What was the beta s2 villain design? I haven’t heard or seen abt that one n im curious

,,,,Bombshell my bbygirl,.

make it so the clans are bigger but bc the iskeai'd cat only knows the main cast, she just fucking ignores them all. Maybe make a gag that one character who wasnt in the books is actually somewhat important (but just got axed in the book) and despite their continued relevance, the main character keeps going "nope completely irrelevant" and ignores them despite everything.

SDAJKSDJSALHDJHLAK this reminds me of that episode of tawog that parodied my so called life

honey, guide, and honeypaw but with this scene:

Omg finally someone else knows about the Charmie ship, I was starting to think it was a fever dream that I dreamt up lol. People always bring up Taekook and Larry as examples of bad shipping practices but Charmies were delusional too. It’s interesting how these problematic ships have specific terminology associated with them/their industry. Larry had a ‘beard’, Taekook had an opposing ‘fanservice’ ship and Charmie had a ‘PR relationships’. Observing the ships of especially higher profile celebs/idols is so interesting to witness because it highlights the patriarch society we live in. Like you mentioned, these ships really display how women consciously/subconsciously hate on other women they perceive to be threats to their ship or fantasy. The enemy of these ships are usually women (Harry+Louis+Timothee+Armie’s girlfriends/wives) or men that they feminize (Jimin). Interesting topic.

You made an interesting observation at the end regarding Jimin. The taekook narrative is different in comparison to other big slash ships because the so called "enemy" has a different gender. For larry or charmie, the woman is the intruder so hating her it's like an automatic response. She's there to disrupt the fantasy and also expose the fantasy at the same time.

Because the result is that the shippers are more interested in actively fetishizing a gay relationship and gay men. They are fascinated with it, although at the same time they apply heteronormative definitions to it. One is the woman with any particular gender stereotypes, the other one is the man, with its own set of gender stereotypes. This is then transposed into the way they write fanfiction, how they draw the couple. They have the obsession with coming out, of praying for their eternal love. Once you see such vocabulary, it makes it all more clear. And then something happens, a woman comes into play and that's a problem. They already have the woman, the feminized version of one of the men in the ship, which is acceptable because it's a product of their imagination and a self insert at the same time.

Now, taekookers are having to deal with a bigger problem. Their biggest threat in their view is in this case a man. That disrupts the fantasy even more. So in order to make it all work, they have to change how they view that man. They need to reduce him, to strip him of his masculinity because his masculinity puts him as equal as those other two men. And him being an equal makes it a threat. Because in the case of taekook where the shippers believe that Tae and JK are in love with each other and that makes them automatically attracted to the same gender, hence gay (I'm just telling how their fantasy works), it means that there is the possibility of Jungkook (never Tae) to be attracted to Jimin. Because he is a man. That's why ships involving Tae/JK and a woman do not pose a "real" threat in the eyes of the shippers. They laugh at it because they truly believe JK and Tae are together. But by believing that, they are also aware, deep down, that Jungkook as a presumably gay man, could also be attracted to another man - Jimin.

So because this is such an unacceptable scenario, they have to femininize Jimin. He cannot be seen at the same level of a gay man as JK and Tae. Hating Jimin in that position would reveal that they can be homophobic and how they mostly fetishize a gay relationship. In turn, Jimin is portrayed as a woman. A woman that can be hated, the type that through the patriarchal conditioning, is seen as a threat to other women. For example, the femme fatale, the seductress, the slut, the whore. All words used by taekookers. Sometimes they latch onto made up rumors in which they return Jimin his masculinity if it involves some woman, or him supposedly becoming a father. But that doesn't happen often. Jimin is also seen as a man who could be gay only when once again, they find another man to ship him with. Be it Yoongi, or his friends in his private life. In both these scenarios, Jimin can be a man and attracted to other men. But the minute he is next to Jungkook, he cannot be that anymore. He is no longer potentially a man with whom Jungkook may cheat, but a home wrecker, which is usually a term used for women. Jimin's feminine qualities which show up in his behavior in a positive sense (he is more nurturing, he is in tune with his emotions, etc) are completely dismissed. He is patriarchaly feminized.

*Jimin and gender identity/sexuality discussion.

