Ppl going "waaahh unpopular opinion but Alice is kind of annoying and obnoxious and I don't think I'd like be her friend irl" is so funny to me bc like.
God forbid a cast of characters be multifaceted and have actual flaws and unpleasant aspects other than "grr angsty hero" and "whoops i'm so clumsy". Sometimes character dynamics and arcs need to be prioritized above "who would i personally be niceys with irl"
2. bro just WAIT until you hear about season 1 jon lol
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this is somewhat of a vent post & something i said i would not do again but has been plaguing me enough that i think getting it out might feel better. so. has anydoggy else been. Baffled and upset by nora sakavic’s refusal to speak on how terribly aftg has treated its characters of color? with the author of the series coming back with a new book and starting up on her online activity again, and questions of what she’d change about aftg bubbling up, it’s particularly glaring to me that we are all playing this very long game of pretend where we ignore how badly the non-white cast has been treated & her lack of thoughts on it
and i understand not wanting to bring up nicky and thea because people pick on her for it. i’m not trying to discredit nora sakavic’s terrible history of getting harrassed online by aftg fans. but i think it is very cynical, and it is very juvenile, and most of all very cruel, that she gets to ignore the very real ways the books have set up these characters to be hated. i think it’s obvious why the characters who get the most hate are the only canonical characters of color, and i think we do not get to treat this like a deliberate decision on the fandom’s part when the books have put these same characters in degrading and embarrassing and terrible positions in the first place. aftg is not a story about nice characters with clean pasts, but there is a very specific nastiness to the only characters of color being a brown man who sexually harasses and later assaults the main character, a black woman whose only scene is her lashing out at her love interest after being ignored for the first two books, and the japanese villain who gets maybe two lines of complexity before he goes back to being a terrible person. the white cast, in comparison, while not at all free from flaws, are never shown to commit mindless evil; all of their actions are ultimately justified. the book goes out of its way to give them concession after concession. we know exactly who to side with, because aftg tells us who these people are. does nicky’s assault ever get addressed in the books? does riko’s reasoning to be the way that he is ever gets more than briefly aluded to? is thea reserved even a shred of humanity or grace in her one scene?
anyway. it’s been years of talking about this and the fandom has been constantly hostile to criticism in this regard, and more recently any criticism at all, and it’s Grating to be on the other side of this discussion. it’s exhausting to know that in ten years we do not get even an acknowledgment besides the author saying she will not answer questions about nicky and thea anymore. it’s upsetting and it’s ugly and i wish no one had to talk about this again, but we do because what i thought was common sense has been washed away by a sudden influx of no-nuance adoration for the trilogy. basically i hope we all explode
two hours later edit: you're allowed to reblog this! sorry about the confusion
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Feeling very insane about the fact that, in a way, being a bad Sharran is what saves Shadowheart in the end
Because like. She's not supposed to be bad at keeping secrets. She's not supposed to be vulnerable, kind, or hopeful. She's not supposed to get attached to anything or anyone
Yet, it's these things that allow her to get close to the pc and the group as a whole. The more she fails to keep Shar's secrets the more she opens up to you, and the more she opens up to you the more you have the chance to build a relationship with her, and it's through having that relationship that she finds the courage to defy Shar
If she had been a better Sharran she never would have built that bond at all, she wouldn't have felt safe to make the decision she did, and probably no one would have trusted her enough to let her decide to begin with
Shadowheart is saved because she is loved, and Shadowheart is loved because she cannot stop being herself no matter how hard she tries
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There's something so insane to me about being able to create and recreate vintage or even ancient music, clothes, fabrics, building architecture, anything, really.
I watched this video about a lady who knit a WWII-era vest, and it was really unique, because the cable work would eat up yarn, when there were shortages of fibers. This pattern would have likely been used by people to send overseas to soldiers, and now it's being created in a time where this war has been over for generations. What were the people making this pattern thinking of? What about the people making the vest? Could they fathom a world where world wars didn't happen back to back? Could they imagine what peace felt like, or did it fade like a distant memory, a faint friend? All we have now are the remnants of their efforts, a "simple" vest that would warm the bodies of countless people the knitter would never have imagined were here on earth with them.
We're reaching across time to learn about other people - we're reaching our hands out just to grasp anything tangible. And when we've take hold of something, all we can do is say I love you I love you I love you
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I love that Phoenix is so father figure coded in the main trilogy with Pearl. Like the official art where she's napping on his thigh or being held up by him to put up Christmas tree ornaments, and the whole vibe of him bringing her along to crime scenes, and in the stage play where she gets scared and freezes in place so he just picks her up like a stack of firewood. Even from the second game when he's only like 25 he's been irrefutably dad-shaped. It should've been the least surprising thing to happen when AJ first came out that Phoenix had become a dad. That's been an important part of his personality, he probably was born to be a girldad more than an attorney.
anyway it's also really funny to think about him lowkey adopting the half-sister of the woman who tried to kill him and her twin sister who tricked him into thinking that she was his girlfriend.
