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#but also some people saying there wasn't
artharakka · 3 months
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Beautiful, But Broken
#bg3#tiefling#tw blood#c: Viivi#so I redid my bg3 character because I wasn't feeling durge that much. So now my sibling does durge and I regular tav Viivi#(changed her to tiefling for funs)#at least I meant to do regular tav but uhhhhh things have gone very unfortunately very fast#anyway. Viivi is an artist; she does painting sculpting poetry and some prose. Experimenting with this and that#unfortunately she is deaf which made making connections a bit hard in the fine arts world#fortunately she has a patreon with one very generous patron (she's fey warlock)✨ who has bestowed some gifts of charms for her#which have opened doors of many art galleries#She's not a fighter so although she is confident in her own lane she is also very aware of her mortality#so she avoided any fights she could#which might have saved her but also got her into the mess of her lifetime#you see she couldn't fight the entire goblin camp and their leaders. She would've just not survived that. So she convinced them#that she is a True Soul. She is good at convincing people. It worked. They thought she is on their side. Good#Halsin also though Viivi was on their side. Halsin attacked Viivi's party. Now Halsin is dead.#So Viivi and her group were still alone deep within enemy fort. Viivi made new plans. She frees the prisoner who says he will warn the grov#Good thinks Viivi now they know to flee. I will go to Minthara and tell we got the information from prisoner of the grove location#she will trust us and we walk off#when we get back to grove they have not fled and Minthara is at the gates#Minthara wants Viivi to sound the horn. Zevlor wants Viivi to sound the horn. Viivi asks Zevlor to please tell this plan in detail.#Zevlor says just blow the horn already. Viivi does that. Minthara thanks Viivi for leaving the gate open as planned#Zevlor does not thank Viivi for that. Viivi is confused as she did not leave the gate open. (for real the damn gate was left open)#So I did a Massacre.#now Karlach is gone Wyll is dead. Lae'zel is also dead#but apparently Minthara is ready to be very loving and sincere with Viivi. The most helpful person she has met in very long time.#Viivi might love her#so that is how she's doing.
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butchthirteen · 5 months
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okay the other thing is like. can we think about why, in-universe and out, one might choose to have the doctor return to a fan favorite regeneration and a regeneration where both the character and actor were reluctant to move on? and (especially in the context of new who being about the doctor's trauma) can we think about why one might then bring in the new exciting regeneration and have that regeneration extend comfort to the prior one?
like people keep treating it like tennant and gatwa are like. competing. but it's not a competition, it's a collaboration. it's a meeting of old and new, it's a passing of the torch. and it's honestly really really beautiful to me.
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nerdgirlnarrates · 3 months
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Even though it's been months since I switched from neurosurgery to internal medicine, I still have a hard time not being angry about the training culture and particularly the sexism of neurosurgery. It wasn't the whole reason I switched, but truthfully it was a significant part of my decision.
I quickly got worn out by constantly being questioned over my family plans. Within minutes of meeting me, attendings and residents felt comfortable lecturing me on the difficulties of having children as a neurosurgeon. One attending even suggested I should ask my co-residents' permission before getting pregnant so as not to inconvenience them. I do not have children and have never indicated if I plan to have any. Truthfully, I do want children, but I would absolutely have foregone that to be a neurosurgeon. I wanted to be a neurosurgeon more than anything. But I was never asked: it was simply assumed that I would want to be a mother first. Purely because I'm a woman, my ambitions were constantly undermined, assumed to be lesser than those of my male peers. Women must want families, therefore women must be less committed. It was inconceivable that I might put my career first. It was impossible to disprove this assumption: what could I have done to demonstrate my commitment more than what I had already done by leading the interest group, taking a research year, doing a sub-I? My interest in neurosurgery would never be viewed the same way my male peers' was, no matter what I did. I would never be viewed as a neurosurgeon in the same way my male peers would be, because I, first and foremost, would be a mother. It turns out women don't even need to have children to be a mother: it is what you essentially are. You can't be allowed to pursue things that might interfere with your potential motherhood.
Furthermore, you are not trusted to know your own ambitions or what might interfere with your motherhood. I am an adult woman who has gone to medical school: I am well aware of what is required in reproduction, pregnancy, and residency, as much as one can be without experiencing it firsthand. And yet, it was always assumed that I had somehow shown up to a neurosurgery sub-I totally ignorant of the demands of the career and of pregnancy. I needed to be enlightened: always by men, often by childless men. Apparently, it was implausible that I could evaluate the situation on my own and come to a decision. I also couldn't be trusted to know what I wanted: if I said I wanted to be a neurosurgeon more than a mother, I was immediately reassured I could still have a family (an interesting flip from the dire warnings issued not five minutes earlier in the conversation). People could not understand my point, which was that I didn't care. I couldn't mean that, because women are fundamentally mothers. I needed to be guided back to my true role.
