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bugeyedfreaks · 4 months

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So I was thinking about the whole “misogyny behind the supposed lack of interest in teenage girl Powerpuffs” statement you made and something hit me: the reason why the reboots suck is because they’re trying to squeeze edgy, Cinemasins-style teenage and adult situations and humor out of perpetually five year old girls and it makes me so mad that Craig said that because teenage girls ALREADY think that their lives end once they have boobies or are interested in girly hobbies and it would be so subversive to have a show that continues off of the “GIRLS CAN BE ANYTHING.” message of the original with “TEENAGE GIRLS CAN DO ANYTHING. THEY DON’T HAVE TO BE MEN LITE TO BE HEROES.” but instead, we get like five reboots of various levels of quality, all because he thinks teenage girls have cooties or whatever.

Oh yeah, what I said on this post! I could have given you a short answer like a normal blogger, but here is my long, rambling answer where I basically agree and get a little off track and go more in detail about the suckiness of the reboots/the suckiness of saying the girls aren't special if they're older... behind the cut. 🤣

“Teenage girls ALREADY think that their lives end once they have boobies or are interested in girly hobbies.” It's definitely not an inherent thought by any means, but I totally know what you're saying. Society and culture and the media and the internet push girls into thinking they have to become a certain kind of "mature" by a certain age and it's awful. And to say that the girls wouldn’t be “special” if they were older felt as if it was reinforcing the whole gross notion that women allegedly turn into completely different creatures at puberty and from there on out rapidly lose their worth/usefulness as they get older. To say that the girls wouldn’t or couldn’t be “special” when they grow up… yeah, the wording was pretty yikes.

I guess I should quickly clarify that I prefer Craig doing what he does best, and I'm perfectly fine with the girls continuing to be kindergarteners if the show gets rebooted or continued. And he hasn't been involved with the series since 2008, so he's not responsible for any of the content in the reboots that have already happened. I don’t believe he’s some raging sexist (…well, I hope not) either, it’s just that the way he’s said some of the things he’s said concerning this topic are kinda… ugh. Poorly communicated. It's frustrating sometimes! 😩

I get what Craig was trying to say: having the girls be ass-kicking kindergarteners is a fun and unique premise (true, and I love them that way, it's OG, baby!), and having them be teenagers or adults… well, there are already a lot of ass-kicking superheroines who are teenagers/adults. But that's such a limited view of who the girls really are. Their being kindergarteners isn’t the only thing that makes them unique compared to other superheroes/hero teams. They’re three sisters (essentially triplets) with a creator who acts as their single-parent father figure (so they have a loving and stable family life), and each one of them has distinct personalities and talents. They’re fully fleshed-out characters on their own, but they’re also incomplete if they aren’t together. How many other superheroes or superheroines are like that?

Regarding the comment he made about their “kryptonite,” I definitely think that an interesting setback (and strength!) of theirs– regardless of them being in kindergarten– is that none of the girls have alter egos, so they can never just have “normal” lives. At least Clark Kent and Diana Prince could maybe pretend to be regular people once in a while. Blossom and Bubbles and Buttercup can’t! No matter how old they become, the girls will always have to deal with their “real world” responsibilities in tandem with their “superhero” responsibilities because they don’t have to hide anything about their powers from the world. Other superheroes’ lives would end if their “normal” identity was exposed: theirs wouldn’t. And then again, no matter what unique responsibilities they’d be facing, no matter their stage in life, they’d continue to have to deal with the positives and negatives of that kind of existence, and, like I've discussed on here before, I think there are soooo many stories that could potentially be explored stemming from that. So... like... come on. Not special, my foot! It's not like their adventures would all of a sudden end or could never be just as unique as they've always been!

In the case of making a story with the girls being older, yeah, that doesn’t automatically mean you need to stuff your show with edgy, "adult" humor. You barely even have to change how they talk. They don’t have to talk about sex or comment on the latest pop culture thing to be “mature.” They don’t have to get all serious and gritty to be “mature.” Those are the kinds of things people in Hollywood think maturity is (does a certain someone who's also in Hollywood believe that, too? 👀). The problem is in the writing, in misunderstanding what the show is and who the characters are in the first place, how they deal with life to begin with, and so far it seems that the right storytellers who could tell really cool stories in that sort of setting who do understand all that haven’t come along yet.

Also, a thing that I feel is critical to getting the tone of the girls as characters right is that they exist in a universe that, while it may have exciting action and fighting and carnage, is still a very silly place. The goofiness of that universe comes with a very specific tone that has not been well replicated in these other iterations of the series. The balance of the girls' “normal” and “superhero” lives is always off-kilter (and I’m gonna be controversial… I think the live-action script didn't hit the mark but was a billion times closer to getting that balance than the 2016 reboot), and the type of humor that gets used is way off in tone (PPG humor ≠ twerking/Simpsons humor/lazy pop culture jokes/sex jokes). Plus, that small but critical dose of sincerity in the writing of the original show barely ever feels like it’s present in any of these newer iterations.

...but what do I know, I dunno, do I even get the characters? ¯\_(ツ)_/¯ That's just how I feel about it all. Sorry for all these words, haha.

#me to myself after writing all of this: shhhhh grandma let's get you to bed #but yeah gahhhh there could have been better ways of saying what was said fr #serious time

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dipplinduo · 1 day

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This isn't a headcanon but I've been working on writing my own dipplinshipping fic and I was wondering if you had any advice on characterization? I love the way you write all the characters in Sweet & Sour Dipplins, and I would love tips. :)

Aww no worries I love questions like these and feel moved that you'd ask me!

I honestly try to keep two things in mind when it comes to characterizations:

How can I honor the original characterization, and add onto it?

I don' t know if this is a controversial take in the fic writing world, but I personally don't like to heavily deviate from the way a character was originally written. I like to instead research the character, get a feel of how and why they were created in the first place, what their motives and drives are, their likes/dislikes, distinctive traits, etc., and then I like to expand upon that. I do this specifically to help immersion into the given fic; I'd want you to see the way the character becomes more multidimensional - and perhaps changed across time - in my writing, but I'd also want you to be able to look at it and go "yeah, that is kind of on brand for that character in canon" or "I could imagine canon character doing this in these circumstances".

How can I show the complexity and uniqueness of the character in their thoughts (if applicable) & actions?

This is related to the first point, and it's really about breathing the life into how your version of a character interacts with the story. When you're writing from their standpoint, make it their standpoint - even if it's not something you'd be able to personally see in their shoes, and present their logic in some way that makes sense for them personally. And don't be afraid to play with a moral gray zone that prompts the readers to form their own opinions as they get to know the plot & characters!

Some examples...

Kieran's hot-and-cold development of feelings toward Juliana and subsequent "lashing out" scenes at her and other characters. A lot of people naturally sympathize with Kieran, but at the same time, the possession caused him to act out in ways that were harsh or mean. But at the same time! We know why! But at the same time! Was it still okay given the lack of accountability?

I have had Penny, Nemona, and Arven all agree that they were concerned about Kieran & Juliana's relationship, and there's a lot of overlap in their concerns. However, the way each made sense of and expressed their concerns were in entirely specific ways to each of their characters' dispositions.

My goodness, the reactions to the most recent chapter drop (Chapter 19) has been so entertaining and fascinating to witness as the writer. Some people do not like what one character said to another in a confrontation scene. Others agreed with the character, but thought it was too much. Others were like "FINALLY, IT WAS SAID. THANK YOU CHARACTER." And like, tbh, this is just amazing to see. I love it when discussion points can be made about different aspects of a plot/character themselves, and I'd love to just sit in and listen to a back and forth conversation with people on all sides. xD It just really shows an immersion, and I think that's amazing and touching. These are just my opinions, but yeah. Hope this helps a bit! :)

#asks #writing tips #dipplinshipping #kieran pokemon #kieran x juliana pokemon #juliana x kieran pokemon #kieran x juliana #juliana pokemon #juliana x kieran #my fics #arven pokemon #penny pokemon #nemona pokemon

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keepreclaiming · 11 months

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The intricacies of Ndebele art, despite its seemingly straightforward geometric patterns, make it a challenging subject for generative AI. The Ndebele people, one of the smallest tribes in South Africa, are known for their vibrant and distinctive art forms that reflect their rich heritage and culture. Their artwork predominantly consists of geometric patterns painted with vivid colors intended to convey various messages and stories. At first glance, these patterns appear uncomplicated and systematic - traits that would seemingly lend themselves well to replication by an algorithm-driven process. However, there is a nuanced complexity within these patterns which makes it difficult for artificial intelligence to perfectly replicate them.

Generative AI systems work on pre-existing data sets fed into them; they learn from this data and generate new output based on what they've learned. For instance, if you feed an AI system numerous images of cats, it can eventually generate a new image that closely resembles a cat. While the geometric shapes in Ndebele art may seem like an easy task for AI due to their consistent nature, the challenge arises when considering the cultural nuance and symbolic meaning behind each pattern. Each shape or color used in Ndebele art carries particular significance related to the tribe’s history, customs, beliefs and more. Without understanding these implicit meanings or the context in which they're used, generative AI can only produce superficial replicas devoid of the inherent symbolism.

Another aspect that adds difficulty is the unique spontaneity seen in Ndebele art. Even though certain basic shapes and colors recur across different pieces, each artist adds their personal touch making every creation unique. This unpredictability eludes rigid programmatic rules followed by AI models and consequently hinders perfect replication. Moreover, Ndebele artists often transform simple geometric designs through subtle variations – slight shifts in angles or gradations in color intensity – which may go unnoticed by an untrained eye but contribute significantly to the overall aesthetic appeal of an artwork.