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bro why is there so little fan content of catwoman of thee batman 2022 she's literally everything fans usually love she's got those gay vibes and is played as queer by the actor she's sexy she's a bit of an antihero and has tons of COOL motifs she has tons of CATS and also she like drank a glass of cold milk and nothing else mid conversation with battinson and neither of them batted an eye LIKE?? what more could you want in a person. and also she is the best character in the movie full offense
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aughhhh, he is literally so babygirl to me ..
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to me, the question of whether hera would want a body is first and foremost a question of autonomy and ability. she has an internal self-image, i think it's meaningful that the most pivotal moments in her character arc take place in spaces where she can be perceived the way she perceives herself and interact with others in a (relatively) equal and physical capacity, and that's worth considering. but i don't think it's about how she looks, or even who she is - and i think she's the same person either way; she's equally human without a body, and having a body wouldn't make her lived experience as an AI magically disappear - so much as it's about how she would want to live.
like most things with hera, i'm looking at this through a dual lens of disability and transness, both perspectives from which the body - and particularly disconnect from the body - is a concern. the body as the mechanism by which she's able to interact with the world; understanding her physical isolation as a product of her disability, the body as a disability aid. the body as it relates to disability, in constant negotiation. the body as an expression of medical transition, of self-determination, of choice. as a statement of how she wants to be seen, how she wants to navigate the world, and at the same time reckoning with the inevitable gap between an idealized self-image and a lived reality, especially after a long time spent believing that self-image could never be visible to anyone else.
it's critical to me that it should never imply hera's disability is 'fixed' by having a body, only that it enables her to interact with the world in ways she otherwise couldn't. her fears about returning to earth are about safety and ability; the form she exists in dictates the life she's allowed to lead and has allowed people to invade her privacy and make choices for her. dysphoria and disability both contribute to disembodiment - in an increasingly digitized world, the type of alienation that feels like your life can only exist in a virtual space... maybe there's something about the concept of AI embodiment, in particular as it relates to hera, that appeals to me because of what it challenges about what makes a 'real woman.' when it's about perception, about how others see her and how she might observe / be impacted by how she's treated differently, even subconsciously. it's about feeling more present in her life and interfacing with the world. but it's not in itself a becoming; it doesn't change how she's been shaped by her history or who she is as a person.
i think it comes back to the 'big picture' as a central antagonistic force in wolf 359, and how - in that context, in this story - it adds a weight to this hypothetical choice. hera is everywhere, and she's never really anywhere. she's got access to more knowledge than most people could imagine, but it's all theoretical or highly situational; she doesn't have the same life experiences as her peers. she has the capacity to understand that 'big picture' better than most people, but whatever greater portion of the universe she understands is nothing next to infinity and meaningless without connection and context. it's interesting to me that hera is one of the most self-focused and introspective people on the show. her loyalties and decisions are absolute, personal, emotionally driven. she's lonely; she always feels physically away from the others. she misremembers herself sitting at the table with the rest of the crew. she imagines what the ocean is like. there's nothing to say that hera having a body is the only solution for that, but i like what it represents, and i honestly believe it'd make her happier than the alternatives. if there's something to a symbolically narrowed focus that allows for a more solid sense of self... that maybe the way to make something of such a big, big universe is to find a tiny portion of it that's yours and hold onto it tight.
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I do gotta say tho, even tho I’m mad at aziraphale because he’s being a terrible boyfriend like what you said about the “I forgive you like” because WHAT. But also I really like the way the show really demonstrates the underlying cruelty of heaven and it’s angels. Really shows the hypocrisy of a group of beings who are supposed to do good, especially aziraphale who really buys into the heaven propaganda, who hurts people, particularly the person who means the most to him. Because like you said he fully just takes advantage of that devotion Crowley has for him. Insane, this shwo makes me INSANE
I missed this anon and yeah! The angels were one of my favourite parts of the season, and I think the strongest element aside from Neil Gaiman deciding he's just a simple man who wants to put his otp in situations. They are deeply awful and I kind of love them. They are the exact kind of moralizing hypocrites who are callous and cruel precisely because they think being on team good means everything they do is justified and it's actually impossible for them to be in the wrong (they're angels! is it even possible for them to do the wrong thing?).
but!! To me, they also seem like they're basically kids? Obviously they're not literally children, but there is this very consistent reoccurring joke about how childish/sheltered/immature they are. Muriel is the most obvious example, but the archangels come off like bratty twelve year olds to her sweet little kid.