Because everyone was so confident in their sexist assumptions that I was less committed, I was not offered the same training, guidance, or opportunities as the men. I didn't have projects thrown my way, I didn't get check-ins or advice on my application process, I didn't get opportunities in the OR that my male peers got, I didn't get taught. I once went two whole days on my sub-I without anyone saying a word to me. I would come to work, avoid the senior resident I was warned hated trainees, figure out which OR to go to on my own, scrub in, watch a surgery in complete silence without even the opportunity to cut a knot, then move to the next surgery. How could I possibly become a surgeon in that environment? And this is all to say nothing of the rape jokes, the advice that the best way for a woman to match is to be as hot as possible, listening to my attending advise the male med students on how to get laid, etc.
At a certain point, it became clear it would be incredibly difficult for me to become a neurosurgeon. I wouldn't get research or leadership opportunities, I wouldn't get teaching or feedback, I wouldn't get mentorship, and I wouldn't get respect. I would have to fight tooth and nail for every single piece of my training, and the prospect was just exhausting. Especially when I also really enjoyed internal medicine, where absolutely none of this was happening and I even had attendings telling me I would be good at it (something that didn't happen in neurosurgery until I quit).
I've been told I should get over this, but I don't know how to. I don't know how to stop being mad about how thoroughly sidelined I was for being female. I don't know how to stop being bitter that my intelligence, commitment, and work ethic meant so much less because I'm a woman. I know I made the right decision to switch to internal medicine, and it probably would have been the right decision even if there weren't all these issues with the culture of neurosurgery, but I'm still so angry about how it happened.
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thelaurenshippen · 1 year
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yeah, sorry, I can't come in to work today. yeah, I've got to think about how the tv adaptation of the last of us expertly made you comfortable with joel's violence through making you care about ellie enough it all feels justified so that by the time he gets to the hospital, you're genuinely conflicted about the carnage he enacts, some of which may not have been strictly necessary at the level of brutality he carries it out. yeah, it's gonna be all day
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crescentfool · 25 days
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happy mochizuki monday, have a little doodle i made based on a convention i went to this past weekend :)
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altocat · 25 days
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More cringe memes. Lucrecia Edition.
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pinkyjulien · 25 days
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Valentin Da Silva | 177/??
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front-facing-pokemon · 10 months
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l-ii-zz · 4 months
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coquelicoq · 1 year
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i've been dying for a poll option ever since i saw my followers' answers to that text post from february 2022 asking people whether they pronounce beloved as "be-lov-ed" or "be-loved". many people were emphatic about only using one option, and many others use both but were not always able to articulate when they use 2 syllables vs. 3. so out of the goodness of my heart and my insatiable lust for knowledge i have gone through the notes on that post and written down some likely contenders! you're welcome!!!!
BEFORE YOU ANSWER! think about how you would pronounce beloved in the following syntactic contexts:
noun, talking directly to the beloved: hey there beloved
noun, talking about rather than to the beloved: my beloved lives in a pineapple under the sea
adjective in a noun phrase: my beloved x lives in a pineapple under the sea
verb participle: x is beloved by y
okay poll time! there are no wrong answers!! and apologies in advance if i didn't capture your truth, i only had 10 options and life is a rich tapestry!!
#oh man i could have easily come up with another 5-8 options but they cap you at 10. which is probably a good thing#one person said they say 'my be-lov-ed x' but 'my much be-loved x'. the only difference being the 'much'. couldn't fit that one on here#someone else said they use 3 syllables in a possessive noun phrase (my be-lov-ed x) but 2 if it's not possessive (the be-loved x)#one person said it depends on whether it's past or present & i wasn't exactly sure what that meant. 'x is beloved' vs. 'x was beloved'?#i also think there's likely a distinction for some people between 'x was beloved' and 'x was beloved by y' but couldn't get into that#oh and then there's 'beloved by' vs. 'beloved of'#and since some of these are syntactic distinctions and some are semantic or otherwise i'm sure there's a whole matrix of combinations#like '3-syll noun if it's a person but 2 if it's a thing. 2-syll adjective/verb participle for both people and things'#that was beyond the scope of this poll lol#but mostly why i'm so curious is because people will very emphatically say something that might not mean what they think it means#like for instance i got the impression that at least some of the people saying 'be-lov-ed when i'm talking to them‚ be-loved when i'm#talking about them' actually mean they use be-lov-ed as a noun and be-loved otherwise#and some of the people saying 'always 2 syllables' probably have exceptions that they weren't thinking of at the moment#in particular 'dearly beloved'#and i'm very curious to know if 3-syllable people still use 3 syllables in the construction 'he was beloved by all'#so i think people's answers might change when given a list of more detailed options#fun with pronunciation#prosody#my posts#also i stressed for so long about what to call beloved in the 'x is beloved by y' construction#but settled on verb participle because i think it's fairly descriptive and accurate#so hopefully that's not too confusing? like it is a verb participle but for a verb that doesn't exist anymore (other than the participle)?#and even in 'my beloved x' beloved is a verb participle being used as an adjective if you're thinking more etymologically#but a lot of people were distinguishing 'be-loved as a verb' from other forms and i assume what they meant by that was 'x is beloved'
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uncanny-tranny · 6 months
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By implying that children are too stupid and rude to learn about the world and learn how the world works and how to interact with others, you are casting responsibility away from the people who are responsible for that child's upbringing and placing the blame on the children (who don't have the autonomy given to them to be allowed to decide what they want) who can't help what they do and do not learn, often.