Furthermore, while replicating visual aspects might be achievable up to some extent with advanced machine learning algorithms, capturing emotional resonance remains beyond the scope of current technology. Art is not merely a display of skillful arrangement of shapes and colors but also embodies emotions conveyed through those arrangements. Generative AI lacks human sensibility and cannot comprehend or recreate emotional nuances inherently present in artworks like those created by Ndebele people.

Lastly, generative AI faces another significant limitation: creativity born out of cultural immersion. Artists belonging to the Ndebele tribe don't create art solely based on learned techniques; instead they draw inspiration from their surroundings which encompasses everything from historical events and societal changes to individual experiences and interpretations thereof. Unless such diverse influences are incorporated into datasets (which seems impractical), generative AI will continue producing works limited in depth compared to original Ndebele creations.

In essence though generative AI has made strides forward in many areas including creating convincing replicas of existing styles; replicating something as culturally dense as Ndebele art poses challenges beyond technical know-how. It's not just about reproducing identical geometrical patterns; it's about understanding complex interplay between those patterns & cultural narratives surrounding them – something only humans have so far been able to masterfully execute.

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malaikaunit05 · 1 year

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EVALUATION COUNTER CULTURE

The clothing line "Gio" was created as a platform to showcase my interpretation of fashion, inspired by my love and passion for the anime show, "JoJo's Bizarre Adventure". The line was created with the intention of bringing together my two greatest passions, fashion and anime, and creating a unique and original clothing line that would stand out in a crowded market. In this evaluation, I will reflect on the success of "Gio" in showcasing my interpretation of fashion and identify areas where I could have done better in terms of time management.

One of the key strengths of "Gio" was the unique and bold designs that showcased my interpretation of fashion. The incorporation of characters and elements from "JoJo's Bizarre Adventure" helped to create a distinctive and recognizable look that was instantly recognizable and appealing to fans of the show. The use of bright and vivid colours, bold patterns, and eye-catching graphics helped to make each piece in the line stand out and convey a sense of confidence and individuality. The high-quality materials used in the clothing, combined with the attention to detail in each piece, helped to ensure that the line was both stylish and comfortable to wear.

However, despite these strengths, there were also some areas where I struggled with time management and did not give myself enough time before the deadline. One of the biggest challenges I faced was balancing my time between working on the designs for "Gio" and other responsibilities. I found myself working late into the night, sacrificing sleep and other important aspects of my life, in order to meet the demands of the project. This lack of proper time management ultimately had a negative impact on the quality of the final product, as I was not able to put as much time and effort into each design as I would have liked.

Another area where I could have done better was in terms of marketing and promoting "Gio". I did not allocate enough time or resources to promoting the line, and as a result, I was not able to reach as many people as I would have liked. I also did not prioritize market research, which would have helped me to better understand my target audience and create designs that would be more appealing to them. This lack of research and promotion ultimately limited the reach and impact of "Gio".

Looking back, there are several things I could have done differently to ensure the success of "Gio". Firstly, I could have better managed my time and made sure to prioritize sleep and other important aspects of my life. This would have allowed me to work on the designs for "Gio" with a clear mind and avoid burnout. Secondly, I could have put more effort into marketing and promoting the line, reaching out to my target audience and building a strong and loyal customer base. Finally, I could have done more market research, in order to better understand the needs and preferences of my target audience and create designs that would be more appealing to them. Also I would have liked to explore more artists in my work instead of just one including different editing software for the moving poster and even research what I would want written in my magazine which would need me to consider audience, content, aim and ethics. Ethics and environmental impact was also something I missed which is key to be covered when producing a brand that is going to reach people, so, to avoid missing it from my work, I think it should be done along with brainstorming ideas.

Personally, I felt disappointed that my passion project didn't turn out as well as I had hoped. I had a great idea, but due to time constraints, I wasn't able to execute it to its full potential. However, I viewed this as a learning experience and an opportunity for growth.

From this experience, I learned that I need to avoid getting overwhelmed by workload. When I have a lot of work to do, I tend to feel stressed and avoid it until it becomes too much to handle. To overcome this, I plan to break down tasks into smaller, manageable chunks, set daily goals, and create lists and checklists to stay organized and focused. Another important lesson I learned is the importance of self-discipline and asking for help when needed. I realize that I need to be accountable for my work and take responsibility for meeting deadlines. If I find that I am struggling to complete a task or project, I won't hesitate to ask for help. This could mean seeking advice from a mentor or colleague or delegating tasks to others if possible. Overall, the experience of not being able to fully develop my idea for my passion project taught me valuable lessons in time management, self-discipline, and collaboration. I plan to apply these lessons to future projects and improve my skills as a creator and collaborator.

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luckytriumphdetective · 2 years

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Want To Buy Best Automatic Watches That Are More Demanded? Study This!

Here Are 6 Reasons To Join The First Group And Purchase An Automatic Watch:Conclusion

There are two categories of individuals in the world when it comes to fashion: those who wear automatic watches and those who don't. The latter is useful. Why lug around an extra accessory when we all have smartphones that can tell the time to the next millisecond? These people make sense to me. However, even while the smartphone may have transformed our methods of communication by displacing the radio, camera, television, compass, music player, watch, internet, etc. and combining them into one convenient and portable gadget, it will never satisfy our need for self-expression.

The foundation of the fashion industry is our drive for individuality and self-expression, which gives rise to our distinctive fashion sense. Culture includes fashion. Art is culture. In addition, art is one thing that technology can not take the place of. So, even though I may comprehend the practical group, I will always belong to the first group.

They are always in vogue.

We used to wear watches so we could tell the time. The watch was an astounding invention when it first appeared; it was carefully designed to be wound and worn mechanically, with one gear pressing on the other at precisely the appropriate intervals to maintain perfect timekeeping. As we live in a time where batteries virtually entirely power our lives, it is still a remarkable technological advancement today. Although many watches have evolved into battery-powered wrist devices, the original technology has persisted in some of the most prominent and expensive watch brands for a reason.

Automatic watches are monitored by high-quality workmanship.

Unlike the iPhone 3, locks and keys discovered in Rome's Forum are still functional today. This is the kind of superior craftsmanship and technical know-how that produces centuries-old technology. The problem is that as technology advances, we get faster at performing tasks, and since time is the most important resource, we are less likely to spend it on things that don't require it. Making an automatic watch takes skill and time (far more than a battery-operated or quartz watch does), resulting in a product that is essentially identical on the surface but significantly more expensive. But it is because of this skill that the watches have earned their position in the hall of timeless design.

You are literally the watch's engine.

An automatic watch is a self-operating, nearly living entity when it is made properly. The inner workings, or what many refer to as the "heart," of the watch beat as your wrist moves and the dial is wound. A tiny component inside the watch called the rotor rotates back and forth, generating and storing energy to wind the heart's gears. In essence, your motion advances the watch, forging a real bond between you and your timepiece.

The heart beating in silence is the mark of a true automatic.

Ironically, an automated watch lacks the tick-tock of a clock that we have grown to associate with our heartbeat. Instead, every 60 seconds, the secondhand sweeps silently and quickly ahead due to the motion of the heart's internal gears.

They are extendable.

The lifespan of an automatic watch is among its most astonishing features. A well-made automatic watch can last forever, unlike quartz or battery-powered timepieces, and only stops when the wearer stops winding or moving the clock's internal mechanisms. A simple "flip of the switch" or turn of the dial can bring an automatic watch back to life after spending years dormant, much like Frankenstein on the operating table.

Really, you just need one.

There is no need for more than one fine watch, just like there is no need for more than one pearl necklace or engagement ring. Every outfit works with a good automatic watch. Your automatic watch can become a part of your unique style, unlike ties, shoes, or the majority of other accessories, so just one is required to create your individuality. Too much change might occasionally detract from your distinctive appearance, and having less on your wrist means having more money in your wallet.

The best way to keep up with time in this technologically advanced world is with an automatic watch. Anyone looking to buy a new automatic watch can see our selection of the best models by visiting https://theprowatches.com/

#Buy Automatic watches #Buy luxury watches for men

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thimbil · 3 years

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Having some thoughts about the references and inspirations used for the Bad Batch’s designs.

So Boba Fett is my absolute favorite character and Temeura Morrison was perfect casting. I went to see the 2008 TCW movie in theaters because I was so excited to see him again, even if he was animated. You can imagine my disappointment. Whoever was on screen was not Temeura Morrison. You could sort of see a resemblance if you squinted and didn’t think too hard about it. They replaced Temeura with Racially Ambiguous G.I. Joe. If I didn’t know better and someone told me the animated clones are space Italians from the moon of New Jersey I would buy it. One Million Brothers Pizzeria and Italian Bistro. Not that there’s something wrong with being space Italian, I just don’t think it’s the right choice for the Fetts. The design got slightly improved by season 7 but it still bugs the hell out of me.

I did eventually get into the show later and (of course) got invested in the clones. Unfortunately, they were largely sidelined by the Jedi storylines. Out of the two new main characters created for TCW, Ahsoka definitely got more development and focus than Rex. When they announced The Bad Batch, I was excited to see a show specifically devoted to the clones… at least that’s what it said on the tin. We have all seen what lurks beneath those stylish helmets.

Jango Fett, you are NOT the father.

So who is?

Based on interviews with Filoni, it sounds like the Bad Batch was a George Lucas idea. And like all his ideas, it’s super derivative. The original trilogy directly lifted elements from sci fi serials, westerns, and samurai movies, more specifically Kurosawa films like The Hidden Fortress. For The Bad Batch character designs, the influence is obviously American action and adventure movies.

Now let’s get specific. Bad Batch, who’s your daddy?

Hunter

Sylvester Stallone as Rambo in First Blood 1982. That bandana has become an integral part of the iconic action hero look. You see a character wearing one and it’s a visual shorthand for either “this character is a tough guy” like Billy played by Sonny Landham in Predator 1987, or “this character thinks he is/wants to be a tough guy” like Brand played by Josh Brolin in The Goonies 1985 or Edward Frog played by Corey Feldman in The Lost Boys 1987.

