(...) Silver had terrible hard work getting up the knoll. What with the steepness of the incline, the thick tree stumps, and the soft sand, he and his crutch were as helpless as a ship in stays. But he stuck to it like a man in silence, and at last arrived before the captain, whom he saluted in the handsomest style. He was tricked out in his best; an immense blue coat, thick with brass buttons, hung as low as to his knees, and a fine laced hat was set on the back of his head. “Here you are, my man,” said the captain, raising his head. “You had better sit down.” “You ain’t a-going to let me inside, cap’n?” complained Long John. “It’s a main cold morning, to be sure, sir, to sit outside upon the sand.” “Why, Silver,” said the captain, “if you had pleased to be an honest man, you might have been sitting in your galley. It’s your own doing. You’re either my ship’s cook—and then you were treated handsome—or Cap’n Silver, a common mutineer and pirate, and then you can go hang!” “Well, well, cap’n,” returned the sea-cook, sitting down as he was bidden on the sand, “you’ll have to give me a hand up again, that’s all.” (...) Silver’s face was a picture; his eyes started in his head with wrath. He shook the fire out of his pipe. “Give me a hand up!” he cried. “Not I,” returned the captain. “Who’ll give me a hand up?” he roared. Not a man among us moved. Growling the foulest imprecations, he crawled along the sand till he got hold of the porch and could hoist himself again upon his crutch. Then he spat into the spring. “There!” he cried. “That’s what I think of ye. Before an hour’s out, I’ll stove in your old block house like a rum puncheon. Laugh, by thunder, laugh! Before an hour’s out, ye’ll laugh upon the other side. Them that die’ll be the lucky ones.” And with a dreadful oath he stumbled off, ploughed down the sand, was helped across the stockade, after four or five failures, by the man with the flag of truce, and disappeared in an instant afterwards among the trees.

when I was getting my tattoo on Saturday my artist kept telling me like, "It's okay if you need to tap out, I won't be pissed or think less of you, we can come back to finish in another session," because honestly for this particular tattoo the pain was severe and about halfway through I started involuntarily cringing and squeezing the pillow I was laying on very hard and other such involuntary shows of how much pain I was in. (such as flinching hard when she had to wipe excess ink / blood / plasma away, because good god somehow the damp paper towel felt worse than the needle.)

but each time I refused. "the only way out is through," I said. nearer the end I said, "if you need to tap out though, I understand" because she had to put on a brace for her back because of the angle at which she had to be hunched over to finish the tattoo. but she didn't tap out either.

anyway I saw a meme with Shadow the Hedgehog that was like, "stop DMing me that 'are you ok' shit, obviously I'm not but we move" and my immediate thought was, "me @ my artist during my tattoo session on Saturday."

a fellow english major, really happy to see someone who's proud of their degree <3

you know that "no love, no matter how brief, is wasted" line? i think the same applies for knowledge too - no matter how useless it may seem, knowledge acquired is never in vain.

i know the Willow Mellow lore gets worse the longer you dig inside of it + it reflects even Worse on the writers when you put the actual words on her situation but let's not forget Darlings she is a child. she is 15 to 17yo depending on what piece of documentation we refer to, too young to consent to sex and therefore does not fit the category of "sex worker", and instead falls under the definitions of "sexually exploited youth", more specifically "sexually exploited child", as UNICEF, UNESCO, Convention for the Rights of the Child, [...] and general common sense all define "child" as "person under the age of 18".

she is the victim of kidnapping by her """adoptive father""" and of sexual exploitation by her (presumably adult) "clients" (as she does not appear to have a pimp, and is instead written saying she loves what she does and such giddy teehee fun. [powerful side-eye through someone in the writing team.] [she's not a Real Person I have to stress, so someone wrote her like this, wrote this kid like this.] [it is all part of a narrative in which she is struggling to shake off her "father's" exploitation, an inherently tragic one, but she still was written that way, and could have been written any other way, with any other "rebellious" act]). calling her a sex worker as a child who is basically the same age as P2 Capella or Grace is putting her in a Grown-Up category especially harmful considering we are supposed to read her as an indigenous girl, member of the Kin (even if her lore is Mysterious and Hazy) and indigenous women and girls are sexualized in racialized ways which often paint them as more ~~~naturally~~~ sexually liberated, or docile, or submissive, or [insert racist x sexist stereotype promoted by colonizers to excuse the mistreatment of indigenous women and girls].

