please god watch this right now
The editing of this video is hysterical and genius- they switch between so many editing styles to reflect exactly what kind of thing they're going for in each segment its GREAT.
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@justahumblememefarmer
please god watch this right now
The editing of this video is hysterical and genius- they switch between so many editing styles to reflect exactly what kind of thing they're going for in each segment its GREAT.

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Once when I was in undergrad, someone described something as “problematic” in class and our professor was like, “That’s cool, but ‘problematic’ doesn’t really mean anything. It means that the thing you’re describing has a problem, and in and of itself that’s not bad. Art, especially, should always have problems, or else it’s not interesting and not art, either. It sounds like you’re trying to say that this is bad, but you don’t want to say ‘bad.’ Is that right?”
So from then on whenever one of us called something problematic, he would make us talk it out until we could name the “bad” thing we were hinting at. In this particular class, 7/10 it was some type of oppression, and the remainder was like, “I’m uncomfortable because this is very new/confusing/pushing boundaries that made me feel safe.”
Once we stopped calling things “problematic” and stopping at that, class got way more interesting and... we all had to say, like, “that’s racist” or “that’s misogynistic” or “ew capitalism gross” out loud, which a lot of us had never done in a classroom before. Or we had to be like, “Uhhh... I’m not sure what’s so bad?” and confront our own beliefs and that was maybe even more useful.
Anyway. Whenever I see the word problematic, I can’t help but think of this professor being like, “Good starting point, now let’s get specific.” I think when we have to commit to saying “that’s ___” it requires a lot more careful thought about the truth and impact and complexities of whatever we’re claiming. Sometimes there really is some bullshit afoot, and also sometimes it’s art, and it should be full of problems, because that’s what art is.
Analyzing the politics of a work that's meant to be apolitical is actually a really interesting exercise because it asks you to critically examine what the creator considers to be "political" in the first place. Which ideas are just How Things Are, and which ones are Political, and how is that influenced by the creator's beliefs?
Usually this just ends up with you looking like a moron btw
Angrily lashing out at the suggestion that it's possible to do basic media analysis was foundational to the ragebait ecosystem of the 2010s, from which we got basically the entire culture of modern far right politics, btw.
I genuinely believe myself and others are being so sincere and literal when we say TOUCH GRASS
I went outside and got an education, that's where I learned that you can obtain knowledge and insight through analytical methods, then noticed that some people who sit on the internet yelling at strangers get really mad about that constantly.
Don’t make me point to the Omar Sakar poem
got a crick in my neck and a frog in my throat and a chip on my shoulder and a stick up my ass and now you're gonna stand there puttin words in my mouth? haven't I been through enough?
Twelve's plan in Deep Breath is kind of fucked up in the best possible character dissectey way.
Like he abandons Clara, lets her think he's changed, lets her think he's left her for dead, all on the assumption that she'll figure their captors out and successfully out-boss a room full of murderous clockwork cyborgs into giving her answers.
And he's completely right.
Fuck, it's such a deliciously messed up thing for him to do.
Because like ten minutes earlier, they're finally starting to fall back into a rhythm together. They're investigating the restaurant, piecing clues together, working the mystery. He slips the sonic out of his pocket, she kicks it up to him, they're bouncing observations off each other, making deductions together. You can actively see Clara beginning to settle into this new version of the Doctor.
Not fully trusting him yet.
But getting there.
Getting comfortable.
And then the Doctor takes the exact thing she's struggling with, her uncertainty, her fear that he's different now, that maybe she doesn't know him anymore, and turns it into part of the plan.
He weaponizes her doubt against both her and the clockwork cyborgs.
He looks her in the eye, tells her that at least one of them has to live, and leaves.
And my god, Jenna Coleman absolutely destroys me in the scenes that follow. Clara trying so hard not to breathe, but having to try even harder not to cry, and failing at both. Walking away while desperately trying to hold herself together. The panic, the oxygen deprivation, the heartbreak of genuinely believing the Doctor abandoned her.
It's brutal.
Because from Clara's perspective this is confirmation of every fear she's been carrying since the regeneration. The Doctor is different now. Maybe this face doesn't care about her. Maybe she really has been left behind.
But from the Doctor's perspective, the reason he can do this at all is because he trusts her completely.
He knows she'll start asking questions.
He knows she'll push back.
He knows she'll get to the truth because that's who Clara is.
So he leaves her there and trusts that she'll do exactly what he would do in the same situation while he runs off to throw together a disguise.
It's one of those moments that feels incredibly Doctor-ish and incredibly unfair at the same time.
Because buried underneath it is a weirdly profound compliment.
He's effectively saying, "I trust you to handle this."
But the way he chooses to communicate that is by emotionally throwing her into a nest of killer robots and hoping she figures it out.
Which she does.
Because unfortunately for Clara, he knows her almost as well as she knows him.
And unfortunately for Clara, he's right.