Hunter’s model is closest to the original clone base. If you look closely you will see the eyebrows are straighter with a much lower angle to the arch. His nose is also not the same shape as a standard clone like Rex, including a narrower bridge. It’s certainly not Temeura Morrison’s nose. Remember what I said about space Italians? It didn’t take much to push the existing clone design to resemble an specific Italian man instead of a specific Māori man. The 23&Me came back, and Hunter inherited more than the bandana from Sylvester.

Crosshair

The long narrow nose, the sharp cheekbones, the scowl. That’s no clone, that’s just animated Clint Eastwood. Not even Young and Hot Clint Eastwood from Rawhide 1959-1965. With that hair, I’m talking Gran Torino 2008. The man of few words schtick and family friendly toothpick in lieu of cigar are pure Eastwood as The Man With No Name from Sergio Leone’s spaghetti westerns A Fist Full of Dollars 1964, For a Few Dollars More 1965, and The Good the Bad and the Ugly 1966.

In a way, this is full circle because the actor Jeremy Bulloch took inspiration from Clint Eastwood for his performance as Boba Fett in ESB.

Wrecker

In an interview Filoni lists the Hulk as an (obvious) inspiration for Wrecker. Ever seen the old Hulk tv show from 1978? Well take a look at the actor who played him, Lou Ferrigno. Would you look at that. Even has his papa’s nose.

You could make the argument that Wrecker was influenced by The Rock, an appropriately buff ‘n bald Polynesian (Samoan, not Maori) man. But look at him next his Fast and Furious costar Vin Diesel and tell me which one resembles Wrecker’s character model more.

Tech

Tech is a little trickier for me to place. If he has a more direct inspiration it must be something I haven’t seen. That said, his hairline is very Bruce Willis as John McClane in Die Hard 1988. His quippiness and large glasses remind me of Shane Black as Hawkins from Predator 1987. In terms of his face, he looks a but like the result of McClane and Hawkins deciding to settle down and start a family. Although, Tech’s biggest contributors are probably just everyone on TV Trope’s list for Smart People Wear Glasses.

And finally,

Echo

Oh Echo. Considering he wasn’t created for the Bad Batch, he probably wasn’t based on a particular character or movie. But if I had to guess, his situation and appearance remind me a lot of Alex Murphy played by Peter Weller in Robocop 1987. However, Robocop explored the Man or Machine Identity Crisis with more nuance, depth, and dignity. Yikes.

The exact tropes and references used in The Bad Batch have been done successfully with characters who aren’t even human. Gizmo from Gremlins 2: The New Batch 1990 had a brief stint with the Rambo bandana. I could have picked any number of characters for Defining Feature Is Glasses but here is the most cursed version of Simon of Alvin and the Chipmunks. Suffer as I have. Marc Antony with his beloved Pussyfoot from Looney Tunes has the same tough guy with a soft center vibe as Wrecker and his Lula (also a kind of cat). Hell, in the same show we have Cad Bane sharing Cowboy Clint Eastwood with Crosshair. I actually think Bane makes a better Eastwood which is wild considering Crosshair has Eastwood’s entire face and Bane is blue.

So we’ve established you don’t need your characters to look exactly like their inspirations to match their vibe. So why go through the trouble and cost of creating completely new character designs instead of recycling and altering assets they already had on hand? Just slap on a bandana, toothpick, goggles, and make Wrecker bigger than the others while he does a Hulk pose and you’re done. Based on the general reaction to Howzer it would have been a low effort slam dunk crowd pleaser.

But they didn’t do that.

So here’s the thing. I like the tropes used in The Bad Batch. I am a fan of action adventure movies from the 80s-90s, the sillier the better. I am part of the Bad Batch’s target audience. Considering what I know about Disney and Lucasfilm, I went in with low expectations. I genuinely don’t hate the idea of seeing references to these actors and media in The Bad Batch. I don’t think basing these characters on tropes was a bad idea. If anything it’s a solid starting point for building the characters.

The trouble is nothing got built on the foundation. The plot is directionless, the pacing is wacky, and the characters have nearly no emotional depth or defining character arcs. They just sort of exist without reacting much while the story happens around them. But I can excuse all of that. You don’t stay a fan of Star Wars as long as I have not being able to cherrypick and fill in the gaps. This show has a deeper issue that shouldn’t be ignored.

Why do the animated clones bear at best only a passing resemblance to their live action actor? In interviews, Filoni wouldn’t shut up but the technological advancements in the animation for season 7. So if they are updating things, why not try to make the clones a closer match to their source material? Why did they have to look like completely different people in The Bad Batch to be “unique”? Looking like Temeura Morrison would have no bearing on their special abilities and TCW proved you can have identical looking characters and still have them be distinct. In fact, that’s a powerful theme and the source of tragedy for the clones’ narrative overall.

Here’s Filoni’s early concept art of Crosshair, Wrecker, Tech, and Hunter. (Interesting but irrelevant: Wrecker seems to have a cog tattoo similar to Jesse’s instead of a scar. Wouldn’t it have been funny if they kept that so when they met in season 7 one if them could say something like “Hey we’re twins!” That’s a little clone humor. Just for you guys 😘)

None of these drawings look like the clones in TCW, much less Temeura Morrison. Let’s be generous. Maybe Filoni struggles with drawing a real person’s likeness, as many people do. But he had to hand this off to other artists down the line whose job specifically involves making a stylized character resemble their actor. Yet the final designs missed the mark almost as much as this initial concept. Starting to seem as if the clones looking more like Temeura Morrison was never even on the table. It wasn’t a lack of creativity, skill or technical limitations on the part of the creative team. I don’t think there is an innocent explanation. They went out of their way to make the final product exactly how we got it.

This goes beyond homage. They could have made the same pop culture references and character tropes without completely stripping Temeura Morrison from the role he originated. It was a very purposeful choice to replace him with more immediately familiar actors from established franchises and films. It wouldn’t shock me if Filoni, Lucas, and anyone else calling the shots didn’t even think hard or care enough about the decision to immediately recognize a problem. And I don’t think they believed anyone else would either. At least no one whose opinion they cared about. Those faces are comfortingly familiar and proven bankable. They are what we’re all used to seeing after all. They’re white.

Lack of imagination, bad intentions, or simple ignorance doesn’t really matter in the end. The result is the same. Call it what it is. They replaced a man of color with a bunch of white guys. That’s by the book garden variety run of the mill whitewashing. There’s no debate worth having about it. For a fanbase that loves to nitpick things like whether or not it’s in character for Han to shoot first or Jeans Guy in the Mandalorian, we sure are quick to find excuses for clones who look nothing like their template. Why is that? If you don’t see the problem, congratulations. Your ass is showing. Pull your jeans up.

#star wars #the bad batch #unwhitewashtbb #wrecker #crosshair #tech #hunter #echo

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eyrieofsynapses · 3 years

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Alright, YJ peeps, listen up, because I’m sick and tired of seeing constant criticism lobbed at YJ for making Wally slower than his comic canon version, Barry and Bart. There’s a very good reason to do this—and it’s completely in Wally’s favor.

Let me preface this by saying that I sincerely love Wally’s comics. I am one hundred percent on board that Wally deserves to be recognized for the badass he is. His 90s comics established the most important elements of the Flash today. We wouldn’t have the Speedforce if it weren’t for him! It’s been defining the Flash for decades! He gets the short stick over and over. It only rubs salt in the wound that people believe Barry’s faster when it’s been stated repeatedly that Wally’s the fastest person in the DC universe. (There are few faster ways to piss me off than to say Barry’s a better Flash than Wally.)

But. But. YJ was incredibly clever when they made him slower. Why? Wally has to be more creative than Barry because he’s slower, showing his intelligence and building him up to be a better Flash. Don’t believe me? Take a close look at Bloodlines.

Barry and Impulse figure out how to foil Neutron’s first blast of energy on their own. But it’s Wally who figures out that Neutron’s about to release an even more deadly wave with the help of his goggles, which Barry immediately borrows. Wally hand-made his goggles to compensate for his lack of speed. He wouldn’t have had them if he were as fast as the other two. Nobody would’ve realized how much danger they were in, and everyone would have died.

While comic!Wally is definitely smart, he’s so powerful that as the Flash, he can often solve problems just with sheer power. He doesn’t have to be super clever about it most of the time. In YJ, this is true of both Barry and Bart. They can be clever, but they’re heavily reliant on their powers. YJ!Wally has to compensate for lack of power with intelligence. He diversifies his skillset, using a mixture of science, strategy, and superpowers to solve problems instead of relying on sheer force.

Wally isn’t just slower; he also can’t control his momentum. Barry and Bart can dissipate kinetic energy at will, while he has to find ways to get rid of it. But he turns it to his advantage.

Pay attention to how he fights. You’ll notice he often cannonballs into people and uses acrobatics instead of flat-out running. He can’t bombard someone with a rain of blows the same way, so he dodges and avoids close combat.

There’s a lot more to that, but in a nutshell: Wally’s fighting style is significantly more complex than Barry’s. I’m not saying Barry never uses those skills, but I can’t remember any time we saw him do it. Wally learned to do that on his own, and he figured out how to incorporate other people’s fighting styles into his repertoire. Remember the acrobatics? Who wants to bet he picked that up from Dick?

Which brings me to my next point: Wally works better with the Team not just because he grew up with them, but because he has to cooperate with others to make the best of his skills. Wally can’t just blaze through things. He has to conserve his energy and make the best of his speed. In the Team, they have to piece together where he’ll be the most effective. It forces him to stop and consider what he’s doing and how it’ll impact the overall picture, taming his impulsive behavior.