Fun fact: based on context, the infamous "leaves and rats" probably isn't reflective of most meals in the Resistance. Besides it not being a sustainable diet, Junior brought it up to help convince his audience of how horrible the future was. With this in mind, I present two possible explanations:

(the more realistic scenario) It's a rarely used, last ditch effort for sustenance. They're only eaten when the Resistance is facing hardships, so these instances stand out as particularly bad.

(the probably funnier scenario) It's Junior's least favorite meal. He hates it in the same way many children hate broccoli.

speaking of loving to hear people info dump here is a call to action!!!! tell me about whatever you want, something on your mind, something you think I would like, whatever!! info dump to me about anything you want, I'd love to hear it :)

hi jennie I saved this for today when I knew I'd be working on some monster stuff to talk about monsters :)

currently writing a little bit about the dragon woman in Mandeville's Book of Marvels and Travels and how she, as a transformative female hybrid monster, illustrates the threat to English identity posed by transformation and miscegenation in the later middle ages. During the later middle ages, starting c. the 12rh century, there's an increasing concern about the permeability and vulnerability of the body and society at large, particularly with the social changes post-Crusades and post-Black Death, and this is visible in the change from the static, non-transformative monsters of the Old English period to the transformative monsters like those in Mandeville's Book.

The problem posed by transformative monsters is that they render monstrosity something that can change, something that isn't always visible, something that isn't permanent– this quasi-humanity quasi-monstrosity, in turn, pushes back against what it means to be human. These monsters are not separate from community; rather, they are able to enter and participate in community despite the sometimes-monstrous forms of their bodies. Implications here beyond fictional monsters are pretty clear: passing as a member of a society when you're supposed to visibly and entirely othered changes what it means to be part of that society, which, for late medieval English Christians, was a point of concern not just re: crusade and pilgrimage mixing cultures with those of the middle east (and the religious Others that reside there) but also re: marriage, sex, and reproduction, which is where the dragon woman comes in.

The dragon woman is the daughter of Hippocrates (well-known human man), transformed by Diana into a dragon until a knight comes around who's brave enough to kiss her, at which point she'll turn human again for a short while, but won't live for long. As with other hybrid monsters, the monstrous and the human blend within her: she's not entirely human or entirely dragon, but a combination of the two, with characteristics of each bleeding into the other (for instance, despite an assurance that she does not harm others unless harmed herself, at one point, she kills a guy because he thinks she's hideous–not really dragon behavior!).

The fact that she will pass away shortly after returning to the human also indicated the ways that hybridity threatens the circulation of women via sex, marriage, and reproduction. If she will die shortly after she's transformed back, she will have no chance to produce an heir to her lands for the husband who sparks her transformation, and thus still falls outside of the normative circulation of women even when she's human again. Though her body might seem to be human again, its inability to participate properly in this circulation illustrates that the transformative monster is never really entirely human again after it's transformed; the monster is always part of her hybrid body and identity. While she's able to rejoin community in her human form post-transformation, her premature death illustrates that she cannot stay in the community and reproduce while holding this hybrid identity–it's too dangerous to the overarching structures, too close to miscegenation and permeability that the powers-that-be in Mandeville's late medieval context fear.

me, checking my notes and desperately trying to figure out if the six of crows duology has any link to the bildungsroman genre and/or prometheus and/or concepts of the sturm und drang so i can at least make writing my thesis enjoyable:

This is random but i feel like i see u mention a bnha discord a lot and i was wondering if that was like open invite? Or i guess if u just know any open invite servers for any of the fandoms ur in?

It's not a bnha specific one but I've got a little server with like 20 people in it if you still want to join, sure. As for other servers, I know too many to list but most of my writer mutuals have their own bigger ones and those are pretty fun

local sleepy gyal deprived of her daily nap 2 dead 3 injured

I had a pretty interesting train of thought recently and thought why not talk of it, since the topic is interesting and could be used as tool when crafting headcanons and AUs. When Dimitri is compared to Blaiddyid/Bladud, just why does the comparison always begin and end with necromancy? They do have much more interesting things in common.