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this ones a classic even tho i really really really wish it was not
one normal day in british politics that’s all i ask for . will never happen
“Why are you scared of dating” I’m not scared of dating, I just haven’t found anyone’s company to be more enjoyable than my own. And also I don’t care
I just don't want anyone to steal my very cursed amulet
Also the amulet
Is that you talking? Or the amulet? Are you SURE a new hand doesn't want to touch the beacon?
The amulet and I are not currently looking for a third
by disagreeing with me on this topic, you're aligning yourself with everyone else who disagrees with me, which includes the Chaos Death Cult, and they chaos kill people so....
we dont chaos kill that many people.
Well If You Say It's Not That Many

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okay so here's the thing about 50,000 people vs 1 ceo of a utility company
World historical loser
haha yeah man female dogs are bitchy and female horses are bitchy and female cats are bitchy and female ferrets are bitchy and female rats are bitchy and female guinea pigs are bitchy and female birds are bitchy and female rabbits are bitchy and female everything is bitchy. lol! isn’t it so funny how you think that! isn’t it so silly that this is your perception of literally every species! haha! i’m sure there’s nothing to unpack there! i’m sure you’re 100% accurate and unbiased in your conclusion that female animals are just inherently evil! i’m sure you have very normal thoughts about human women too! teehee! isn’t everyone laughing! isn’t it so goofy!
my mom once told me i was a ski jumper in a past life because she dreamed about a ski jumper dying in a terrible accident when she was pregnant with me, and said it was definitely true cause the ski jumper in her dream was also blonde. i never had the heart to tell her this is absolutely not something catholics can believe.

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Polynesians did also rely on a form of a physical map called a stick chart, illustrating the specific wave and swell patterns surrounding different island chains. These were particularly helpful during cloudy conditions when the sun and stars were less useful. To navigate the Marshall Islands, the Marshallese represented ocean swell patterns using parts of coconut fronds and shells as islands. Like a subway map, they don’t so much represent distances as they do relationships. The complex and decorative stick charts were often only understood by the person who made them. They were memorised before a voyage by the pilot who would lie on the floor of a canoe to get a sense of swell movement and often lead a squadron of 15 or more boats.
sometimes I am just amazed at how my ancestors managed to navigate the entire Pacific Ocean with these. knowledge that was nearly lost and is being re-learned.
AH! I'd heard of these, but this is the first time I've come across pictures.
Book rec: We, the Navigators: The Ancient Art of Landfinding in the Pacific, by David Lewis. Dense but readable and absolutely fascinating, it is a detailed account of traditional sailing and navigation techniques in a number of Pacific island communities. It's been years since I read it but what I remember most is the "star paths": nighttime navigation by keeping your boat at a particular angle to a particular star, BUT stars move overnight and with the seasons so each route might need you to switch between 15 various different stars at different times of night and you might need to learn whole new routes for other times of year.
oh my god. i never thought marshallese history would cross my dash!! all great information but i would like to point out that the marshallese people are actually Micronesian, a group that has historically been looked down upon and oppressed by Polynesia at large, so please put respect on the name of Micronesian innovation, culture, and history!
So we all like to joke about Zuko’s propensity for jumping off of tall things to land on things or people that are clearly too far away and how he obviously has no sense of self-preservation but has anyone considered the far more likely explanation that our boy just has little to no depth perception?