Think about his attitude in the pilot. He races on ahead, alerting the enemy to their presence and nearly getting himself killed. Over the course of the season, he learns stealth and patience, which we see repeatedly demonstrated in the last few episodes.

Back to Bloodlines for a moment. When Wally, Barry, and Bart initially show up to the disaster scene, Barry runs headlong into the danger. Bart follows him. Wally, however, stops to talk to the police captain and gather information about the situation. Barry and Bart join them afterward. They proceed to speed-talk at each other, coming up with a plan… and then instead of explaining it to Wally, they just tell him to follow their lead.

Barry and Bart were impulsive while he stopped to think. Wally was a better team player: the other two didn’t include him in their planning, thus missing crucial details and potentially putting him in danger.

Their plan works in the short-term. But when they think they’ve solved it, Wally takes a second look, analyzing the situation and double-checking that they’re finished. If they stopped ahead of time and took a moment to consider what was happening, they might’ve noticed the energy problem sooner and come up with a better solution.

Worst of all, Barry rushes in again to pull Neutron out the second time. He only survives because of Bart. Yes, it’s because they’re short on time, but again: this might’ve been prevented sooner if they thought things through.

What does it say that Wally patiently paid attention to detail and was more thoughtful than his experienced mentor?

Yes, some of this is stuff he might have learned with advanced speed. But would he really have to be so thoughtful about how he uses his abilities? Not likely.

Nor would he have incorporated science and gear into his skillset. Among other things, he knows how to make an EMP and recognizes where to apply it in Homefront. Dick’s their tech whiz, but Wally comes up with technological and scientific solutions that he can’t.

But Wally doesn’t only use science and technology in ways his uncle and cousin can’t or won’t. He thinks differently about problems.

In Bloodlines, Barry and Bart assume the coast is clear after they take down Neutron the first time. They only consider things within the vast range of their powers, assuming that covers everything. Wally thinks about what they can’t see. He’s more limited, so he’s learned to take every piece of a situation into account.

Basically: Wally is much more flexible than his faster counterparts. He adapts far better to adverse situations because he’s forced to make small-scale accommodations on a daily basis. Because of that, he’s able to come up with better solutions, work better in a team, and solve problems without his powers.

And may I remind all of you: YJ Wally GAVE HIMSELF HIS POWERS, but his comic version got them without effort! The Speedforce bestowed them on him without his involvement!

People, YJ!Wally is a goddamn genius prodigy. We forget it sometimes because of his early-on immaturity and his jokes, but seriously, Wally’s far and away one of the smartest people in the YJ universe. YJ Wally is a distinctively unique Flash character because of his wit and intelligence!

But guess what? Guess what the real cherry on top is? If they bring Wally back in the fourth season at a full speed, he’ll be the fastest and the wisest Flash. He’ll know how to apply his new powers in ways that the others would never think of. Because he’s spent so much time applying science to his abilities, he’ll know how to use his new powers in sync with it, whereas Bart and Barry won’t think on those levels.

Best of all, Wally’s the best team player. He’ll be incredible with both the original Team and anyone else he has to work with.

Think about it. A full-speed Flash with Wally’s technological brilliance, intelligence, observance, and teamwork skills? He’ll be unstoppable.

So please shut up about how YJ did Wally dirty. It’s a thousand times more interesting to watch him work out how to solve a problem rather than just solve it in a snap with his powers. If anything, YJ improved his character and made him better.

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wynsnerdyrambles · 3 years

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What do you think is the focal point of each breath? Like how thunder breathing seems to focus on speed, what are the focuses of the other known breaths? Love breathing seems to rely on the user's flexibility and insect breathing seems to rely on agility.

Oooohhhh the Breathing Techniques. I'm a sucker for sword stuff, and one of my favorite details in any story that makes prominent use of swords is the various forms of swordplay that exist in said world. So, of course the Breathing techniques in KNY were one of my favorite elements. So, we're gonna talk about them all.

Sun Breathing:

Sun Breathing, as the original form of the breathing techniques seemed a very logical place to start in our analysis of the focus points of each technique. Honestly though, Sun Breathing might be the easiest to identify. All other forms of breathing were derived from Sun Breathing, and as each of them focuses on more singular attributes, it would make sense that Sun Breathing is in general, a more holistic approach to swordplay. It relies on Yoriichi's Zen like state to function at its best, and is shown to feature a variety of techniques within its wheelhouse. It is the whole body, mind, and spirit, perfectly aligning into the sword strikes of someone in a Zen state.

Moon Breathing:

Moon Breathing is the only one of the original derivatives of Sun Breathing to not pass down into the repertoire of the Demon Slayer Corps in the form that we see it in, as it was only practiced by Michikatsu, who defected to the other side, becoming the demon Kokushibou. This one is a tricky one to pinpoint what's going on, as in the only form we see it in, the form has been tampered with so much by Kokushibou's Blood Demon Art so greatly, it shows very little resemblance to its former self. So, instead of analyzing the direct techniques to determine a focus, we'll instead take the thematic approach. Michikatsu was one of the first Demon Slayers to begin using Total Concentration Breathing after Yoriichi introduced it to them, and given the name of the style referencing the moon, which more dimly reflects the light of the sun, we can perhaps infer something along these lines: Moon Breathing requires much of the precise swordplay that Sun Breathing does, yet is lacking in the Zen that a true wielder of Sun Breathing must possess. It is a dimmer reflection of Sun Breathing's capabilities. In fact, given that there was some decay of the true forms of Sun Breathing as it was learned by the Kamado family, I would say that Michikatsu's original Moon Breathing might resemble the Hinokami Kagura.

Water Breathing:

Water Breathing seems to focus on the basics of swordplay, with a distinct emphasis on curved strikes and slashes. We know that Water Breathing is one of the more widely practiced styles in the Demon Slayer Corps as of the main story, with many different cultivators, as it is noted to be easy to learn. However, despite the relative ease of learning this style, I believe it is likely one of the more difficult styles to master, and I believe that the only true masters of the style that we observe in the story are Urokodaki and Tomioka, though I believe both Sabito and Makomo could have mastered the style had they lived.

Thunder Breathing:

Thunder Breathing emphasizes finishing off your opponent with a single strike, and because of this, places a heavy focus on both the art of drawing the sword, (Iaijutsu) and placing a lot of focus on the legs. (not me just barely realizing that Jigoro lost his leg, and therefore could no longer practice the forms effectively, hence his retirement). There is a lot of layering to the techniques of Thunder Breathing, as we know that mastery of the first form is key to mastery of all further forms. We also can see through Zenitsu that the first form is easily modifiable, accounting for both the sixfold, eightfold, and Godspeed variations, which I believe he developed himself, before using that base ground to develop the seventh form.

Stone Breathing:

Stone Breathing seems tailor made for intense physical strength and unconventional weapon choices. None of the five known forms of Stone Breathing seem like they would work at all for a traditional swordsman, and unlike many of the other forms, seem like they would require the user to be pretty physically powerful to pull off. So the focus here seems to be on pure physical power, alongside unique weapons.

Wind Breathing:

Wind Breathing is incredibly reminiscent of a real life sword style, namely Jigen Ryu. This style holds a high focus on high stances, as well as delivering an intense first strike, with teachings of the practice dictating that a second strike is not even to be considered. As far as things specific to Wind Breathing, the intensity and frequency of attacks should be noted. There seems to be a certain rough aggression to the style, and while that may merely be Sanemi's own personal take on the style, given we have no other sources, I would say that rough aggression is one of the focuses of the style, alongside its common ground with Jigen Ryu.

Flame Breathing:

Flame Breathing seems to focus on the energetic, passionate motion of a flame. However, that energy is channeled in a very precise manner, almost akin to the singular flicker of a candle's flame. Kyojuro's movements are energetic, but also incredibly precise. The movements are tight and controlled, but also have that passion and momentum of a fire burning. We see that the style must be incredibly precise by the way Kyojuro is able to use his sword just perfectly to deflect some of Akaza's punches, without damaging the blade at all. Flame breathing also features incredible variety in the types of strikes it employs, from the more straightforward slash of Unknowing Fire, to the almost defensive circular movement employed in Blooming Flame Undulation. Just like how a fire can be completely unpredictable, Flame Breathing seems to have a technique for every combat situation, rendering the user unpredictable in their own right.

Now we move on to the breathing styles that aren't directly derived from Sun Breathing.

Flower Breathing:

Flower Breathing was derived from Water Breathing at some point in the past long enough ago that a Sakura tree planted by the first wielder of the style is quite large in the main story. Flower Breathing places a heavy emphasis on observational skills, knowing your opponent, obvserving them and their environment to maximize chances of defeating them. Because of this focus on the gathering of information, Flower Breathing's techniques seem to be dual-purpose, serving as both methods of attack, and of evasion. The eyes are an important body focus for users of this style, as masters of the style tend to have very naturally good eyesight, as well as the final form, Equinoctial Vermillion Eye, raising the user's vision to such a high level that the world around them seems to move in slow motion.

Insect Breathing:

Insect Breathing is directly derived from Flower Breathing, and was the personal creation of Shinobu Kocho, the Insect Hashira. This style is quite unique among the Breathing Forms, as it is the only 3rd tier derivation from Sun Breathing that we know of, as well as focusing on an entirely different style of fighting than any other style. Given Shinobu's inability to cut off a demon's head, she has a uniquely designed sword, tailor made for piercing movements, rather than the traditional slashing movements. Speed is huge here, as well as taking the evasion elements of Flower Breathing and cranking it up to 11. After all, Shinobu's unique sword likely deals with additional fragility concerns, given it's function is essentially as a giant sword-shaped syringe. So, if Shinobu can inject her foe as quickly as possible, without risking a prolonged fight risking her sword's durability, that would be an ideal focus point for her unique fighting style.