tldr yes it's worse when you actually call her what she actually is, and worse tenfold when you read what the writers make her say about it [even as an inherently tragic situation that we can recognize and put words on (hence this post), she could have been written any other way, with any other rebellious act, but you know.] but you know x2 (SIDE-EYES SOMEONE ON THE WRITING TEAM VERY HARD TIL ME EYES POP OUT ME SKULL)

What do you think Jason would feel about mothers? Considering he was betrayed by one and then would have gone on and had figures in his life like a mother.

since someone brought up sheila yesterday, i just remembered that this ask has been stranded in my drafts for a while! sorry.

some loose thoughts on the topic, in a "chronological" order:

in the 80s canon, jay grieves after willis and catherine the same. while it's safe to assume that willis was (physically) more absent, there's not much indication that jay had any parental preference (neither of them really could responsibly parent him anyway.) so i believe in general terms jay doesn't really differentiate much between parental roles (and that's why, subsequently, my answer is more about parents in general rather than just mothers...)

i have a post talking about jason's parental relationship with bruce here but i just want to add that atp we also don't see jason having any specific longing for a figure of a mother. imo the reason he gets obsessed over seeking his biological mother out is that in this particular moment he does not feel secure in his relation with bruce. i think if he found out about a biological father instead, he would also want to find him. what he wants is simply a stable family (<- which he does have in bruce; but does not trust to be able to keep without robin.)

i have mentioned before that it's very important to me that jason most probably forgave sheila. of course, the fact that he tried to save her does not alone confirm it; he would probably do it for anyone, and so it's more of my headcanon, especially since the contemporary canon nearly completely erased her from the narrative up until cheer. but as i said, i prefer to think that he forgave her, as he forgave catherine (if he even ever truly blamed either of them.)

i like to think about his relationship with talia as a parental one too (ignoring the two infamous pages of the lost days), but there's not much canon material, and freshly post-res jason seems fixated on the idea that he is "no one's son." nevertheless, he is also just still a kid when first in her care, and i do think that they could grow into that kind of relationship throughout the years (despite his best efforts to deny himself the comfort of familial connections.)

tbh one of the reasons for which i headcanon that, compared with other kids bruce has taken in, 1. he is the only one who used to call him 'dad' regularly 2. he is the only one who actually settled into a more 'standard' parent-child relationship with him 3. he is the only one who got formally adopted (which "on page" happened only pre-crisis btw), is because jay had a rather traditional expectation of what a bond with a parental figure should look like (and because bruce wanted to overcompensate while working through on jay's attachment issues). the others were either older or did not have a past that conditioned them for such focus on keeping the parent close, so it did not matter much. i think in terms of parental relationships, jason needs to call them by that name and needs formal ways of them being recognized, or at least this is what his abandonment issues call for. at the same time, it also freaks him out because he was a parentified child before and he doesn't think he should need it, so it's a game of pulling closer and pushing away, testing the bonds.

my conclusion is that i don't have much to say about mothers in particular; i think he has plenty conflicting feelings about the parental roles no matter the gender.

I had a major blond moment the other day. My coworker and I were talking about what we were going to do after we got off shift and I handed him my shopping list. He looked down at it and went “what the heck is this?” and it took me a moment to clock that the list I’d handed him was written in Korean, and your average American can’t read Hangul.

The Stark and Hargreeves siblings have a special place in my heart because it’s so rare to find characters in western media that have more than two siblings, and even rarer where they’re all relevant to the plot and so widely different. 

how do you think the Lancasters stood the best chance at winning the war?

