Um preto é bom, dois pretos é melhor ainda, agora um casal de pretos é um abalo na estrutura da sociedade.
A foto é do Keith com a Ryan.
Um preto é bom, dois pretos é melhor ainda, agora um casal de pretos é um abalo na estrutura da sociedade.
A foto é do Keith com a Ryan.
“You can’t hide, Rey. Not from me.”
It did something strange to her, to hear her name on his lips. Had he ever spoken it aloud before? She couldn’t remember…
Now that the shock of seeing him again was wearing off, Rey began to notice other things. Like the fact that his voice carried an undercurrent of tension, or maybe even regret. That his boots were muddy. That his cloaked form cast a shadow on the desert floor, as though he were really, truly there with her.
“I see through the cracks in your mask,” she said.
Not to get all emotional on this fine spring evening, but this is just… so much when examined closely. Rey is being told a bunch of deeply unnerving things, like the fact that the Emperor is trying to hunt her down and also the implications of “You can’t hide from me,” but what she notices is the tension in Ben’s voice, the mundane details of his appearance like the fact that he’s covered in mud, the way he says her name, that he’s very nearly there with her and despite the words they’re exchanging, that doesn’t bother her at all. These simple, barely paid attention to displays of, just, uncomplicated love in spite of the complications of their situation are scattered through the entirety of this book, and kudos to Rae Carson for that, because it’s both endearing and very realistic to read. There are plenty of dramatic, loud moments, of course, but it’s this that really gives their dynamic the padding it needs below the drama, IMO.
I see through the cracks in your mask, Rey says, and she does.
all i have to say about the kataang vs zutara discourse is that katara should really have been on the avatar ancestors’ payroll for raising aang & being his surrogate mother throughout all three books.
i’ve said it once and i’ll say it again: kataang reinforces this idea that has been sold to girls for years that romance is when a girl raises a boy as his caregiver & dedicates her life to making sure he succeeds. katara never prioritizes herself while she travels with the gaang; everything is about saving aang, teaching aang what is right from wrong and protecting aang. katara never gets to be selfish in a setting where aang is involved because she feels responsible for him.
the most we see katara prioritize herself is during her conversation with zuko in ba sing se and when katara chooses not to forgive zuko immediately after he rejoins them. she is allowed to be angry/resentful/vulnerable/grateful/wistful with zuko whereas with aang, she’s consistently sidelined as a part of his destiny.
This moment is so well done. Like, look at how huge Catra’s eyes go and how her hands just latch onto Shadow Weaver’s arm. There’s a moment there where she completely freezes before the protective aggression kicks in and she pushes Shadow Weaver away, too. This like five seconds of television gave me so many feels, it was terrifying and sickening to watch even though we knew on an intellectual level (and Catra probably did too) Shadow Weaver was not attempting to hurt her in that moment. The trauma response is just so well illustrated here, and in Catra’s uneasy behavior the rest of the mission.
(Also, the way Shadow Weaver blamed Catra for that response and called it a disturbance? I was ready to punch a bitch.)
I am really glad that the show did not just abandon all the trauma storylines in the name of having a more optimistic final season - they managed to do both. Catra’s PTSD keeps showing up in all these little ways, particularly when anyone touches her from behind (even Adora). And I also really like that while Catra did have noticeable reactions to being touched that way by the extremely powerful galactic conquerer Horde Prime, her by far biggest and most panicked reaction came from being touched by her supposedly powerless former(?) abuser. Trauma has a way of overriding reason, and this was an excellent illustration of that fact.
It’s pretty clear in 5x12 that, even when she’s still mostly able to access She-Ra and could survive disarming the Heart, Adora has already accepted her death as a certainty. She puts on a brave face, but look at her when Bow says, “when we get back, it’ll be a whole new world.” It’s not comforting in the way Bow intends, because she’s convinced she won’t live to see that world.
(And that’s the moment the simulation, triggered by her own mind, shows her Catra, the girl she wants and could have if she would just let herself live instead of being so ready to die.)
so I was thinking of the magnus archives and the 14 entities with a 15th on the way and then I realised that in the Silmarillion there are 14 valar (basically gods) with a fifteenth who is currently banished for causing too much problems. Therefore, I decided to map the valar to the entities. (Some of these connections are pretty tenuous. It is not meant as meta, just for fun.)
So here goes, in no particular order.
This of course leaves Melkor/Morgoth as the Extinction since they’re the respective odd ones out. It’s also rather fitting- whenever there’s cataclysmic change in the Silmarillion Melkor is usually to blame. I am of course aware of Ungoliant and the fact that she and Melkor probably fit a lot of these entities better, but I’m blaiming that on them and the entities being evil, when the valar are the good guys and based ont jrrts catholisism. I’m ignoring Ungoliant, because she doesn’t fit in this cosmology dammit! no-one knows what she is.