Serpent Breathing:

Yet another derivative of Water Breathing, this style also seems to be the personal creation of one of the Hashira, namely Iguro Obanai. Serpent Breathing takes the 'flow' elements of Water Breathing and makes them the emphasis of the style. Obanai's sword is unique in that it's unique, but even Gotouge (who loves telling us the reasons why trivial details are the way they are) hasn't given us a reason why Obanai wields this unique blade. The blade is most similar in structure to an Indonesian Kris Blade, although with a much larger size. While there is no confirmed correlation, it seems to me that this style of sword would be at the very least, the optimal blade for Serpent Breathing. Serpent Breathing also likely incorporates Kaburamaru's role as a seeing-eye snake, likely avoiding making strikes too close to the body so as to avoid any accidental beheadings, as well as forms with very instinctual cues. In fact, of the derivatives, Serpent Breathing seems to be the closest related to its inspiration, likely only optimizing Water Breathing's styles to work best for Obanai.

Sound Breathing:

Somehow, this style is related to Thunder Breathing, although the styles seem completely different. This style makes heavy use of Uzui's njinja background, taking elements of that fighting style, and integrating them with the more conventional needs of the Corps' general fighting style. Mimicking the disorienting nature of sound and noise, Uzui makes use of small grenades, as well as his unique nunchuck swords, which notably have much larger blades than most standard Nichirin swords. This style is explosive and bombastic, and relies heavily on Tengen's unique ability to read the flow of a battle like a sheet of music. This style is pure chaos incarnate, and focuses on bringing the best out of Tengen's ninja training, as well as explosions.

Beast Breathing:

A personal style invented by Inosuke Hashibira, Beast Breathing is a distant relative of Wind Breathing. Making use of Inosuke's two jagged katana, excellent flexibility, and animal instinct, this breathing style is all rough edges and agression just barely channeled. Inosuke's excellent, animal-like sense of environmental awareness allows him to go full ham on aggression without needing to put much thought into an ambush, while also rendering him able to directly pinpoint a target in a large, chaotic crowd. None of these forms seem possible with only one sword, so it is necessary for any pupil of Inosuke-sama's to become a dual wielder like himself.

Mist Breathing:

Mist Breathing is a derivative of Wind Breathing, but seems more polished, making use of well refined swordplay, and streamlining the rough edges so key to Wind Breathing's identity. This is all for a good reason of course, for like the mist it evokes, this style is all about obscuring your movements and intent with your blade. In order to pull off feints, and other deceptive ploys with a blade, intense skill must be required to shift into the intended form with giving very few cues. Mist Breathing appears to be quite difficult to master, as the only known user of the style, Muichiro Tokito, is a literal genius with the sword. Mastery of Deceptive techniques as well as a refined grasp of swordplay is the focus of this style.

Love Breathing:

The personal creation of Mitsuri Kanroji, Love Breathing is derived from Flame Breathing, which she learned during her study with Kyojuro Rengoku. This style is incredibly personal, and it would take a miracle for someone to recreate it, given the perfect storm of Mitsuri's skillset. It takes the basics of energetic momentum focused on in Flame Breathing and multiplies it with Mitsuri's own flexibility, strength, and unique sword. It can be inferred through the flexibility of her sword that energetic momentum combined with intense flexibility is the key to this style.

And that about wraps up the breathing forms. Much like many real life fighting styles, these forms are very complex, and difficult to pin down to a single focus element. By giving a more holistic analysis of each style, I hope I was able to give you a sense of the essences of these fighting styles.

#an excuse to research sword stuff #probably more in depth than the ask really needed #kimetsu no yaiba #total concentration breathing #nichirin sword #kny meta

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inmyarmswrappedin · 3 years

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I don’t want to like, encroach obnoxiously on Ally’s excellent answer by adding more stuff to it, but like, this black and white, all or nothing view of how the Skams have handled race is so obtuse???? To the point where I, too, am wondering whether anon is asking in good faith.

Tbf, I think part of it might be that we react to these shows in real time, before the storyline is fully developed, and we’re made to stew in our feelings, which can and does lead to highly charged posting. And so it might seem to people that Wtfock, Skam France, Druck, Skam or Eskam are all equally terrible in their handling of race and Islam, when that is very much not the case.

The Skams are shows produced in majority Christian countries where white people are both in charge of power structures and interested in restricting access into these power structures to those who challenge this white, male, cis, straight, able-bodied, neurotypical market liberal, secular Christianity. As such, and esp when it comes to the European Skams, there’s a distinct lack of precedent when it comes to handling characters who are BIPOC (and Muslim). But to say there isn’t a spectrum or a desire to improve in each of these shows is such whataboutism.

While Skam was over after the original 4 seasons, NRK took into consideration the feedback received and they launched shows with a bisexual lead, about POC living in Stovner, about a hijabi middle schooler, and a season about a Turkish Norwegian female university student. We don’t know what mains Skam would’ve had if it were doing its 20th season, but we do know NRK made shows about all kind of Norwegians after Skam.

For as much as Eskam never gave a fuck about its dudes of color, it also never had them drop homophobic or misogynistic slurs. At no point were audiences so much as led to think Dylan would be homophobic towards Lucas. Eloy, the only Sonja of color, was never ableist.

For as much as Druck shortened Amira’s season, it also portrayed the girl squad as unequivocally protective of Amira against racists. It is not putting Druck on a pedestal to say the Druck girl squad came across better than pretty much every other girl squad in their Sana season, like... I wish ALL Skams featured the girl squad verbally and physically defending their Sana against racism! I wish THAT low bar was cleared! Ffs.

David’s entire character is not his trauma. David is portrayed as desirable, bold, artistic, sarcastic and silly, and to say that those traits aren’t part of the writing is to be obtuse.

Ava’s entire character is not her trauma. Ava is romantic, gossipy, self-aware and thoughtful, and I honestly wonder who anon is comparing Ava to when they say there’s nothing to Ava’s character beyond her trauma.

Honestly, after this ask I kinda wanna put Druck on a pedestal anyway because which other Skam have they seen (or any show anywhere for that matter) that opened a conversation about white allies’ microaggressions (like, actual microaggressions, instead of blatant racism and gaslighting) where the black characters never were made to apologize to their white friends for being too angry or too sensitive, it was on the white ally to educate herself and the conclusion was that black friends are your friends and not racism experts. Like, please, anon, tell me which other Skam (not how many other Skams, but just ONE) has opened this conversation and made it an explicit storyline, that apparently Druck is not actually unique in its handling of race.

#skams adjacent discourse #must be worms on the brain #some people genuinely seem to think media can be separated into either n*zi propaganda or morally flawless #and puts anything with a flaw (so... everything) into satan's tv #the sadly hiilarious part here is that I don't even stan Druck that hard!!!!#like in terms of storytelling I much prefer skam and even eskam to druck #but druck is still leagues above every other skam on this aspect. that's just facts.

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bigskydreaming · 3 years

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what are dick's love languages?

Y'know, I do think a lot of the usual suspects do apply here, like he is a tactile person, he does like verbal affirmation of feelings, both giving and receiving.....but one that I see as fairly unique to him, is like, I think trust is one of his love languages in a way that's a little tricky to explain but makes total sense in my head, lol.

I THINK I've written a whole post about that already, it was one where we were talking about Dick having/needing flaws and I was going on about how narrative flaws don't have to be inherently negative, they just need to sow conflict, and one of the examples I raised was that I feel like trust is one of Dick's love languages, and so back in the early years with Bruce, the fact that Bruce seemed to trust Dick so completely, not just in the usual senses but also trust IN Dick to be capable of the things Dick did as Robin, much like his parents had put their faith in him from a very young age, that he was capable of doing all the things he ultimately came to be capable of on the trapeze....like I think that sort of total and complete trust goes hand in hand for Dick, because for as long as he can remember, that and unconditional love were a packaged deal. He never had one without the other, so they were kinda one and the same.

And initially with Bruce, this just got reinforced albeit without either of them realizing it, because Bruce might not have been quick to say I love you or hug Dick, but he demonstrated the same total faith in Dick and what he was capable of that Dick had received from his parents, BUT very rarely anyone else in life, like a marked difference from the way people outside of his two family units treated him. And for a long time, this WORKED for them, but the problem in never realizing what trust meant to each of them and how it could be so similar but yet so different, like.....the problem was, as long as Dick HAD that kinda unconditional faith in him that Bruce showed early on, he didn't NEED the verbal or physical affirmations of affection as much. He had this at least, and it said 'I love you and trust you' in a language Dick unconsciously understood.' But then seemingly take that trust AWAY, such as when Bruce fired him and seemingly had no faith in Dick's skills or competence after years of putting total trust in them, like....even though the issue was never that Bruce stopped loving OR trusting Dick, WITHOUT the verbal and physical cues as to how Bruce felt about Dick, and without the reassurance of longer lasting ties than just his original wardship, suddenly to Dick it might have looked like Bruce literally just DIDN'T care anymore, that for whatever reason, he'd lost Bruce's faith in him, and his love at the same time.

And meanwhile from Bruce's side of things, the issue was always just his fear of losing Dick and letting his own trauma and issues get the best of him and come between them.....BUT in addition, like, assuming trust works as one of Dick's love languages, then for years it'd been quietly existing as a stand-in for all the other more usual displays of affection. But if Bruce didn't realize the significance of Dick knowing that he had someone's total trust or at least faith IN him, not necessarily like that he was right about everything, it isn't like an oh I think this kid never makes a mistake thing, its more a I fully believe that you're capable of overcoming this issue before you and every other one after it kinda thing....

Like, if Bruce never had reason to fully grasp just how much the trust inherent in their partnership as Batman and Robin like, made UP for the lack of other plainly evident displays of how he felt, so that Dick didn't need those things from him that much as long as he had THIS, instead.....

