#incomplete thoughts

I realized something.

In this AU, these two probably hate each other. Tenko's entire philosophy revolves around catching the people who fell through the cracks and that means a lot of careful compassion, de-escalating, investigating, and time and energy put into helping people Hero Society fails.

And then you have Mirko with her 'kick first and ask questions later' attitude who callously asks Deku why they should help a villain in Team Up Mission. A 'villain' who was a civilian with an accumulation-type Quirk that caused them to store poisonous gas in his body to the point it was too painful to hold it in and he tried to release it in an area that would affect the least people.

Yeah. This could warrant further consideration in this AU.

She’s messy. She’s vomiting mid fight and taking hits and looking ugly in a way you don’t see in female characters. She’s grieving and isn’t the perfect victim of her grief. She’s rude and angry and disgusting and there’s not a person in sight vying for her romantic attention and I didn’t realize just how much I needed to see ALL of that.

There’s this part of me that I think a lot of us feel—those who’ve been raised as girls or those who’ve been told in general to act or feel or to be seen in a certain way—this form of almost-grief that is constantly put aside or pacified with something that is meant to embody what we find so limiting in this current world. You see moments of articulation, of what’s missing, but it’s gone so fast. I think of Arcane, that first fight Vi has and it slo-mos on her face. The saliva being driven from her mouth, the wrinkle of the nose. We don’t see these things enough and I missed it when I realized there’s little beyond that scene in Arcane in other shows and movies STILL.

I don’t WANT to always have a character looking sexy in their pain. It feels like porn of a different form when women are grieving or agonizing while they look intentionally beautiful with makeup and effects via the director/crew behind the scenes. It HURTS and it’s vindicating and healing to know that the reason I find Kara beautiful and attractive in this movie is because of her character and the side effect of having a gorgeous actress. They’re not perfecting her hair or placing a shit ton of makeup on her. Her skirt is a skort and 3/4s the time she’s wearing baggy vomit covered clothes and her hair looks like it’s been through a blender.

There’s that, and also the message of the film.

You’re not nice, but you’re kind. Just be good. That doesn’t mean you can’t be tough, and that doesn’t mean you have to be nice, but you must be good.

It made me think of the Mary Oliver poem, Wild Geese.

“You do not have to be good.

You do not have to walk on your knees

for a hundred miles through the desert repenting.

You only have to let the soft animal of your body

love what it loves.

Tell me about despair, yours, and I will tell you mine.

Meanwhile the world goes on.

Meanwhile the sun and the clear pebbles of the rain

are moving across the landscapes,

over the prairies and the deep trees,

the mountains and the rivers.

Meanwhile the wild geese, high in the clean blue air,

are heading home again.

Whoever you are, no matter how lonely,

the world offers itself to your imagination,

calls to you like the wild geese, harsh and exciting -

over and over announcing your place

in the family of things.”

This poem sums up a lot of what I’ve been feeling after watching this. Not just of Kara coping with her grief and coming into herself through the love of a girl and her family, of forgiving herself for surviving but the fact that she could exist on screen looking like a human. A messy, imperfect, human. After watching that one Arcane scene a couple years back. This need to just be. To enjoy what and who I am. To embrace the ugliness and messiness of myself and my gender in general without hesitance or self-ridicule.

I think I love Supergirl too because it feels like a film that would’ve been so widely accepted because its format if the character wasn’t female because, the characterization, is a familiar one. Who doesn’t love that alcoholic, messy, snarky dude who rolls up on screen. Who’s competent but dealing with some inner demons. But this characterization is limited and kept from female characters, and seeing this film only make me want to see more of this. Give me your bastards, your snarky messy women. Give me women who don’t shy from being feminine, or embrace their masculinity without putting other women down or feeling like a man + boobs. Give me trans women that remind us of the pure joy of being a woman in the first place, and who are happy and healthy in films, who are human beings like the rest of us. Give me asexual women, aromantic women, women who adore other women, romantic or platonic. Give me women who suck but are still human. Just give me humans. Not caricatures of humans.