(Feel free to add on to this)
The Rina’da yassa (Xen), or Meya Lily, is an endangered Liliaceae-like species native to Cardassia Prime. Found primarily in costal areas due to the high water requirement, the meya lily is a herbaceous perennial plant, growing from contractile roots with stems typically reaching 30cm tall. The leaves, which form a rosette at the base of the plant, are broad, dark and glossy, with a purple hue to the underside. The unscented flowers consist of three long tepals, each dividing into three prongs at the tip. Tepals are typically white with a crimson central line, though other colors have been observed.
“Lan Zhan and Shi Jie are the only beacons of light that can illuminate the lonely path Wei Wuxian chose to walk upon”
- Xiao Zhan in his essay describing WWX
Vicarious trauma experienced via the statements and watching others become injured and even killed An extreme version of the trauma, experienced reporters, first responders, content filters on sites like YouTube on those who study conflict. Jon has a deep experience of this every time he reads a statement, and then during the period of the apocalypse, he is experiencing near consistently.
Paradoxically, Jon also becomes addicted to these experiences. Due to his archivist change, they become necessary for him to survive and not experience symptoms of withdrawal. Which parallels the addictive effects of trauma and the way the nervous system may become dependent on extreme stress.
Jon is marked by the entities that happen during a trauma experience, being marked acts as a trauma. It causes shifts in how they interact with others, people marked having noticeable changes in behaviour from as dramatic as Melanie to comparatively minor changes in Georgie. Alterations in core beliefs and behaviour patterns caused by the marks are analogous to trauma’s effects. Invisible scaring on the mind is how traumatic experiences function physiological and the marks are metaphysical versions.
This relates to Jon’s fourteen marks that altered him on the metaphysical level. Being marked makes individuals more likely to experience further danger due to now being useful to the fears, and in Jon’s case, it became part of a plan of a different abusive party. The marks literally shape him into someone who can be used as a weapon of another party a severe loss of autonomy that mirrors abusive situations by those in high authority.
Like the whole archives staff, their previous trauma is what brought them there. Martin’s psychological abuse, abandonment and his mother’s illness, Tim’s loss of his brother, Melanie’s experience with The Slaughter, Daisy’s experience with the hunt and Basira’s experiences being sectioned and her relationship with Daisy. A lack of healthy attachment is a pattern in the staff.
Jon’s isolation and the subsequent effects of the vicarious trauma drive him further into an obsessive need for information. Having previous trauma also links to a tendency to experience more trauma. Elias Bouchard|Jonah Magnus relies on Jon’s predisposition for re-traumatization in his plan for building The Archive.
Every relationship in the show is mediated by group trauma. As mentioned above, The Archives attract traumatized and/or isolated individuals. Jon’s trauma reactions of isolating, labelling and paranoid thoughts cause him more than anyone else to alienate others seen most explicitly in the early seasons. Tim specifically cannot stand Jon’s decisions and has conflicting reactions to trauma. Jon’s control issues cause a severe relational rupture with his colleagues.
His “addiction” issues in the consumption of trauma and identity issues cause later relational ruptures with others because it’s a damaging habit. Georgie and Melanie are especially associated with him less after he gains avatar status, enhanced by Melanie’s trauma with Elias Bouchard|Jonah Magnus & The Slaughter.
Daisy and Martin form stronger bonds to Jon inversely to the others. Daisy and Jon connect after the shared experience in The Buried. Jon and Martin can’t fully connect until Jon realizes how grounding Martin is for him and their shared experience with the Lonely. Martin learns boundaries throughout the story after early on having his own trauma cause him to lack the ability to stand up for himself, this allows their later relationship to flourish because he is able to make Jon think and not over put his trauma on martin.
Basira is a complex case as she carries a straighter head on her shoulders than anyone else due to her reaction to appear hyper in control of the situation and have a plan to Jon’s slapdash approach. They struggle with relational rupture easily but retain an ability to communicate better than many of his other relationships allowing them to be surprisingly functional.
Elias|Jonah pushed Jon through multiple trauma’s using the effects (both metaphysical and psychological) to make him easier to manipulate and use. Even when Jon becomes aware of what is going on slowly he can never catch up to where Elias Bouchard|Jonah Magnus is. They both fixate on each other to some extent making their relationship one that is interesting.
With the latest chapter out, Ichikawa has done brilliantly to fill up a lot of the gaps behind pre-Houseki no Kuni timeline that gives the motivations for the Lunarians and the gems alike. Thought I would post them chronologically myself from what I understand.
1. Humans have reached an advanced age in society, has invented AI machines to protect and serve them. One day Adamant’s brother ‘miscalculated’ the meteor path heading towards Earth, and Earth is badly damaged. Humans destroy the AI, build Adamant which has been restricted heavily.
2. Humans however has now fully distrusted machines and with no machines to protect them, they are now helpless against 5 more meteor strikes which kill them off, as explained in chapter 1.
3. Some of them become ice floes and some are reincarnated as Lunarians on the moon. Only being left on Earth is the machine of Adamant.
4. Lunarians grow tired of living, come down to Earth and beg Adamant to pray them to nothingness. Too much demand eventually caused discourse among Lunarians on who should be prayed away first and Adamant eventually broke.