Then of course he'd by extension, just, totally miss that a huge part of the divide between him and Dick was that WITHOUT Bruce knowing to make up for the lack of plainly evident trust between them and compensate for the shake-up there with OTHER kinds of reassurance as to how he felt about him, Dick wasn't JUST reacting to the idea that Bruce no longer trusted his capabilities as Robin and then Nightwing. That it actually went much deeper for him, in ways Dick probably himself has never fully verbalized. That it shook the very foundations of their relationship, and Dick’s confidence that they even HAD one, because the entire relationship had pretty much from the start been ROOTED in that foundational bedrock that was Bruce’s seemingly complete and total faith in Dick and what he was capable of, so reminiscent of what he’d had with his parents, and the first hint he’d had of anything LIKE that with anyone since them, or even the first spark of hope that he ever COULD have something similar to that again. And which again, he DID for a time have.....and he never truly lost it, its just having not prioritized growing other support pillars for their relationship that didn’t revolve around the Batman and Robin partnership, too much of their relationship had rested on that partnership’s existence, had basically NEEDED it, to shore up the gaps in other aspects of their relationship.

And I argue that you can see other instances of this pattern with other characters as well. Like, in complete reversal of Bruce not realizing the disconnect between he and Dick because of their differing love languages, it could easily be posited that this was a problem with Dick and Tim after the Robin thing as well. Because see, if Dick was trying to learn from Bruce's mistakes specifically, to project himself into Tim's shoes and use what Dick knew from his OWN past experiences....Dick would have run into the exact same problem as Bruce, just from the opposite angle. Because see, for as long as Dick has known Tim, he's made supreme efforts to show Tim that he sees him and appreciates him OUTSIDE of Robin just as much as in the mask. He's always made a point to hammer home that his brotherhood with Tim may have originated with Robin, but it was never conditional on it, and in contrast to how reserved Bruce often is with him, Dick made SURE to express his affection for Tim in all kinds of plainly evident ways, for as long as he'd known him.

So then, see, if Dick on some instinctive level pairs unconditional love and trust on equal footing, like he never really has one without the other because all the people he loves are people he trusts with his life, literally, and vice versa.....by the same token that had him once upon a time fear that Bruce no longer loved him, because it seemed Bruce no longer trusted Dick, and in Dick's eyes you couldn't truly have one without the other......THEN the reverse of that, in order to try and make sure that his siblings always KNOW that Dick loves and values them.....Dick tried to always make sure that was a priority.....BUT neglected to consider that love/trust aren't as innately interchangeable for other people as it is for him.

So on a gut level, it might have never really even OCCURRED to him that Tim might see that as Dick no longer trusting in his overall capabilities (even if Dick didn't believe him about Bruce, believing IN someone doesn't actually mean you have to think they're right about every single thought or idea they have, and just because Dick had doubts about that doesn't mean those ever translated for HIM as doubts IN Tim, the person, the brother, what he was capable of, his overall capabilities and competence and heroism).

But like, you see what I mean? Bruce underestimated the impact that seemingly no longer having Bruce's full trust would have on Dick, and not knowing to buttress that shift in their dynamic with compensating displays of his feelings in other love languages that Dick recognized.....he also made Dick doubt he still loved him.

In contrast, and likely in his very attempt TO avoid repeating the same mistake, as HE saw it from HIS eyes....Dick always made sure to express his love for Tim at every possible opportunity.....and so BECAUSE he was so consistent in expressing his feelings there, HE failed to buttress the shift in his dynamic with TIM, and didn't prioritize showing Tim he still trusted him and had faith in him in other ways....because by virtue of how closely Dick links love and trust, it would totally make sense in his mind that well, how could Tim NOT think Dick still has total faith in him, when he had all this evidence that Dick loved and valued him REGARDLESS of Robin and always had? Why would not being Robin take away that trust, when Dick had always made sure to reinforce his faith in Robin with verbal affirmations of loving his little brother?

But like, even though I think his first parents were always affectionate with Dick in a variety of ways, I do think it all goes back to that root, like, FAITH that you have to show in a kid, make a kid BELIEVES he has, on every single level.....in order to learn to do the things Dick did from a very early age. Flying was a family thing, only family could do it, and thus flying, and all the trust that went into making it possible, into helping each other achieve it as a GROUP.....like, it all added up to love, in Dick's experience. There'd never been any NEED for him TO separate the one from the other and mark a distinction. And even when he ended up in Gotham, he and Bruce had issues connecting at first, with them only really gelling once Dick became Robin....at which point, this is when Dick probably started to BELIEVE he could trust this man when he said he cared about him....because he wouldn't be so willing to put his full faith in Dick and what he was capable of, when everyone else Dick encountered had nothing but doubts to show him.....like, in Dick's eyes, Bruce couldn't possibly put the trust he had in their partnership of Batman and Robin if he DIDN'T care, right? Because that's a family thing. That's what that level of intimate trust and faith in each other MEANS, to Dick.

And then when that seemingly went away, Dick floundered, because it ALL seemingly went away at once....you take away the one, you can't possibly still keep the other, that's not how it works. Which is why its so important to him to always make sure everyone else in his family knows just how he feels about them, with words and actions, because that way the heartache he'd felt when he was younger and doubting his place in Bruce's heart would never repeat with them, hopefully....because as long as Dick was showing them his affection at every opportunity, how could they doubt his total trust in them, his family, at the same time?

Anyway, like I said, I definitely think I wrote a whole post about it before so I'm gonna go and try and find that instead of getting into all that here for a second time. Because that's definitely not what I already did. Nope, this was just me making a quick summary of my thoughts on this matter as a placeholder while I went hunting around for that other post that I can reblog so that I don't have to expound on this idea in depth a second time. Since that would be silly of me. So I obviously did not do that. Yeah. So.....anyway.....

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shemakesmusic-uk · 2 years

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Former IZ*ONE member Choi Yena has officially made her debut as a soloist. The 22-year-old idol has unveiled a bubbly new music video for her debut single ‘Smiley’ featuring singer-songwriter BIBI. Her mini-album of the same title was also released at the same time. In the vibrant new visual, Choi embarks on a mission to bring smiles to the faces of patrons of a hotel, urging them to get up and dance with her. When she leaves, BIBI shows up as a villain and begins to frighten the patrons and staff. “And I say hey, I’m gonna make it smile smile smile away / I’ll make a beautiful smile and let it go / Just smile away, just smile away / To forget about pain, sadness and loneliness,” sings Choi on the upbeat chorus. [via NME]

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Kyla La Grange has delivered her first single of 2022, 'Nurture', which is lifted from her forthcoming album While Your Heart's Still Beating. 'Nurture' is the third track to be shared from Kyla La Grange's first in over seven years, following last year's 'Neverland' and rework of N-Trance's 'Set You Free', and is teamed with a Alexandre Prod'homme-directed video. Kyla La Grange said of the new release, "'Nurture' is the most personal song I've ever written, a storybook of relationships, from childhood to adulthood. I nearly didn't record it because it made me cry too much, and I was scared to release it because it feels so raw and exposing, but something about the writing of it felt very necessary for me, like it was a way of paying tribute to certain things and then closing a door on them, putting them to bed." [via Line Of Best Fit]

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Partner, who’ve succinctly summed up their vibe with the subgenre tag “Canadian lesbian post classic rock,” are back with an extremely catchy new song. 'Time Is A Car' commemorates the 30th birthday of Josée Caron, the younger of the two Partner members, with some immensely appealing ’80s pop-rock rock vibes. “Lightning McQueen, take us away,” goes the Cars-referencing chorus. “Put distance between us and those cursed days.” A statement from the band: "This is a song that we wrote while reflecting on the years that have passed and the way that the passing of time offers fresh perspectives. Fittingly enough it’s ready just in time for us to present it to you on Josée’s 30th birthday. Time sure does fly!!" 'Time Is A Car' arrives with a video by Partner pal Lesley Marshall. According to the band, it was a highly successful long-distance collaboration: "We had a distinct idea for the visual accompaniment to this track and we knew there was one person who could bring it to light; our beloved and frequent collaborator Lesley Marshall. However, when we were informed that the time to make a video was upon us, it seemed close to impossible that we would be able to make the trip to meet with her. While she is close to our hearts, we were separated by 4580km (2845 miles for our USA/UK friends). However, Lesley and the team at MAVN thankfully remained undaunted by such concerns. The result is one of our very favourite videos to date." [via Stereogum]

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Canadian alt-pop artist GRAE, who crafts new-wave pop which draws heavily from her nostalgic influences, has dropped her new track 'Room In The Desert' with its stunning video. For 'Room In The Desert', GRAE cites Cocteau Twins’ 1990 track 'Cherry-coloured Funk' as her original source of inspiration. She adds. “'Room In The Desert' was written on a day when I was lacking inspiration. I came into the session with my producer Connor Seidel not knowing what to write about and instead of trying to fight that feeling, I embraced it. I decided to write a song about nothing, from nothing, using some random and interesting words we could find. At the time of writing, it had no real meaning, which was the intention, but now I actually find meaning in it which is interesting. I hope those who listen are able to find their own unique meaning too.” 'Room in the Desert' is taken from GRAE's upcoming debut album Whiplash which is due in April.