Gabriel is basically teenager in love flipping off his family as he runs away with his backstreet guy. Uriel is constantly picking at Michael, Michael is playing at being in charge like it's a game, and it's ridiculously easy for both Aziraphale and Crowely to trick them obvious half assed lies. They're not allowed to ask questions! The Metatron treats them like badly behaved kids out past their curfew. At any point an old man with a beard may pop up to scold them and send them home, and they're all scared of doing something wrong by his standards and getting in trouble with this guy who is pointedly not God but who lines up exactly with the pop-culture idea of god the father, and who offers Aziraphale, among other things, a respite from the hard work of figuring out what the right thing to do is for himself. It's fine! You don't have to question the belief system you were born into or make a painful break with everything you've ever known! Aziraphale has had six thousand years on earth to grow up, but the other angels have been sitting in a sterile white box playing "i'm not touching you" games with each other and filing paperwork.
And I think that's extra interesting because this season also really emphasizes:
Heaven has Institutional Problems
Aziraphale isn't the only angel who's unhappy in heaven. Gabriel and Muriel were both completely miserable. They just didn't understand that they were unhappy because they'd never experienced anything else.
Angels who aren't Aziraphale can change and grow! There's very explicitly Gabriel being changed by love and Muriel growing up a bit on earth, and from a more fan-theory angle there's also Jimbriel, who I think is probably basically Gabriel minus the war and six thousand years of playing referee for Michael and Uriel while unleashing an assortment of plague and calamities on earth because that's God's will! Buck up champ.
We also get Gabriel and Beezelebub talking about how their underlings basically live for Armageddon, "if you can call that living." This is so bleak. They've all been on a six thousand year time out just dreaming of the day they get to beat the shit out of each other until they feel better, but it won't work because eternity is just more of the box.
Anyway I think it's going in a distinctly eden adjacent direction. Aziraphale is going to tempt those angels with knowledge and the capacity for change. I have veered so far from your ask anon i'm sorry you're right heaven really went all out on sucking this season & while Crowley and Aziraphale are both fucking it up Crowley refrains from being spectacularly cruel to Aziraphale about it and Aziraphale should learn to return the favour. I forgive you!! I forGIVE you. I forgive YOU. "you can be an angel again" is actually a worse thing to say than "you're a demon. i don't even like you." when he finally picks crowley over heaven i'm going to lose my mind.
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there's a very specific kind of vibe that comes with living with your friends in final year that it just does not have in first year or even second year. like as a fresher it's usually the first time any of you have lived away from home let alone with SO MANY people your age and it's terrifying and exciting and randomised to boot so it's generally carnage for a whole year in the best and worst ways, and then second year you pick who you're living with and it feels like for the first time you're doing this adult thing PROPERLY. you have a place of your own now. these are the people you've chosen to live with. studying gets serious etc. but it's still fresh. it's still new. you still don't know how to navigate it. but final year? final year is when you actually get it right. you know how to manage your time better. you know what works for you and what doesn't. studying is the main focus and you've been out in the world for three years now and it's not loud and boisterous like it was in first year and you're not exciteable and awkward like you were in second year. you're comfortable. every single one of my flatmates has their own friend group and we mainly keep to our own social circles, but we'll still meet each other back at the house after a night out and sit in the kitchen or my room to do the debrief. sometimes i'll go days not seeing either of them despite sharing a house but every now and then someone will softly call up the stairs that 'the heating's on!' or one of us will sneeze and the other two will yell 'bless you!' through the walls. the lack of interaction isn't interpreted as dislike in ways it would have been even last year, because we're all just old enough to be past that now and settled enough in our friendship not to worry about it. idk. uni is very loud and unsettling a lot of the time so it's been really sweet to see how almost boringly comfortable final year is.
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actually i think I am going to be a dick about this even though it's possible I'm being unreasonable. I think it's shitty to post art from behind Jo's paywall unless it's art you commissioned. Otherwise, you are denying her income from posting and/or posting something someone else bought, which sucks a little
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Funny how like 90 percent of people wanting the wilds back hate to acknowledge the fact that it's partly their fault. I want the wilds to be renewed as well, however if I DARE say yall aren't ready for it and a small part of me thinks some viewers are undeserving I'm the bad guy. Right because the vast majority of you didn't openly admit to skipping over the boys parts in the show, smh. If you arent watching the whole episode why would they want to renew it? They want views, they want money. Do I want the wilds back? Of course. Do I think the gretchen clones deserve it? No. Be better.
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does anyone have recommendations for fictional media that has like. actual lesbians in it. not like supergirl Two White Skinny Girls, One Blonde and One Brunette Kiss media, or "its implied lesbianism!!!" but just regular fucking lesbians
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