5. Adamant breaking leaves some Lunarians in limbo with most of them now led by Enma or we know as Aechmea. He is now determined to lead the lower class of Lunarians who were not given the chance to be prayed away to be done so by Adamant.
6. However, he is broken and refuses to pray. Gems start to appear and Adamant has found new company and purpose in life, leaving Lunarians to suffer longer and find a new plan.
7. Aechmea slowly waits in the clouds for years and years to find something to force Adamant’s hand before seeing a peppermint coloured gem being close to Adamant and cooks up a plan…..
And that’s it. I might be wrong but this is how I see it. It may be a slightly long read but hope it sorta helps. If not, here’s a cute Amethyst picture from the latest chapter.
Sometimes I think people complaining about the direction the MCU took not being a coherent story are the result of people expecting different outcomes, and being salty their ideas/imagined narratives weren’t the ones coming to fruition.
Having watched the half the movies post Endgame for the first time one year after the release of said movie; I don’t see the issue. It works - and well at that. There’s no real errors that don’t work. It just baffles me the hate for the storylines when it does function more than adequately.
I will die on this hill.
There’s this kind of annoying trend where people complain about this thing that a lot of people do, then present it as a thing cis men do. Or white people do. Or heterosexuals do.
Thing is…ok, first of all punching up is still punching and you might want to consider whether it’s actually worth doing on a case by case basis. But that isn’t even my point. My point is: people who *aren’t* in your explicitly stated privileged category who still do the thing, are still going to feel self-conscious/attacked/called out about it, maybe with a little extra “am I not being a good (marginalized identity)” on top.
People of color who live in cities can be kinda clueless about how things work in rural areas. Queer people can have big fancy weddings — sometimes visibly queer people are more invested in having a “normal”, socially acceptable wedding because they know they’ve got an uphill battle in having their marriage seen as legitimate by their family. Whereas people in relationships that are already seen as legitimate often feel a stronger need to express their individuality.
(I’m not saying this is an absolute thing: there’s also, you know, the if you can’t get your family on board no matter what you do then fuck ‘em approach, and there’s the queer poverty thing, etc. But definitely *some* queer people have all-in weddings, and many straight people have offbeat weddings, and also queer *people* can be in straight-looking relationships, it is complicated.)
Some things get personal for me, this isn’t one of them: I had my outdoor chill wedding that only nominally had official colors and where we played board games in place of dancing and it was great.
I just…I’ve noticed recently that I’m really sensitive to the possibility of other people being hurt by jokes and offhand comments and so on, and I’ve decided that rather than suppressing that tendency, I want to embrace it and respect the hell out of it and instead of getting self conscious about me being too sensitive, I’m going to return that discomfort to sender and suggest to other people that maybe they are not being sensitive enough.
I mean. Is there even such thing as “too sensitive”, when it comes to other people’s feelings?
Looking at Scully’s dynamic with other men and with Mulder.
The X-Files knows Scully is a woman in a man’s world. Part of what makes her the emotional centre of the show is that that she is an entry point for the audience, always on the outside looking in at a world that is actively hostile and unwelcoming to her but still alluring. Gender plays a huge role in this and - big disclaimer - I have no education in gender studies, this is purely a ‘here’s my experiential opinion’ kind of meta.
It’s sometimes commented in scripts of the show that ‘once again, Scully is alone in a room full of men’. The show does not pretend to be set in a forward thinking society, nor an openly sexist one - but rather a contemporary society wherein professional condescension towards woman is most commonly done in a joking way that poses as good intentions or chivalry or, ‘trust me, lady, I know what I’m talking about.”
This feels painfully obvious for possibly the first time in Squeeze. Even at a friendly lunch with her old peer, Colton, we see Scully being viewed by others as Mulder’s pitiful woman side-kick. Mrs. Spooky (x). Scully has already internalised this self-judgment of course, because we know she is perceptive, and conscious about being respected. By the condescension in Colton’s tone, it seems like the insult of being Spooky Mulder’s partner is doubled because Mulder is a man, and Scully is a young woman. And any sympathy or attachment she formed/forms to Mulder will consequently be viewed in that light, making it even harder and more embarrassing for Scully to defend her loyalty to him as something based also on trust and intellectual respect rather than solely on emotion.
It’s even more painfully obvious in the scene above that Scully is the ONLY woman in the room, and very young at that. The way she talks to her superiors here is with a desire to seem cool and fit in, which we don’t see later on (when she becomes interested only in loyalty to Mulder and the truth). She’s still trying to prove her intelligence and dependability to a room of sarcastic men slouching in chairs, as she sits serious and attentive in a little suit. She’s an incredibly strong and intelligent person, we know this already, but here she is more inward and deliberately sociable than usual, and it’s because of the male-dominated environment which realistically forces her to try harder to be credible and likeable in a respected way. That look of ‘haha yeah i’m laughing along with you guys’ coloured by private shame in the last screenshot is a look many women in the workforce know well.