If the children aren't okay, then investigate why before turning to thought-terminating clichés of, "Well, the kids are just stupid and dumb and aren't even worth the effort because they're lazy!"
#youth liberation#i was really bothered when i saw this clip where this person was saying almost verbatim that...#...'kids [these days] are too STUPID and they're teachers are scared!'...#...why is the blame placed on the kids who have no control over school curriculum and what their home life is like or if they have money...#...it's because when you place the blame on the people with no power or control you don't have the responsibility to change circumstances..#...you essentially keep the status quo while simultaneously belittling a group of vulnerable people...#...and thus you feed into the cyclical nature of the broken education system#the kids these days AREN'T okay but it ISN'T THEIR FAULT...#...it's the fault of late-stage capitalism and poorly-funded education and a world that wasn't even built with them in mind...#...they had NO PART in the creation of the world which is hostile to their entire existence#don't mind the incorrect usage of their in the second tag i was so focused on how pissed i was#also remember how a good chunk of these kids lived through *checks notes* the fucking PANDEMIC LOCKDOWN#which was a clown show in terms of supporting kids and their parent/s#some places handled lockdown in the US better than others but holy fuck in my area at least it was a nightmare#what do you expect from parents who are now working full-time and teaching part/full-time and parenting full-time?#what support exactly are you expecting they recieved? because you'll likely find they got either a little or NONE#hilarious that i used the wrong their in a post subtweeting about education LOL#look i was focused on how PISSED i was lol cut me some slack here
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viiridiangreen · 5 months
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creativesplat · 3 months
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Have a Dimitri because juggling hyper fixations is almost all I do now.
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vero-valzer · 25 days
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Warden Ingo from Pokémon Legends: Arceus at Sakura-Con 2024
@vero-valzer as Warden Ingo
@rekkazor.cos (Instagram) as Volo
@palmtop_kitty (Instagram) as Pearl Clan Leader Irida
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ransomdemands · 4 days
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yknow sometimes the way trans women talk about testosterone and being on estrogen is indistinguishable from the way terfs try to convince afab people not to start hrt
this is not a criticism mind you, their experiences are their own and completely legitimate, it's just a matter of competing needs - they need a safe space to talk about their dysphoria and how testosterone makes them feel and i need to not hear about how i am destroying my body with hrt
ordinarily these things are pretty insular to transfem circles but since instagram has been feeding me transfem content i'm seeing it more and more and yet again the algorithm is fucking me
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hephaestuscrew · 6 months
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Pan-Pan, Boléro, and Minkowski's different responses to loss
I want to compare two key lines of Minkowski's which indicate very different responses to grief:
In Ep29 Pan-Pan, Minkowski breaks down and says "Doug Eiffel is gone! There was nothing we could do to save him. It wasn't anyone's fault. It's horrible, and pointless, and it just happened."
In contrast, after arriving at the funeral in Ep46 Boléro, she says "[Lovelace, Hilbert and Maxwell are dead] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here." 
TL;DR: In Pan-Pan, Minkowski expresses her unprocessed grief through despair and hopelessness. Whereas in Boléro, she is able to find hope in the loss and lead her crew in trying to move forward. I suggest a significant reason of the difference is the presence of Eiffel to force Minkowski to confront and process the sense of loss.
Pan-Pan: "It's horrible, and pointless, and it just happened"
In Pan-Pan, the whole episode is full of anger and despair, but Minkowski speaking about the horrible pointlessness of losing Eiffel is one of the most painful and hopeless moments. It doesn't feel like she's really speaking to the others. She's focused on her internal despair (as suggested by the fact that she goes on to talk about the cracks, which Lovelace and Hilbert aren't supposed to know about).