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Big news from the world of indie: Peaness have announced their debut album. To be titled World Full Of Worry, it'll arrive this May and gets its first single in 'How I'm Feeling'. Released via their own record label Totally Snick Records, the album has a strong start in 'How I'm Feeling', which uses indie punk riffs, catchy melody and some lovely harmonies to kick ass. “In an unfulfilling job? Need a shake up with something in your life or you’ll go mad? Well, that’s ‘How I’m Feeling’ and it can’t be ignored anymore!" [via Gigwise]

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Accompanying the announcement of her new album, It Was A Home, Chicago native KAINA has released her effervescent new single, 'Apple'. Presenting itself as a psychedelic odyssey of a track, 'Apple' floats through passages of progressive soul to soaring synth-led choruses, taking us on KAINA Castillo’s journey of self-discovery and personal growth. As KAINA laments how she wishes she were more like the “Apple” that the song takes its name from, there is a gradual shift in the track’s tone from funk riffs to short splashes of wonder as she comes to appreciate her imperfections. Speaking about the subject matter, the singer and producer says, “like most people, I often overthink a lot and it’s sort of just a silly song about wanting to appreciate the way I am and the way I exist at the purest form possible. I talk about being in my own way a lot, despite how hard I work and have good things going for me. Ultimately, I realise that it’s up to me to have the compassion, patience, and care for myself as well as a little humour about things.” Taking influence from being raised by her Guatemalan and Venezuelan parents in Chicago, Castillo uses her experiences of being a first-generation kid and states that “through my songwriting, I’m able to reframe how I view those experiences by adding context and nuance.” Here, on this latest single, we see this used to great effect as she comes to terms with her identity. While her home city boasts several artists in adjacent musical lanes - stylistically pushing the boat out and testing the limits of pop, neo-soul and R&B - it’s those KAINA has worked closest with that appear to have had the greatest influence. Whether it’s the smoothness of Jamila Woods (who she has previously toured with), the outright zaniness of former label-mate NNAMDÏ or the slickness of co-producer Sen Morimoto, all elements are seemingly melded together in perfect balance on 'Apple', culminating in one essential listen. [via Line Of Best Fit]

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In December, Girlpool returned with a new song called 'Faultline.' That was just the first taste of a whole new Girlpool album. It’s called Forgiveness, and it’s out in April. Girlpool teamed with producer Yves Rothman to, as a press release puts it, achieve an “intersection of Hollywood futurism and post-grunge sincerity.” Along with the announcement, they’ve also shared a new song called 'Lie Love Lullaby.' “‘Lie Love Lullaby’ is a song about a time where I felt that my innocence affected my ability to choose a person who was good for me,” Avery Tucker said in a statement. “In the past, it’s been painful to choose somebody that didn’t believe in me, and I think the most painful part was that I allowed myself to pick a person that didn’t recognize my entirety. I wrote this song wondering, did I recognize it myself? If I had the wherewithal to tolerate their minimizing perspective?” 'Lie Love Lullaby' also comes with a video directed by Amalia Irons. [via Stereogum]

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The Let Go drop their new single ‘Last Year’s Model Club’, the latest offering from one of the most exciting new bands in the UK. ‘Last Year’s Model Club’ showcases yet another string to The Let Go’s bow, a sweet slacker banger from the perspective of a jilted ex, showcasing Cole’s smooth vocals and the pair’s pitch perfect production, with additional production from Oscar Scheller. Cole explains, “Everyone goes through that one relationship that breaks you, and this song shows that being in the ‘Last Year’s Model Club’ isn’t freeing or relieving, but more so sends you into being the chaotic crazy ex-girlfriend.” The accompanying video is co-produced, co-directed, co-edited, and co-wrote by Cole and Scout with Frankie Beanie, and is released alongside the announcement of the duo’s debut EP Delete My Feelings, due on March 18.

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After the release of her stunning single 'Spinning Tops' in October last year, emerging artist and award-winning composer, ELDR, has now returned to announce the details behind her eagerly-awaited new EP HÖLY STRANGER, showcased by the new offering 'Friends'. HÖLY STRANGER looks to continue the broad and ethereal guise she first introduced herself with. Channelling her raw and adventurous approach to production and songwriting, her newest collection looks to add the next vibrant chapter in her ever-growing catalogue, cementing her as one of the more exciting new names emerging right now. Her newest effort 'Friends' stands as a perfect reflection of what we can expect on the new EP. With its warm live energy, and her own powerful voice soaring atop a bed of distorted guitar and driving drums, she is looking to pursue larger captivating tones this time around, adding breadth and levity to her aesthetic throughout. The latest offering also comes accompanied by a stunning new video, shot by Miles Ridgway (Arlo Parks) and directed by Philip James McGoldrick. The new visuals perfectly demonstrate the unique world-building aesthetic ELDR has been cultivating since her earliest origins. With its rich and powerful imagery, we are beginning to see a full sense of where she plans to take us on her next absorbing journey. Speaking about the video, ELDR said, "The 'FRIENDS' music video is a dystopian sci-fi meets spiritual orgy! It explores a yearning for intimacy and the sanitised detachment from our own humanity caused by recent things like social distancing. The main characters begin trapped in themselves, masked and dressed in hazmat suits. My character is intended to be a kind of 'alien swan' who activates them with music, inviting them to become more feral and free."

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FKA Twigs has shared the official video for her latest single ‘Meta Angel'. The song appears on the singer-songwriter’s new mixtape Caprisongs, which came out January 14. The track’s accompanying visuals find Twigs in a London park before a bow and arrow-wielding alter-ego of the artist takes to the roof of a city skyscraper. Once in position, the latter character sets her sights on the FKA Twigs on the ground and shoots. The arrow flies above the capital’s streets, with drone-shot footage taking us along for the ride. After being struck in the middle of her chest, Twigs sings along to ‘Meta Angel’ as she lies on the grass. You can check out the Aidan Zamiri-directed video above. [via NME]

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Everything's coming up Chelsea Jade! The LA via Aotearoa pop princess follows up her 2018 debut Personal Best with forthcoming sophomore album Soft Spot and shares the exciting news of signing to international label Carpark Records. Along with the new album announcement, Chelsea Jade lifts the lid on single 'Optimist' and her self-directed, edited, choreographed and animated video to boot. The dreamy, alt-poppy goodness of 'Optimist' is paired with Chelsea Jade's signature off-kilter dance moves and a crème de la crème of local creatives, from award-winning video-makers Alexander Gandar and Amanda Jane Robinson, to The Beths' Elizabeth Stokes credited with 'Assistance'. [via Under The Radar]

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Singer-songwriter and actress Lola Kirke has returned with news of her second album Lady For Sale, and has unveiled new cut 'Better Than Any Drug' as the first taster. 'Better Than Any Drug', teamed with a Alex O Eaton-directed video, is Kirke's first new material since her 2019 EP Friends And Foes And Friends Again, and also arrives as the first preview of her upcoming second record. Kirke's Lady For Sale album will follow her 2018 debut Heart Head West, and is produced by Austin Jenkins (White Denim, Leon Bridges). "I am over the moon about sharing this album with people because I just think it's such a good time and frankly I’ve felt a bit rude keeping all that fun to myself!" Kirke said. "It was inspired by some of the baddest women in 80/90s country, disco, and rock and designed to blend those references into the thing you didn’t know you wanted but do! Or maybe you don’t. But that’s probably ‘cause you’re square :) Anyway I just hope people sing and dance and feel powerful when they listen to it." [via Line Of Best Fit]

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Russian collective Pussy Riot have unveiled new single 'Punish', which is co-written by Tove Lo. 'Punish' is Pussy Riot's first outing of 2022, following last year's appearance on an updated version of MARINA's 'Purge The Poison', and is teamed with a Ksti Hu-directed video. Pussy Riot's Nadya Tolokonnikova says of the release, "'PUNISH' is the first audio-visual artwork from Pussy Riot's upcoming cycle that introduces a super(s)hero character who owns magic superwoman-like qualities and uses these powers to fight sexism. She's a strong dominatrix figure, and serves justice by punishing Weinsteins of the world. Talks about the vengeful shero are spreading, and now men are scared to misbehave, because they're well aware that revenge is coming." Co-writer Tove Lo adds, "Getting to enter Nadya’s world and be a part of this project is my pussy power passion project! She’s an iconic artist with an incredible life story who goes into everything with a bigger purpose. I hope we all get to live in the Pussyverse!" [via Line Of Best Fit]

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Capturing the turbulence of youth, London based Gretel Hänlyn’s third single is an extravagantly emotive record, allowing herself to be “young, stupid and confused.” Co-produced with Mura Masa, 'Motorbike' is a boisterous, brooding track from 19-year-old Gretel Hänlyn. Untangling a recent breakup, “this track was written and that, alongside the reawakening of my social life, ended up heavily inspiring my lyrics,” Gretel offers. “I learned that if you take life and love too seriously then you’re probably not having enough fun. I think I was listening to a lot of The Strokes at the time and I had ‘Bad Decisions’ on repeat before getting to the studio, which maybe you can hear the influence of in the guitar hook.” Mura Masa’s deft hand shapes the track into an emotional ravine. Inspired by the music of his youth, the sounds and textures from his memory flood into the sonic landscape. “Mura’s got this hyper-intelligent skill of being able to capture and romanticise entire emotions with just his production. His second album R.Y.C is one of my favourites ever because of that”, Hänlyn tells Best Fit. “He lends that skill so well in ‘Motorbike’ and you can hear the emotions of growing up in the music.” Lifted off her forthcoming debut EP, Slugeye, the track’s visuals are beautifully cinematic - swept with strokes of rock and roll splendour. Directed by Jasper Cable-Alexander, the video features her parents as the iconic punk duo Sid and Nancy - striking in their matching leather jackets. “Motorbikes don’t really have anything to do with what the song is about,” Gretel explains. “It was a passing lyric I wrote because Alex (Mura Masa) told me a motorbike pulled up outside the studio before I arrived at his place and he thought it was me. I’d always wanted to shoot my dad’s biker group, Honda Owners Club, for an MV, and obviously, it stuck and became the title of the song.” Filled with exuberant guitars, the track reaches its climax in the chorus as it takes a sudden, distorted foray into noise. Drenched in reverb, the soundscape is made up of Gretel “in hysterics laughing, then crying, moaning, hyperventilating and giggling”. It’s wonderfully cathartic, processing her grief through warped textures and spiked electronic rhythms. “To me, the break up feels more secondary to this song's meaning. Breakups are just a part of growing up. I’d written the verses light heartedly and then I reached the chorus and was a little stumped for words - how do you sum up years of youth and good/bad times with just a few lyrics?” she reminisces. “So Alex hit record and I just made these sounds instead. When he stopped recording I felt like I was gonna pass out. He layered them perfectly into the music so that you could feel my emotion rather than me having to sing the words that will explain it." "I haven’t got a clue, what I’m supposed to do tonight,” Gretel laments at the track’s opening. Although a familiar feeling at the demise of a romantic relationship, the young artist instead appears to find comfort in this shadowy chaos. [via Line Of Best Fit]

