Random HC: Jake had always wanted to join the Navy but there was a small part of him reluctant to leave his hometown. His parents always knew he was destined for more, as did Jake. But a little part of him would have been content to take over the farm.
I love that!!! 😍 Especailly because I usually HC Jake's family being very similar to Glen's really family where they are super close and supportive (unless my story needs them to be horrible, then I give into that HC instead 😅).
So because of how close they all are, Jake is hesitant to join the Navy since he knows it will leave him all over the world for long periods of time without being able to see his family. However, his parents convince him to go because they know it is his dream and he will be amazing. But he still comes back home every chance he gets.
Anyone have any HCs, thoughts, opinions, or creative ideas brewing (fics, art, moodboard, etc) that they want to talk about?
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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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Just saw someone on Twitter complain about the lack of Japanese people in Oppenheimer, and what did you expect??? Did you want the final act to be the bomb dropping and see people burning alive???
The reason why we don't see a Japanese perspective is because one, including a Japanese perspective, just to see how bad the suffering was would be exploitation. Two, to see an accurate and sensitive take on how the japanese felt about Oppenheimer, Christopher Nolan (as incredible as he is) isn't the right person to do this. And three, it's based on Oppenheimer's biography
Oppenheimer, the movie, literally shows you people (mostly the superiors, because by the middle/end of it you see Oppenheimer regretting his creation) doing something dubious and inhumane because they removed themselves away, both emotionally and physically, from the people they are hurting.
Nagasaki and Hiroshima only exist in those men's distant thoughts and imaginations. One guy literally asks to take a city off the bombing because that's where he had his honeymoon. It's disturbing and unsettling, as if those people were not real human beings. The lack of Japanese people drives the entire point home.
Also, Japanese cinema is right there. Barefoot Gen, Grave of the Fireflies, or Hiroshima (responsible for showing to many Americans the effects of the bombs for the first time) are just a few of the many, many decades of post-war Japanese movies we have
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i feel like pogue!reader with rafe would have an interesting dynamic with barry. like, he doesn’t particularly like her - knowing her connection with the pogues, especially jj but at the same time he’s dealing with rafe and pogues as a collective have gotta stick together. he’s also just morbidly curious about how she and country club have became a thing.
barry laughs when he sees you walking into his place, attached to rafe's side.
"ain't that-"
"that's my fuckin' girl. so watch your mouth." rafe cuts him off before he can finish the rest of his sentence, which is sure to have something to do with the fact that the few times barry's seen you before, you've been with the pogues that rafe supposedly hates so much.
"your girl? is that right? well, pleasure to meet you again, m'barry-"
you look up hesitantly at rafe, wondering if you should say something back, and you briefly reflect for a moment just how different things used to be. with your best friends, with jj and john b and pope at your side, the group of you would go and make yourselves comfortable anywhere. they'd charm their way into the good graces of the host and you never felt like you couldn't just speak your mind.
rafe is different. you don't know if it's bad, if he's bad for you, or not. talking to someone when you know he doesn't want you to feels wrong, feels bad. and you like him taking lead, him showing you the way and calling all the shots.
so you smile at barry but don't engage, looking up at your boyfriend instead. he looks down at you for a second, but you can tell you did the right thing.
"sit down and shut up. c'mon, we got shit to discuss."
"tells me to sit down. in my own fuckin' house. i gotta tell you princess, you picked a real winner here in rafey boy-"
"did y'not hear the shut up part?"
a laugh escapes, though you try to keep it quiet. they go on discussing something that doesn't mean much to you, while you go on your phone and text your friends. rafe's phone rings, and he just steps away for a minute to answer. barry doesn't hesitate a second to get the answers he needs from you.
"so. you and country club. how long's that been goin' on?"
"um, a couple months."
"your boys know 'bout him?" you bite your cheek. they don't, yet.
"not yet. but, soon, i guess. waiting for the right time.." you mumble, playing with a loose stitch on your skirt.
"yeah. i'd get on that. not gonna be too happy, are they?"
"maybe."
"don't they hate your boy as much as he hates them? ain't that.. awkward?"
you think you should be offended by the line of questioning, but rafe talks about barry often enough for you to know that he's not a snitch, that he doesn't care. he's just curious.
and he should be. up until a few months ago, you were never seen without your boys, as barry put it. you used to be attached to jj's arm, permanent passenger princess in pope's truck and the twinkie. it all feels like a lifetime ago.
"i'm hoping we can all make amends," you finish softly, fresh waves of guilt washing through your body. it burns where it goes, a stinging similar to what your friends are gonna feel soon, when they find out you've been dating the boy who's been terrorizing them.
"for your sake, i hope so too."
"what're you two talkin' about?" rafe asks, coming back inside and taking his place next to you. he puts his hand on your knee, brings you in close without having to ask.
you hope it's all going to be worth it.
"nothing."
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the real tragedy of tlou is that in saving ellie’s life, joel dooms their relationship. it’s not tragic that he killed a hospital of ppl and prevented a cure bcus we have no emotional attachment to any of those people or the notion a cure might actually work and fix the world. we’ve travelled across that world with ellie and joel and seen how it’s in pieces and how unlikely it could ever be fixed the way the fireflies imagine. but emotionally we ARE with joel and ellie and as we see them in that car and hear joel tell his lie and see ellie’s face, we know that things can’t be the same for them again. i am now and have always been of the opinion that joel lies in that moment to protect her from her feelings of guilt and the burden of thinking she has 2 save the world (and ive always said too he should have told her the truth eventually instead of her having to force his hand to get it), but regardless of that the choice joel made and the lie is always going to be between them. things will always be a little different now. an unspoken thing that eats away at the space between them, making it bigger and bigger. and that’s why it’s really tragic because joel picked ellie’s life over and above anything else cus he loved her and thus knew her life had value independent of being a cure to save the world and she should get to live it, but whilst she is living it (something she is only able to do cus he saved her), he has to watch from afar. he saves her and loses her at the same time.
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