Could a desk chair kill Macbeth
Under certain circumstances, yes, a desk chair (or any inanimate object, for that matter) could kill Macbeth. The chances of those circumstances occurring are slim, since there are two big factors that rule out most ways that someone could possibly die to a desk chair:
1.) Using a desk chair as a murder weapon, which does not attribute the kill to the chair itself, but the person who used it.
2.) The desk chair being sentient and animate to a degree, which would be a case-by-case basis depending on who built that specific chair, the chair's identity, etc.
However, Macbeth could die by desk chair if, say, the chair was swept up in a tornado and launched into him. As long as nobody specifically set it up so that the chair would get picked up by the tornado, and the chair doesn't have its own free will, nobody would be attributed the kill other than the chair, which, being an artificially created inanimate object, would apply for at least GC and UBC.
Thank you for your submission!
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to actually try to talk about that person's post in somewhat good faith (which is a little hard for me to do to be honest), yes kozue kissing anthy in the car that episode was maybe not great to do. anthy does not look thrilled about it. calling it rape and comparing it to akio's abuse is of course ridiculous, but i do see the point, somewhat. except.... no i don't? to me it's pretty obvious that anthy is in on it? right? she's not surprised. she got in the car that duel, which she doesn't ever do in any of the other ones. this is part of manipulating miki. this is similar to anthy cheering for utena in miki's first duel, or to kozue making out with touga in the music room beforehand. of course you can and should question these choices and what led them to make them and how everything within this system is built on coercion etc etc. none of this is ever truly consensual. but again, that always comes back to akio, and comparing any of these kids to him and implying they're on the same level is. absurd.
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(SPIDERVERSE SPOILERS)
Something I always really liked about the first movie was the way Kingpin’s design, besides being a Sienkewicz homage and all, complimented the handling of Fisk as a character and the threat he poses, and it’s more than just him being big and terrifying especially by contrast with Miles. Spiderverse Kingpin is a hate volcano tearing open the city and universe in the hopes that doing so is gonna get him his family back, get the only thing that can fill the void inside him that they left when they died, and nothing else matters. Kingpin takes up so much space everytime he’s on screen that every second of screentime he shares with another character is overpowering by default, and the wholly black suit makes it so that everytime Fisk shows up, the movie’s colors and style and everything it has, it all gets punctured to leave room only for him, to the point that in the final battle with Miles, Fisk might as well be part of the background multiverse debris overtaking and suffocating everything.
Doc Ock and Prowler get to have the fun, of sorts, they get to have colors and styles and cool fights, the movie has no shortage of vibrant and lively and colorful characters, but Fisk himself is a walking casket and little else, basic and banal even compared to other versions of the character. He is the Sydney Greenstreet gangster of old blown up to astronomical proportions befitting a danger to the entire entire multiverse, not so much an enemy for Miles specifically as he is one to Spider-Man the concept, The Ultimate Gangster as someone who couldn’t deal with grief responsibly and has to make it everyone else’s problem (that also being kind of an apt description for Miguel O’Hara, who both triples down on the “all-encompassing grief as poison that harms not just you but those around you” part and is also a much more sympathetic character trying his damndest to do the right thing).
It’s only for a few seconds in his flashback that we see what he looks like with colors, and textures, and a little bit of warmth on his face in the life he had, before his family died running away from him, trying to escape The Black Hole Monster that he is. Figuratively, Fisk is not so much a person, as he is a a person-shaped hole in things, losing what little claim he has to personhood right when his family, and all the families he could ever have, leave him again and so he has nothing left but to take away other people’s families.
And I emphasize that figuratively, because it turns out they decided to turn that into a literally, for the villain in the sequel.
The first movie’s villain was a lifeless thug threatening to undo everything and everyone as collateral damage to try and fill the all-consuming void in his soul. The sequel had exactly that, except we got to see The Spot work to get there in real time and on purpose. And so instead of a generalized enemy to Spider-Man, the hero Miles is trying to be, we get the enemy to Miles Morales, the person he is.
The Spot, funnyman nerd sidekick to the previous villain’s number two, just a gag character without even a name to him that we didn’t even know was there, was pushed every step of the way by the frustration of being perceived and put down as a wannabe never-will-be, driven to uncover the multiverse and make himself noticed and respected by his peers, (like a certain someone who was going to define his entire career prospects around the possibility of getting to meet his spidery friends again, and then they did that to him)
turning out to be a anomaly that was never supposed to be and is hunted as such, their spite nipping at their heels to push them forward, twisting themselves to be free from the expectations and scorn of potential-peers-turned-enemies.
And so at the end, obviously Miles must face the worst version of himself, before he can face the worst version of himself, and it has to be right after he finally understands what he’s up against, his own nemesis, and it has to be right after he declares, after embracing himself as a fugitive and someone-that-shouldnt-be-but-will-anyway,
“I beat them all“
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Oh shit I completely forgot about Lost Johns cave fuck that shit is horrifying
I think only 2 serial fiction podcasts have ever actually made me breathe a little too fast. The other was Limetown which...the Napoleon episode fucked me up (only episode I ever had to pause for a few seconds), as well as just the concept in general. But Magnus Archives in addition to being overall the best complete podcast I have listened to had a couple of real getters individually. MAG-15 Lost Johns Cave is one.