So to compare the two, at the beginning Bladud is studying abroad in Athens but then goes back home because he hears of urgent news about the death of his father. During his journey back home he contracts leprosy and later on is imprisoned because of said heavily stigmatized illness once he gets back home. He does escape from prison and while working as a swineherd he takes notice of the healing properties of the mud his pigs were rolling in, decides to try it himself and finds out that it worked. He then returns back home, restores his status as his father’s heir and builds the city of Bath to honor the goddess whose grace saved him - texts say Minerva, history says Sulis. With this in mind, one could even argue that Azure Moon is a loose adaption… Which would probably explain some things, now when I’m thinking of it.

And to end this with some funnier things that would make great AU-fodder - Bladud is an actual descendant of a goddess, Aphrodite/Venus through Aeneas to be specific. Historia Regum Britanniae sites his ancestor and the founder of his house, Brutus of Troy, as grandson of Ascanius. As for some additional fun facts, mythological Sothis’ only child is in fact associated with planet Venus and if one believes Uranus is Aphrodite’s truly single father, that would make her and Rhea half-sisters. But Bladud being Aphrodite/Venus’ descendant is secondary to him being Aeneas’ descendant because this stuff was written during the Middle Ages - then again, we’re talking of a goddess whose best known actions include things like her giving a statue life (Galatea), helping a guy to kidnap an already married woman (Nemesis’ daughter even depending on who you’re asking!) and trying to kill her pregnant daughter-in-law three times, not to mention how according to a certain proverb she turns into a human popsicle if the cereal lady and her sloshed 24/7 son aren’t around.

Hitti (hit) or huti (miss)?

hmmm... miss. It's definitely miss-ing something. Some colour, some actual sparkles, this is just shiny and reflective. I will accept it though if he either a) dyes his hair pink/purple, b) puts glitter in his hair or c) on his face and hands, or a combination or all of the above (preferred).

Alternatively, might I suggest something like:

ive been working on one of my books on and off since 2017 but if i were to get it published and they came up to me asking if i had any outlines for a map or anything i would have to say "absolutely not sorry you can do whatever you want"

for the pentagram: fossils, a live moth, vintage transformers action figures, art deco railway posters, and a stolen street sign

All of those would work though on fossils it would kinda depend as i prefer dinosaur bones.

It would indeed summon me.

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truly wild trying to navigate life while only having the vaguest tiny concept of the self that is unexplainable in words like i feel like im playing characters at all times and i can't talk to people because i panic about how this solidifies a concept of me in their heads and i never know what is coming out of my mouth none of it feels real or like me at all yes i am thinking about this instead of doing homework

I was talking with my dad recently & we got on the topic of People Thinking They Can't Do Things, and like, he is at his core a well-intentioned person who genuinely wants the best for others, but he has definitely internalized some harmful ideas a la "anyone can do anything, the only thing stopping them is their own attitude". so I was like. I see where you're coming from, but let me tell you a story.

last year, I worked with 10 year olds- many of whom had never really spent time outdoors- in an outdoor education program where they came to spend a whole week doing shit outside in nature. the top two scariest experiences for these kids were 1) very tall metal tower, and 2) walking outside at night in the dark with no flashlights.

I tried a lot of different things to persuade them all to join me for each experience: I presented it with enthusiasm and passion, I did physical demonstrations and scientific explanations to help them understands how safe it was, I voiced my absolute commitment to their safety, I invited them to brainstorm ways to help each other and themselves feel safe, etc.

generally I always had at least 2-3 kids out of about 10 who opted out, or if they did join me, would spend the entire experience crying and freaking out. when it was over, they would conclude that even though they did not die- or even get hurt- it was so scary that it wasn't worth it and they never wanted to do it again.

then I changed the question I asked. instead of asking them to tell me whether they could do it or couldn't do it, I asked them to raise their hand for one of three options:

You can definitely do this.

It will be hard or scary or uncomfortable, but you can try to do this.

It will definitely be too hard, scary, or uncomfortable, and you cannot or should not try to do this.

suddenly, almost nobody was opting out of these experiences.

they would try, even if they were scared, because they know that being scared didn't necessarily mean that they couldn't do it at all. and more importantly, they knew that if they needed to stop, that was an option; they weren't trapped in their decision to try.

and the real takeaway here, for me, is in the nuance: people need to be able to challenge themselves and to be uncomfortable in order to grow, and people need to be able to opt out in order for opting in to be a safe option.