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ALTO ARC are a new supergroup that consists of hyperpop producer Danny L Harle, Hundred Waters’ Trayer Tryon, Deafheaven singer George Clarke, and makeup artist Isamaya Ffrench. That’s a pretty eclectic and exciting group of people, and now they’re announcing their self-titled debut EP, out next month on the great heavy music label Sargent House. The band’s first official song together was 'Nocebo,' which was included on the soundtrack to one of Euphoria‘s special episodes last year. And now we’re hearing the EP’s bracing lead single 'Bordello,' which comes with a music video from Elizaveta Porodina starring Clarke and Ffrench. “Working with Elizaveta to see her vision through was wonderful and I couldn’t be happier with how beautifully this song was interpreted and captured,” Clarke says. “I have thoroughly enjoyed working on this video,” Porodina adds. “Telling this story felt like opening an old book and uncovering a sinister fairy tale. An eerie vibrating presence fell over the rooms we built up, and it felt like oscillating from one dark world to another. It’s a privilege to witness such rare and magical moments.” [via Stereogum]

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After making waves with singles 'Cornflower Blue' and 'Back To You,' melancholic indie artist Flower Face is proud to officially announce her forthcoming full-length album The Shark In Your Water due out May 27 via Nettwerk. Accompanying the announcement is the release of her most dynamic song to date. 'Sugar Water' kicks into high gear with intricate, descending guitar lines and dark melodies. The push and pull tension of the chorus perfectly match the lyrics of obsessive love. The music video is an artfully crafted take on the Rock Band-style video games of the early-00s. McKinnon plays the game’s avatar, trying her hand at each instrument, not only highlighting her multi-faceted musical abilities but her visual aesthetic as well. The video was both directed and edited by McKinnon who holds a BFA in Fine Arts. "'Sugar Water' is a song about being completely infatuated with someone, to the point where you're in too deep but you don't care because everything is so exciting and colorful and beautiful. The world looks better through rose-colored glasses, so you keep them on. You don't see any problems or failures until they hit you in the face. I wanted to do something bright and fun with the music video. When I was younger, I loved all those music-based video games: Dance Dance Revolution, Rock Band, Karaoke Revolution. I thought something sort of tongue-in-cheek, in that Y2K video game style would be fun. The video has my avatar going through each verse and chorus as if it's a "level", playing a different instrument in each one. Virtual me is super psyched, because it's so much fun and everything is neon pink and purple and I get to wear this really cool outfit, so I don't even realize I've failed until the very end. It's like the crash and burn of those kinds of relationships - it doesn't hit you til it's over."

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Swedish forward-thinking pop star Tove Styrke has shared her exciting, unexpected and sexy new single ‘Show Me Love’, which follows recent releases ‘Start Walking’ and ‘Mood Swings’ released by RCA/Sony Music. New single ‘Show Me Love’ was co-written and produced with Elof Loelv (Rihanna) and Sophia Somajo and sees Tove continue to intrigue and inspire with her uplifting alternative pop sound. Nostalgically inspired by classic pop songs from the 50´s-70’s paired with an acute modern presence, the track displays Tove’s impressive vocals with a heartfelt soaring chorus. The dreamlike video echoes the meaning of the song, but in a fun and lighthearted way. This is not just another love song, it is a track about sexuality and raw hardcore emotions. Tove says: ”I wrote it for someone I was madly in love with. Every word went directly from emotional parts of me, that I usually keep hidden, straight into the mic. It’s rare for me to write without any hesitation like that. We chew up love like fast food, yet when we truly fall for someone it’s always the same big, amazing, dangerous thing. Slow love. Hard love. It grows, it hurts and it bends and it breaks. These feelings are like candy paste and cement at the same time. We’ve got that fun, fast food, easy side to it but it can also evolve into a war. I’m scared and obsessed with it.” And about the video (directed by Oskar Gullstrand): "The video consists of three parts. The performance, where I wanted to channel classic starlets from the silver screen and pay hommage to voguing. The fantasies, where the mass scenes and the birth of Venus to me are representations of sex and feminine energy. And lastly, we have the Rapunzel guitar solo as a metaphor for masturbation. This is one of my absolute favourite videos I’ve made. It’s fun and weird and serious at the same time and I think it really shows how I feel about this song.”

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Before joining nothing,nowhere. on the road this spring, carolesdaughter has just shared a brand-new single, 'Target Practice'. As the title and accompanying video suggest, this is tune is "an anthem for the misfits" according to carolesdaughter (real name Thea Taylor), with the alt. artist explaining: "My mom always told me if you got made fun of in school, it meant you were going to do well in life – and this song is what I wish I could’ve said." Hell yeah – now that's an attitude we can get behind. [via Kerrang!]

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Bas Jan astounded with their last track ‘You Have Bewitched Me’ and this new single from the London-based outfit is just as beguiling, using subtle beats and close harmony to explore something which might be real, or might be a huge joke… The vocals on this are immense and using almost dubstep-esque beats to back this odd and actually quite eldritch track – “you won’t name names…” – there is of course the shadow of The Wickerman images and songs looming over this as well, but they deal with it well, separating them from it, but definitely referencing it… It is another storming track from Bas Jan, and bodes well for their album Baby U Know, due out at the end of January. [via is this music?]

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Hindsight is 20/20. Just a few years ago, it looked like Tinashe was out of place and struggling to find her footing in the music industry. Today, it’s clear that she was just ahead of her time. Since 2020, a new wave of Black pop singers has emerged, working very much from a blueprint for which she helped lay the groundwork, including such breakout stars as Chloe and Normani. Then, in 2021, Tinashe returned with her album 333, coming full circle to land at the forefront of the movement she helped to start when no one else really “got it.” Now, she released the latest single from that album, 'X,' with a high-concept music video that slyly nods to the way she saw the future before anyone else did. Featuring a subtly comedic framework of a teenage Tinashe encountering a street hustler peddling visions of the future in his crystal ball, the video shows off the LA-based singer’s high-fashion sensibilities and acrobatic choreography with a team of dancers and a stunning wardrobe that is best described, in the words of her video co-star, as a “snakeskin octopus dress.” Unfortunately, featured artist Jeremih was unable to appear, as he’s been recovering from a vicious bout of COVID since 2020, but his verse remains intact. Either way, Tinashe makes her point; she could see what no one else could in her crystal ball and now, her vision is coming to life. [via UPROXX]

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Lilyisthatyou isn’t a pure girl — and she wants you to know it. On Friday, the Canadian songstress released her single 'Purity' as she channeled evil, sexy cheerleader realness in the punk-pop track’s music video. “The video was everything I could have dreamed of and more,” Lily tells Rolling Stone. “It was chic-villain-euphoria-cheerleader-Harley-Quinn-girl-power-shower-sex-scene madness. I slammed a bedazzled baseball bat until lockers were dented and the jewels hit the floor.” The video follows the singer — in Harley Quinn-esque pigtails that made her “feel like a fucking superhero” — as she embraces that “sex is a weapon” and owns her femininity in a high school setting. “Call me a slut, call me a whore. It’s obvious you’re insecure,” she sings. “There’s no such thing as purity anymore.” And the steamy sex scene? That’s her and her boyfriend Caleb, who produced 'FMRN,' her debut single. “We stripped and made out in a shower while [director] Leah Lalich caught it on a camcorder,” she says. [via Rolling Stone]

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Before Annie Goodchild, there used to be Sam. After taking an Ancestry DNA test, the acclaimed singer, songwriter and recording artist learned that before being adopted, she used to be named Samantha. This realisation marks the starting point for their new single, ‘Gentle’. The track is the first single to be taken from her upcoming EP of the same name, an explorative new collection of cinematic, left-field pop, and Goodchild’s first release under their new creative moniker I Used To Be Sam. To accompany the release, Annie also shares a haunting music video. On a gruelling five-day songwriting trip in Berlin - mostly run by white men - Annie met a producer who was a queer women of colour, and began to speak candidly about meeting her birth father for the first time, and the agony of trying to reconnect with her biological mother. Her attempts to reconnect with their birth mother were met by re-rejection, leaving Goodchild feeling like “I was her dirty secret and a mark of shame”. As the artist recounted her experiences, “I looked up and the producer was bawling,” she says. “At that moment the name I Used to Be Sam came to me. This is the music I need to be writing. I came home and everything shifted. I can’t make Annie Goodchild music anymore, because Annie was who I had to be to get to this point. Now I need to start making movement.”Emboldened to dig deeper, Goodchild struck up conversations with other transracial adoptees (TRAs) and sharing overlapping experiences informed the incredibly personal nature of I Used To Be Sam’s debut EP. With this new music, she aims to use it as a vessel to bring people with shared experiences together, and open up the narrative around transracial adoption. The release of the EP’s title track marks the first of many chapters for I Used To Be Sam, it’s the mark of the artist making the bravest, freest and most confronting music of their prolific career. The track soars and skitters with crisp beats, sampled bodily sounds retooled as percussion, and cyclical snippets of recorded vocals that bring a melodic pulse; Goodchild’s voice wavering and roaring with a rawness that comes straight from the pit of their stomach. The songwriting is every bit as experimental as the journey that its author went on while writing their most ambitious and honest release yet.

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