"It meant me harm."
And then when they played the recording back and I realized what she was saying my entire body just got cold.
Like, the reason I consume horror content isn't actually because it frightens me. It almost never does. So when it does more than unnerve and thrill me, it's doing a very good job. Congrats Jonny Sims for doing it a good two or three times in Magnus Archives.
By the way, the cave is real.
Here's how you go in.
Goodnight!
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i don’t want hajun to be mysterious, beautiful and elusive. i want him to see his messy, fractured moments. no more bare minimum details. i need to be acquainted with visceral details of his childhood.
give me 13 year old hajun in japan, alone and confused and still convinced that this whole thing is a ruse and his parents will come get him eventually. i need 14 year old hajun still clinging onto the hope that if he’s good enough and proves himself his parents will take him back. i want 15 year old hajun disabused of all his faith in his parents and realising home is nowhere now, and he is fundamentally unwantable unless he learns to wear the right masks and say the right things. little hajun who had to figure everything out by himself, while knowing his existence made no difference to his parents back home anyway. now it’s his life and the only person to whom it matters is himself.
i wonder if he had a phase where his anger was just like dongha’s — wet, guttural, thrashing, amorphous. when exactly did it take shape into the cold, sharp thing it is today? i want him slowly getting sick of breaking his own heart with his own wanting. i want him meeting allen and experiencing the terror of caring for someone for the first time. i want him falling back on the “vengeance on my parents” narrative because he can’t admit to himself that allen and anne appeared in his life at a time when his walls weren’t fully up yet and now they’re here to stay after he’s so carefully built himself up to avoid abandonment by avoiding intimacy altogether. i want to see him growing up and retreating slowly further and further into himself the more he realises he won’t be able to survive losing allen and anne, i want him disgusted by his own wanting and uncomfortable with himself but so distanced from his own feelings that the only way he can process / experience anything close to it is by antagonising others to create congruent reactions within them just so he knows what it’s like to feel something.
i want him alone in his room and suddenly so crushed by emotion but incapable of identifying them because he never grew up with the tools to define his own experience. maybe that’s also why making music with bae matters to him (since their theme revolves around taking charge of your own narrative). he built himself a sense of self from scratch and still he couldn’t outgrow his childhood fear of being unwanted. yeah he’s sadistic and callous and morally dubious, but he wasn’t born that way. i am asking once again i need the visceral detail. the guts of it. but i may be crazy.
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ok let me talk about this still for a bit bc I'm not okay.
it kills me bc its so obvious Kassandra is so horrified by seeing who her brother has become. I bet she had at least somewhat of a hope up until this point that he might not be too far gone. but then in this moment she is confronted by the fact that he might just be pure evil? and maybe she won't get her family back?
but THEN she also looks almost apologetic as if its her fault, and I mean Alexios has already told her it *is* all her fault. and she didn't believe it, but then again, there's this doubt in her eyes that looks like she has a split second of remorse. like, is it her fault? could it have ended differently if she hadn't tried to save him that night?
and ultimately what rips my soul to shreds is that Kassandra, under all that tough exterior, is such a soft person just wishing to love and be loved, who has spent all this time missing and wondering about her family. but, she mended herself, built herself up, and found a family in Kephallonia in Markos and Phoibe.
and that's what kills me, is that she had just lost Phoibe, and now she lost her brother too.
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there's something depressing about barry dying hal goes all traumatic shit w/o him, and the fact that it's implied that hal wouldn't turn to parallax if barry's still around makes things sadder
I still cry about it to this day
I feel that every time I'm reminded of this, I spiral with Hal always saying how he has nothing to lose when really in moments like these he loses everything, and the reaction to it is insane.
This makes me want to bring up a lot of topics about death, losing someone who is loved personally, and what grief does to someone. How it is portrayed here... How Hal handles death throughout his whole life, depending on who passes is a whole different story. And that he could be an extremely sacrificial person who would do anything for the people he loved even if it meant something he was at both his lowest points and one of the most vulnerable points of his life. (This goes for both Barry and Hal. They do anything...ANYTHING...for the people they love.) We even had the time Barry turned into Parallax partially from the parasite, and just gleaming to Hal about the biggest fear is losing someone he loves which is so backhanded to Hal...let me tell you...
(hashtag pulling up cassiegirlwonders saying that Barry is one of Hal's strongest connections to humanity. THAT sticks in my mind.) How much Hal had the idea of saving Barry when he saved Ollie too? What dangerous possibilities would be pulled after Barry's death for Hal should be covered more...
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will forever thinking about morgan refusing to leave dr. brazier's side while the bomb under her seat is being defused.
i didn't get a good screenshot of it, but he's also holding her hand the whole time.
and then the way he hugs her??
keep in mind he Just met this woman. he has no emotional connection to her beyond the fact that she is a person in distress and he is a person who cares. there is a bomb under her seat that could go off if she moves wrong or they fail to defuse it. if that happens, it will kill her, and almost certainly him too. he doesn't care. he kneels outside her car and holds her hand while she prays because he will not let her be afraid alone. he will not let her die alone, if it comes to that. derek morgan the bottomless well of compassion you are.
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