Do you guys notice how when Shawn Fain, president of the United Auto Workers union, started planning a general strike, he did it by a) targeting his messaging towards unions with the ability to safely and effectively strike in large numbers, b) laid out a clear, actionable plan for those unions to follow (setting contracts to all expire at the same time, since many unions cannot strike while under contract), c) is using union contracts to set clear, actionable demands that can be met in order to gauge success and provide an end goal, and d) started organizing FOUR YEARS before the proposed strike date to give people the chance to plan accordingly, because it takes a really freaking long time to get tens of millions of people organized?
You notice how he didn't do it by slapping a message on Twitter saying 'hey nobody go to work on Monday, that'll really show 'em'?
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the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.
capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.
now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.
and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.
and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.
and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".
it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"
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A Persuasive Argument - dpxdc
"Great!" Danny says, clapping his hands together to get everyone's attention. The dinner table falls silent as everyone looks towards him. It's a full house today and, honestly, Danny's a little nervous. "I'm sure you're all wondering why I gathered you here today."
"It's dinnertime. In our house." Duke mutters, while doing a very bad job of concealing his yawn. He holds his fork poised over the braised beef, but, just like everyone else, still looks towards Danny before tucking in. It's intriguing enough to wait.
"Yeah, no one misses Alfie's dinner." Dick says, with a brilliant smile that Danny can't help but return.
"Precisely! What better time to talk to you all than when you're all actually here!"
"Wait, I thought you came round to work on our English essays?" Tim asks, blinking owlishly.
"I'm afraid I've lured you here under false pretences, Tim."
"This is where I live."
"I would still really appreciate help on that essay though, I mean, what the hell is Hamlet even about? I just don't get that old time-y language, like 'Hark! A ghost hath killed me!' - absolute rubbish, what does that even mean?"
"The ghost never kills anyone in Hamlet, he's there to tell Hamlet that he was murdered. Have you actually read it?"
"No, but it sounds like you have. Tim, I want this guy to help me with my essay instead. I know for a fact that you haven't read Hamlet, either."
"So? We don't need Jason, I've read the Sparknotes."
"Hi Jason, I'm Danny, pleasure to meet you, summarise Hamlet in three sentences or less."
"Am I auditioning to help you write your essays? I can't believe you’ve gone through your whole school life without reading it, it’s good!"
"Hamlet, along with a number of other classics, was banned in our house because it portrayed ghosts as intelligent and sympathetic beings rather than evil, animalistic beasts. I didn’t even get to see The Muppet's Christmas Carol until last year with Tim! It was surprisingly good, and I hate Christmas because everyone always argued and it sucked. But we're getting off topic. I—"
"No, no, please go back to that, because what the fu—"
"Boys, please." Bruce interrupts, looking to the world as if he wants to hang his head in his hands. "Danny, you were about to say something?"
"Oh, yeah, Mr. Wayne! Thanks!"
"Please, call me Bruce."
"Well, that very succinctly brings me to my point, because I'd actually really like to call you dad."
Nobody says a word. Nobody even blinks, all as shocked as the other, watching open-mouthed as Danny pulls his laptop out from beside his chair. Bruce can definitely feel a headache coming on.
"Before you say anything, I've prepared a 69 slide PowerPoint presentation on why you, Bruce Wayne, should adopt me, Danny Last-Name-Pending. Please save your questions, comments, and verdict until the end, thank you."
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invisible scars (referenced previous talk here)
[ID: A colourless, digital Trigun comic of Vash and Wolfwood talking about Wolfwood's scars. They're both laying in bed and topless. Vash lays on top of Wolfwood, playing with the rosary around his neck. Then, Vash kisses a spot on Wolfwood's chest. Wolfwood asks, "What are you doing?" Vash smiles sadly, "You got shot here. In the last town we visited. You didn't even bother moving."
Vash props himself up over Wolfwood, who frowns slightly. Wolfwood is quiet for a moment before he says, "You remember that, huh?" Vash grabs Wolfwood's left wrist and brings it to his face. "And here." He kisses another spot there. "When you helped free the hostages from that robber..." Wolfwood dismissively says, looking away, "Was a lucky shot." Vash huffs, “Don’t brag. Jeez.”
Half of Wolfwood's expression is shown, eyes returning to Vash who is now sitting up, continuing to say, "And..." Vash goes on and kiss Wolfwood's right palm. "You got cut here, even though that girl was aiming at me." A moment from the past flashes, of Wolfwood grabbing a knife aimed at Vash, his hand bleeding.
At present, Vash moves down and puts another kiss on Wolfwood's right shoulder. "And here, from watching my back." Another memory flashes of Wolfwood and Vash back to back. Vash looks back as Wolfwood grins while holding Punisher, bleeding from multiple gunshots in his shoulder.
"And," Vash combs up Wolfwood's hair to reveal his forehead, "Here." A final memory shows Wolfwood with a regeneration vial in his mouth while getting shot on his temple. The next panel is framed in blood with Vash at the center, eyes wide and stunned in horror. The next panel is a closed up shot of Wolfwood's eye, locked on Vash's face.
Back to present, Vash’s head is bowed down as Wolfwood raises a hand to his nape and says, “Spikey.”
Wolfwood looks serious and frowns as he says, "We talked about this. Those were my decisions. They're not there anymore. Forget about them." Vash looks very sad before he smiles ruefully and says, "I still see them. All the time." He leans down so they touch foreheads. Wolfwood’s sorrowful expression can be seen as Vash says, "You protect so much. I could never forget what you've done to me. And many others..."
In the last image, they're drawn more cartoonishly. Wolfwood sweats and asks, "You don't actually remember every wound, right?" Vash points at a spot on his chest. "Kuroneko left a scratch here 7 times." Wolfwood, startled, says, "Why the hell are you keeping count—" End ID]
Credits for ID here and here
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what's the threshold theory
There was a post about how Tom is the only crew member who isn't really affected by the Borg, and there's a theory that he has so much luck because he saw the past and the future when he crossed the transwarp threshold. He saw the past and the future, all of time and space. There's some subconscious part of him that remembers that experience. In fact, Tom refused to play a part in Chakotay indulging Annorax's temporal incursions, probably because a part of him knew nothing good could come of it.
If we extend that same theory to Janeway, some of her wild luck with time travel and other crack plans starts to make sense. She doesn't verbally hate time travel until after the events of Threshold, since it happens in Time and Again without complaint. Janeway has an uncanny knack for time travel, as evidenced every time she deals with it. She hates time travel, but it might be because part of her knows exactly how to manipulate the timeline. She manages to avoid the "inevitable" temporal explosion in Future's End, saving both Voyager and Braxton. She resets the entire timeline in Year of Hell, and no one else followed her reasoning. She pulled it off flawlessly. In Relativity, she senses the incidents are all related, despite it being just one reading that connects them. By the time she's involved, she has a temporal incursion factor of .0036 and a time travel protocol named after her, even if that may just be Braxton's personal grudge. Then there's Endgame, where she intentionally changes the timeline. Up until this point, she has been dragged into time travel, but for the first time, she jumps in on purpose. How does Admiral Janeway know how to get them home sooner in a way that completely avoids the Temporal Integrity Commission? It's because she has seen all of time, and part of her knows exactly what needs to happen so she can get Voyager home and do it in a way that becomes baked into the prime timeline. Maybe she doesn't consciously remember what happened during her transformation, but the experience lives in her mind somewhere, guiding her decisions.
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