Imo, if they'd won at Mortimer's Cross or Towton, the Yorkists would be finished.

A lot of the WotR depended on military victories, tbh. We tend to get distracted by fancy discussions like "Who had the best claim?"* or Propaganda Roulette 101, but the fact remains that it was ultimately military victories that sealed the deal and got rid of opposition**. Everything else was pretty wrapping on top of the already-won or to-be-won prize.

*The most useless debate of all **The exception was Richard III's usurpation but that was a fairly unconventional and entirely unexpected usurpation, and in any case it was a military defeat that ended his reign.

That episode was actually?? Really good!???

All the people who are like 'participating in politics does nothing!' like politicians make me mad with rage too with their spineless bullshit and hypocrisy and the rest, and no, they never do near enough and that's very frustrating, and many of them are greedy fucks who would betray us over their own interests in a heartbeat, but it's still a very bad sign to go 'don't vote it's useless' because the revolution isn't going to happen if you can't even participate in the democratic process in your own country and that nihilistic attitude does nothing but hand your country (general you, this goes for all of us) over to fascists, and it's very hypocritical to act like there hasn't been a lot of progress with anti-racism, pro-women, pro-lgbt (among others!!) legislation that was passed in the last 100 years, and that was all due to pressuring the right politicians into it. You don't have to like the politicians, they're not your friends, you just have to pressure them into doing what you want. So, yes, pressuring the right politicians leftwards and keeping them in power is how we've had a lot of very important legislation passed! So, participate in politics, it's literally the least you can do (of course, please do more).

I go through these short periods of time feeling very okay and good even only bc i distract myself from what pains me until it catches up again and the cycle repeats itself

tiktok """'classic lit""""""" girls really go out of their way to make fun of the coleen hoover girls or whatever when the only books they've read is if we were villains, the secret history and dorian gray

ok sorry but idgi when people get mad about other people tagging their art as kin/id/whatever tbh, and you see it all the time... i guess its a matter of preference/perspective on the one hand and on the other sure like maybe if it is a deeply personal piece or a personal portrait or something i get it feels a lil weird .but on another simultaneous level is it not kind of kind of deeply cool that someone—a stranger! another human person out there in the world!—saw your art and identified w it on that powerful of a level !

I do have to impress on anyone who wasn't around for it how batshit the reality boom of the 2000s could be. Especially on Fox.

Here are some 100% real 2000s reality shows:

Who's Your Daddy? A woman has to guess which of eight men is her biological father. One of them really is, and if she guesses right she wins $100,000. If one of the seven fake dads convinces her to guess them, he wins $100,000.

Black. White. A white family learns about racism by living a month in blackface, while a black family spends a month in whiteface. The black family was a real family, but the white family was just some actors hired to put on blackface to prove racism exists

Without Prejudice? Five strangers decide which of five strangers gets a cash prize based off clips and their answers to political questions. Cancelled when one of the choosers openly said he'd eliminate all black contestants

Welcome to the Neighborhood. Three conservative white families in a Austin subdivision decide which diverse family gets to move in. Unaired due to being literal housing discrimination

Seriously, Dude, I'm Gay. Two straight men try to pass themselves off as gay and whoever seems more gay gets $50,000. Unaired due to. Due to. Due to

Playing It Straight. A woman tries to find love among fourteen men, half of whom are straight and half of whom are gay, and she must eliminate two men she believes are gay each week. If she ended up picking a straight man in the end, they'd split a million dollars; if she picked a gay man, he'd win a million dollars

Boy Meets Boy. This was Playing It Straight but starring a gay man and he had to eliminate straight people

Who Wants to Marry a Multimillionaire? He wasn't a multimillionaire. He didn't even have a million dollars in liquid assets. He had a battery conviction Fox claims they didn't see. Because it was the 2000s, somehow this ended up with the woman he won being widely vilified and turned into a national punchline. How dare she complain about a massive corporation tricking her into marrying a lying abuser, good thing Matt Lauer's there to take her down a peg

