i think that people should not be allowed to use a jackhammer on the sabbath, by any definition of the sabbath, and also not on work days or on holidays, and obviously never at night or in the mornings. other than that, you can use a jackhammer whenever you want.
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to any americans who feel "paralyzed" and "dont know what to do" to help with gaza:
reading a fucking book. i beg of you.
in a time of knowledge suppression is it your duty to arm yourself with knowledge.
read about americas occupations in the middle east.
read about 9/11 from outside of america and see how they inflicted senseless harm and violence to countless amounts of people and have been suppressing your rights for the past 2 fucking decades.
read about any of the countless wars from the past 30 years. especially from a civilian's. and the victims and survivors' perspective. listen to the horror stories and do not plug your fucking ears as to what your country is doing.
and read about fucking gaza and palestine and keep up with what is happening no matter how "sad" or "uncountable" you might get.
dont look away from this.
you dont have the right to be comfortable during countless active genocides.
if you're knowledgeable, you're powerful, and our current state doesnt fucking want that.
you have the power to change things if you open your eyes and scream to the world.
wake the fuck up.
Edit: please check the reblogs there are readings and ways to help
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“… so basically just about everyone in my life has tried to kill me at least once, it’s kinda become my go-to way of making friends, just striking up a conversation with anyone who shoots me. It’s worked with just about all of the rogues in my hometown, including my clone-turned-sister who I had brunch with just last week. Even my parents used to shoot at me, but that was only for like a year or so and in their defense they didn’t actually know it was me, haha. It’s kinda funny, the only person who ever managed to actually kill me was a friend of mine who didn’t technically kill me the first time, and then only did it a second time to fix some rewritten timeline stuff, and I still dated her for a while after that. Oh, speaking of dating, my first girlfriend tried to kill me WHILE we were dating, but again, in her defense, she didn’t know it was me haha. But yeah, that’s kinda why I kept talking to that guy while he was pummeling me, just a bit of a pattern I’ve wound up developing. Anyway, what was the question again?”
“… How did you get in my safe house, and do you need medical attention.”
“Oh! I crashed through the window, and probably. Also, I’m gonna pass out.”
And then Danny passed out.
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Something I made in a post that I think'll be lost in the texts + expanded a bit more
These panels are chronological events following AFO's pursuit of Yoichi's Factor.
AFO could tell if people were related through a Quirk. AFO and OFA also are connected to each other. In Kamino, AFO could confidently tell All Might that OFA had been passed on, so all that All Might had left were leftover embers.
When AFO killed Kudo, he asked where Yoichi was. He knew Kudo wasn't the holder of Yoichi's Factor at that time. He also realized when looking at Yoichi's hand that Yoichi's natural Factor was so weak he hadn't registered its existence. This implies AFO could sense Factors since he was young, and Yoichi's natural Factor never stood out to him.
Below are three panels of Bruce (right to left). Bruce fought, AFO killed him, and looked away in disinterest.
When he beat down Bruce, he already had a sense that Bruce didn't hold the Factor anymore. That's why, rather than yell in his face to figure out where it is and interrogate for a long time, he pulled up his corpse to inspect him better.
Bruce's corpse isn't resisting anything. Look at his feet; AFO literally dragged him. Bruce is already dead. Yet he's looking for something from him.
Bruce doesn't have anything for him. Nothing AFO wants.
When he looks away, he's dismissing Bruce, because Bruce doesn't hold Yoichi. AFO is wondering where Yoichi is, because he knows now that he's out there somewhere. Thus the pensive look to the wind.
After Bruce is killed, AFO and Garaki meet for the first time. Shinomori has Yoichi at this time, and AFO never comes close to him, so AFO is lost. He doesn't have any leads, and Yoichi has vanished.
Now that he knows Yoichi can transfer, it's possible for Yoichi to be kept out of his reach for the rest of his life. So meeting Garaki and having access to Life Force gives AFO more time to search.
Yoichi is still missing for 18 years though, because Shinomori is in hiding. AFO couldn't find him during the Fourth's turn.
This is why, when he encounters Banjo, the Fifth and active wielder of OFA [Yoichi], AFO is smiling.
It's been a long time, but Yoichi's in reach again. He knows where he is now. And this is the first time he's encountered the current holder.
Thus his shock.
[Yet... you never behave as I wish.]
It was the first time a Quirk wouldn't let itself be stolen. This was AFO's first encounter with this wall: it doesn't transfer without the holder's consent, and requires willpower stronger than all the holders combined to override that.
The holder is never going to give him that consent. To override the collective willpower, he's going to need something greater.
Meanwhile, look at Banjo's arms. Shinomori is the catalyst to tip OFA over the edge, that an unprepared vessel will be destroyed by how strong the Quirk is.
Banjo's arms are both messed up below the shoulder, just like Midoriya used to be. And like Midoriya uses Blackwhip to reinforce himself and stay standing, Banjo uses Blackwhip to hold his fist / arm together. His hand is being wrapped to stay in a fist.
(What I think is) The reason the limbs turn red, and then purple, from breakage, is a matter of blood vessels. Small, itty bitty, fragile things.
Using OFA breaks the whole area, from bones to blood vessels, causing internal bleeding. Thus the redness. But breaking those vessels again in a second go turns the area purple, because it causes instantaneous internal bruising.
But En wasn't ripped apart by using OFA. There's a cut on his thumb that lines up with the path of destruction; AFO sliced him in half. Otherwise, he wouldn't have that cut if it were just OFA.
It's hidden by the text in [... you never behave as I wish], but depending on where you see this chapter, you can see he got cut on the thumb. It's clearer where we see Nana take his hair from him, in [I only want... to make you mine!]
I have a post in drafts about En being cut in half rather than it being because of OFA, but I also hit an image limit, so I'm gonna end here. Ta.
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ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.
another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!
farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.
but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.
but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.
but the important thing is this.
farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.
farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.
the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.
as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.
but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.
and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.
to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).
to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.
and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?
but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.
the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.
so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.
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