair. edyn had long hair.#AND NOW THEYRE OLDER. and gillion has long hair. and edyn has short hair#both mirroring eachother. looking up to eachother. subconsciously or not. they most certainly care. and most certainly miss eachother.#GILLION ALWAYS LOVED HOW LONG HAIR LOOKs. atleast i imagine so. he hasnt cut it since he left the undersea. sure he wanted to go back home#but even at the very start. he knew he was free in some way now. free to grow out his hair. an adventure would await him before he returns.#he knew it would be a while. so he cant let this go. he cant let this sought-after hair-length get cut away from him again#not yet. not yet. i like to think he loved music too. I SAW SOMETHING INTERESTING A BIT AGO#i see alot of ppl commenting on my baby gill comics like;'i wouldFIGHT this teacher i wanna KILL EM i want them DESTROYED#all very good and nice sentiments! i LOVE the energy here! and it would be nice. to have that catharsis#but the story of young tidestrider is not a story of catharsis. it is a story of agony and being so so small and so special and also so dum#and sucking so bad. and just being a kid and doing the things that a little kid does and so many tired tired people reacting badly to it#youre supposed to be the hero that will save us. our world hangs in the balance and you are the one who tips the scales.#YOU are supposed to SAVE US!! you NEED to SAVE US! CAN YOU PLEASE STOP SQUIRMING IN YOUR STUPID CHAIR!!#you'd think that young tidestrider ought to prevail. and be tucked someplace all safe and sound.#elders gone missing and rotting in a jail. their cultists nowhere around. but theres no happy endings. not here not now.#this tale is all sorrows n woes. you may dream that justice n peace win the day. but thats not how this story goes#BIG ideas for this lil baby gillion series. if anything i make ever gets disproven im killing myself in a well as to poison a water supply
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spywhitney · 22 days
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How I sleep knowing I'll never trust anyone that hates Sydney but worships Richie:
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#the bear#the bear fx#sydney adamu#carmen berzatto#richie jerimovich#jk kind of#well on days I don't see or think about Sydney haters#under every damn comment section in this fandom is someone saying Sydney didn't take accountability#like I know we all have our biases but yall are really shameless about it#Sydney scored A LOT of Ws for The Beef AND The Bear#but one time she makes a mistake and justifiably walks away from a toxic work environment she's the devil#Richie worked at The Beef for years and Sydney did more for it in what less than four months than he did#on top of being a prick to Sydney in particular because she was changing things he wanted to keep the same#to the detriment of the restaurant but also everyone#and overall being unpleasant to Carmy#Nat and anyone that didn't find him funny or interesting or like his bs#pre-Forks Richie reminds me of those types of people that only listen to people that like them#and I love that because it's realistic to some ppl#I do like Richie#it just leaves a bitter taste in my mouth knowing there are people that hate Sydney#ignore her accomplishments only to raise up Richie#in the same breath when the actual show is showing you what's up#like you'd think there were different versions of the show with how these two are perceived#I get this weird need to defend Sydney when people shit on her because I wonder how often said people treat the Sydneys of the world#but that aside#In Fishes Richie mentions something about wasting potential at the beef#In Ceres it's implied he called the popo on the dealers after Sydney deescalated a situation Richie previously dealt with#in an unorthodox manner#he recognised he needed to change but still was an arsehole to the one person who was facilitating that change effectively Sydney#this show is great but people denying what they're seeing on their own screens is crazy
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uncanny-tranny · 1 year
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I totally get gendered petnames like dude, sis, bro, and whatever else, and I get why some people might be confused as to why some trans people might take issue with a petname you might think is neutral. However, I do want people to remember that trans people often have different relationships with those petnames because they're gendered, and they might be uncomfortable with those connotations. A trans woman who doesn't want you to call her "dude" is probably not doing it to anger or accuse you of anything, but she might just have a negative relationship with that word.
I get that it can be hard to change habits, but it is worth it to include trans people. If a trans person in your life asks you not to use certain words, I promise they aren't trying to fuck you over or make you feel like you're under attack. They are just expressing a boundary - one that cis people also express.
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soulmvtes · 1 year
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the mortifying ordeal of being known? do you mean the joy of being seen
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ofswordsandpens · 5 months
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a little piece of advice that if you're genuinely enjoying the show and don't really want to see criticism of it, you, in fact, do not have to read nor respond to a post wherein the very first sentence states "my most critical opinions on the pjo show so far"
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