The Swan. A "ugly" woman is given plastic surgery and wins a prize if she's the hottest at the end of the season. If she's not hot enough by the show's standards she's eliminated and called ugly on national TV

The Biggest Loser. Overweight people engage in competitive crash weight loss that often led to awful health complications. Studies showed basically everyone on the show regained any weight they lost once it was over and they didn't have abusive trainers demanding they take huge health risks to win a competitive weight loss competition. Like the others, this one was cancel-oh, it was a massive hit that ran for 18 seasons? Yikes!

Wife Swap and Trading Spouses. These were the same show and had a wife from one family go to another family that was different politically, racially, culturally, religiously etc. Most famous for the God Warrior

At the time people focused on the likes of Fear Factor but looking back it's wild how many of the worst shows toyed with politics. So many of these shows have a premise that's like "what if we exposed these conservatives to these people they hate?" or hyping themselves up as Important Experiments. Then they'd freak out when they got the kind of viral bigoted freakout they were trying to construct the whole time.

There were also a bunch of horrible reality shows, thankfully this time mostly unpopular, in the 2010s that based themselves around economic themes as a response to the market crash, but that's a story for another time

I feel like the larger point of that jgy post I made regarding translations is...I just wish more mdzs fans who mainly/only read translations of the text (specifically English ones) and cite it as their source took into consideration that there is a strong chance they may be missing something (oftentimes nuances) when they make metas and the like based on that... plus translations can be subject to a translator's own perspective on the text too so that's something else to take into consideration...

Ok. I’m still trying to gather my thoughts and settle my hyperfixation after episode 3 of the Percy Jackson show, but one of my conclusions is that this is one of very few adaptations that actually understands the term ‘adaptation’ and furthermore what makes one successful.

On a fundamental level, understanding and respecting the source material is a must. You need to not just know the bullet points of the story, but you need to know the ‘why’s’- why does this story need to be heard, why do people like it, why does it stand out from the others in it’s genre, etc.

Second, you need to deconstruct the source material and piece it back together in a way that makes sense for the new format. Copy-pasting almost never works, since there will inevitably be discrepancies between the readers’ imagination and the adaptation that can distract from immersion.

Third, you need to provide something new. Why does this story deserve to be told in a different format? What can this add to the original themes of a story? What can we change to make the message come across more on screen? Will this dialogue really be as funny when it’s said out loud?

We’ve seen a lot of terrible “adaptations” of animation and books and musicals into movies/tv shows, and I think even among the better ones there is a dissonance between the desire to stay faithful to the source and the desire to make a good adaptation, with whatever changes that may necessitate.

I think while we’ve watched the casting of this series, the hints here and there, and final the premiere with bated breath, they’ve been playing the long game. They cast Walker as Percy before he was in the Adam Project. Many people expressed…unsavory…feelings when Leah was cast as Annabeth, but those of us that trusted the team behind this project- including the author himself- did our best to welcome her and were repaid tenfold with her performance in this episode particularly.

Most of the scenes in this episode were not at all how I imagined them in the book, but I adored it. They took what they were given and expanded on it. They created a mini-arc for the trio learning to trust each other. They gave Medusa a labyrinthine lair. Annabeth is a 12 year old walking into a convenience store for the first time in 6+ years with $200 in her pocket, of course she’s gonna buy as much as she can carry.

The love and care and artistry that went into this single episode brings me so much joy and gives me so much hope. Like I was already excited for a faithful adaptation, but seeing these characters come to life on screen, once you see their chemistry with each other and how they speak and push and pull at each other’s emotions, it has never been more clear to me the amount of care and foresight that went into this show.

Rick said that these kids are the characters he created and for like 2 years I’ve trusted that that was true, but today it was proven beyond the shadow of a doubt.

I am just…in awe.