genuinely stunned at the fantastic choice for Percy not to pray to his absent and unknown father—like he did in the books—but to his mother.
the show is really taking us to one of riordan’s central theses straight off the bat.
parenthood isn’t about power and legacy and the recognition of shared blood.
It’s about the incredible act of showing up for your child—again and again and a-fucking-gain. That’s how you inspire respect. That’s how you become a child’s patron and beloved god.
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I do sort of wish western anime fans would analyze anime and manga from a framework of japanese historical and cultural context. Specifically a lot of works from the 90s being influenced by the general aimlessness and ennui that a lot of people were experiencing due to the burst in the bubble economy and the national trauma caused by the sarin terrorist attack. I think in interacting with media that’s not local to our sociocultural/sociopolitical sphere it’s easy to forget that it’s influenced and shaped by the same kinds of factors that influence media within our own cultural dome and there ends up being this baseline misalignment of perception between the causative elements of a narrative and viewer interpretation of those elements. It’s a form of death of the author that i think, in some measure, hinders our ability to fully understand/come to terms with creator intent and the full scope of a work’s merits
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can we talk about walker’s ability to act with his eyes…they’re so expressive in every scene and perfectly capture the anger, fear, and despair percy feels throughout tlt, but most importantly they exude love and longing in a way that’s practically tangible when looking at sally, grover, and especially annabeth in some of the finale scenes…rent was DUE
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Fight Club
Damian is sitting on a roof during a patrol, bored with no crime happening in his area, about to go find one of his siblings and annoy them/steal their jobs, when suddenly a voice comes out of nowhere.
“Hey, are you busy?”
He turns around, startled by how he hadn’t sensed anyone, to see a girl about his age with black hair and blue eyes just… sitting there.
“I am capable of assisting you.” He says, because he is trying to be a Good Robin and not dismiss civilians.
“Oh no I don’t need anything.” The girl says, shrugging. “If you’re on a stakeout i can go. I’m just bored. And you look fun to fight.”
Damian stares at her. She stares back.
“You think… I would be fun to fight.” He repeats. She doesn’t look like she could take on a trained assassin. She looks like any random civilian. Then again, she had snuck up on him.
“Yeah.” She shrugs, as if this is in any way normal. “So. You too busy?”
“…no.”
“Oh, awesome.” The girl bounces to her feet, and in the next second, Damian is ducking a punch as she grins brightly at him.
“I’m Dani by the way!”
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The defintion of hell is knowing a show is incredibly well-received in its first season, but if people don’t become machines churning out tweets, content, and rewatching 24/7, there’s no likelihood it’ll get a chance to tell its whole story. This shit is madness. Shows in different genres shouldn’t have to pit-battle for dominance. First seasons are MEANT to be baselines establishing worlds and characters, not complete storylines. The idea that this golden age of television has turned into “get it done in one or get out” is revolting.
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The way in Knives Out that the entire Thrombey family constantly subjected Marta to racism for years ranging from micro aggressions to outright threats of deportation, that she knew all their fucked up dirty laundry and how they all were constantly exploiting Harlan's wealth, that they excluded her from Harlan's funeral and each blamed everyone else for it, and that they immediately dropped all pretenses of condescending civility when the will was read, yet she spent almost the entire movie sympathetic of them and wanting to gift them the fortune Harlan left her before finally standing up for herself in the last hour
Vs
The way in Glass Onion that Helen outright hated the entire "disrupters" group for at least ~10yrs before the movie even took place and made her opinion explicitly known, that her acting as her twin sister being jilted was so easy to maintain because she hated the entire group so much, that she didn't at all humor their extremely conditional "comradery" with her cause against Miles, and that in the end when everything was said and done she didn't stick around to watch them all turn on each other because it didn't matter anymore if they did or didn't
Marta's kindness got her the house.
Helen's justified fury burned Miles' down.
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house md so wonderful and brilliant because it is simultaneously the heaviest, darkest, most serious show about love and loss and how trauma shapes people and the most unhinged thing you'll ever experience.
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