The only potentially positive thing Minkowski says here is her recognition that "it wasn't anyone's fault". When Hera and Hilbert have been blaming Lovelace, and Minkowski has been blaming herself, it's significant that she acknowledges that sometimes a horrible thing just happens without there being anyone to blame. 
But in this context, and in the tone of voice Minkowski uses, even the lack of blame doesn't really feel like a positive thing. If Eiffel becoming stranded was just pointless and random, if there was nothing any of them could have done to save him, then the next tragedy might be just as unpredictable and unpreventable. Minkowski strikes me as the kind of person who can sometimes fall into the trap of subconsciously wishing that the awful thing is her fault because then at least she'd have control over something. In her train of thought here, the lack of blame is followed by focusing on how horrible and pointless what happened to Eiffel was. The only conclusion she can draw is "it just happened". There's no sense of hope in those lines. Eiffel being stranded just happened, and so do the cracks, and the crew are at the whims of brutal fortune with no meaning to any of it.
Boléro: "They're gone... so that we never forget how important it is that we're still here"
In Boléro, Minkowski can't even say that the tragedy wasn't anyone's fault. For each of the deaths, someone pulled a trigger. There is blame, and some of it lies at her feet. She didn't want to come to the funeral because at first she didn't know what she could say about the deaths she feels responsible for.
Yet even so, this time she finds something reassuring she can say to her crew, a grain of hope she can provide without attempting to diminish the loss: "[they're gone] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here."
In another show, or another context, this kind of line might have had an 'everything happens for a reason' tone, which is something I deeply dislike as a response to other people's loss. But it doesn't feel like that's what Minkowski is saying here at all. She isn't trying to make any grand philosophical statement about the ultimate beneficence of the universe, or about how mortality gives meaning to human life. What she says here is working on a much more personal level. It's more about finding something other than despair that the crew can take from what has happened. This tragedy may still be horrible, but it provides a reminder that they are still alive in a context where that's far from guaranteed. Minkowski emphasises that the fact the survivors are alive matters - her crew matters. I'd argue that this contrasts with the 'it just happened' outlook discussed above. 
I don't know how much Minkowski fully feels the importance of them still being there in the moment, but it's something that she can offer her crew, something that she can say in a situation that words can't grasp. I think the moment when she joins the funeral is such a key moment of her leadership. In the end, despite her doubts and struggles, she's there for her crew. Eiffel brought them together for a funeral, but he doesn't know what to say when Hera asks why they have to be gone. Minkowski enters just at the right moment to support her crew and she provides an answer to Hera's question. It's not a perfect answer, but it allows the funeral to move forward. It allows the crew to move forward (even if that emotional movement is somewhat thrown off by a dramatic change in the circumstances). Minkowski starts off the eulogies; she leads her crew in the acknowledgement of what's been lost.
Why such a difference in responses?
There's lots of ways you could interpret the difference between the outlook of these two moments, and there's probably more to say about it though the lens of Minkowski's character development than I'm going to say here. But for me, the main difference between these moments is that, in Pan-Pan, it feels like no processing or recognition of grief has really occurred. When Minkowski says "Doug Eiffel is gone!", it almost feels like the first time that Minkowski has fully confronted and acknowledged the loss. Eiffel has been lost in space for 116 days, but it's only at the end of this episode that Minkowski brings herself to say in her distress calls that he is "presumed dead". Whereas in Boléro, she's already eulogising the dead and thinking about what can be learned from the loss, not even a full day after the mutiny.
Obviously there is much less ambiguity to a body bag (or least there would be, if not for alien interference). But I can't help thinking that the difference between the attitudes towards loss which Minkowski displays in these two quotes is less about the difference in the kind of loss, and more about a situation that prompted and enabled the processing of emotions in Boléro: namely, the funeral. After Eiffel was stranded in space, I think Minkowski probably went months without looking her grief in the eye. But after the deaths of Lovelace, Hilbert, and Maxwell, Eiffel's suggestion of a funeral forces Minkowski to confront her complicated emotions and provides a space in which she can offer direction to her grieving crew.
This is a good illustration of how I think Minkowski and Eiffel complement and support each other in a really valuable way. On his own, Eiffel couldn't provide the leadership that the crew needed for the funeral to work. But without Eiffel, and his determination to recognise the emotional weight of the three deaths, the funeral would never have happened and Minkowski would never have been in a position to provide hope and direction to her crew. When Eiffel was the one the Hephaestus crew were grieving, Minkowski couldn't offer much emotional direction to her crew beyond despair. But when Eiffel is beside her in the grief, saying that the grief deserves to be felt, then Minkowski can find a way for them to move forward emotionally. It's not the deaths that remind them how important it is that they are still here. It's the grief. It's the ability to confront that grief together.
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