I want this film to serve as another starting point, an example, and a catalyst for more female characters looking like this or at least being represented in more ways that feel thoughtful and like they matter.

Thanks Kara. You are my supergirl.

I think the implication in the movie is that Peter went to America too, but forget that. Peter's visiting Professor Kirke for the summer, at his little cottage in the country, and working on a farm as well as getting tutoring for university entrance exams, even though he knows he's not going to be going in for a few years, or however long the war lasts.

Ed hates the idea of Peter going off to war without him. Lucy is feeling left behind by everyone (parents and Su in America, Peter on the verge of becoming a soldier, and Ed wanting to join him).

Ed by turns latching onto and getting annoyed at Caspian, because he's not Peter, but it's like having Peter there, and Caspian doesn't understand what he and Peter have, but Ed can see how much Caspian wishes for a brother, and they do become that for each other in the end.

Ed wielding Rhindon at the end, Peter's sword in his hand, like Peter hasn't left him after all, and Peter's love and Aslan’s promise are louder and brighter than any ghost or sea serpent ever could be.

Lucy shooting with Susan's bow, because she doesn't have to be Susan (or Peter or Ed) to be like her in protecting the people she loves, she just has to use what Aslan has given her.

Ed knowing he's gonna go back to England and Peter's going to come celebrate his birthday with them before he signs up, so he hugs Caspian extra hard, because Caspian's going to have to go on alone too.

for u habibi, I shall.

in the topic of werewolves vs vampires, I prefer werewolves. But, this of course is a topic with many potential implications. Which would i prefer to be? which would i rather date? which narrative themes do i prefer to read about? which would i rather be stuck opposite on a long train ride? which do i think would win in a fight? which do i think i could take? which do i think i could take in a fight? etc. I shall address some of these, and the rest I leave to the imagination of my dear homies.

I will begin by saying that i do enjoy vampires quite a bit, and appreciate them in many ways. I simply tend to enjoy werewolfTM more. the dualism, the humanity contrasted with the beast, how it sits with the human knowing the beast lurks within, the beast tearing out to wreak havoc and perhaps only sparing one whom the human side of them remembers. the pain of transformation, of allowing the beast within to come out in the moonlight, the walls breaking metaphorically along with the bones and skin literally

I would prefer to be a werewolf as well. I find their classically chaotic and beastly form a pleasant mental escapism over the blended humanity/monster nature of the vampire. I bet tearing your shirt off, growing mad back hair, and bounding into the woods under a full moon feels good as hell. (I actually know it does, but that's a story for another time)

vampires (to me) are cool and sexy and aristocratic, and dark academia and more, but werewolves (again, to me) are blue collar jocks, high energy, passionate, and vibrant. with those in mind, i of course would want to hang out with the vampires, and get coffee and go to their parties, but i'd prefer to go home to the woods and the small shack that me and my pack set up in.

Been thinking about how odd it was Carmy didn’t flinch when Richie insisted he go say hi to Claire during ‘friends and family dinner’ but as soon as Sydney says ‘that’s Claire’ in the sarcastic way that she does he immediately switches. Carmy is hyperaware of any tonal or attitude shifts with Sydney which we can thank Ms. Donna ‘ticking time bomb’ Berzatto for.

Ultimately in Carmy’s mind Sydney & Claire share the ‘girlfriend’ position, based off of unreliable ass Fak’s description lol. He may be WITH Claire currently but he’s performing the boyfriend dance for Sydney. It’s as though an alert went off in his head *I’m being shitty, don’t be*, in Carmy’s very obtuse way he’s showing Sydney that if she were to be his girlfriend he would put her first and not be shitty.

It goes back to their conversation in s02.08 about being shitty, Carmy says ‘I don’t wanna be shitty’ and Sydney responses ‘ok so don’t be’ very nonchalantly. Before that he says ‘wherever I’m fucking up just let me know that I’m fucking up, cause I’m trying’.

Is it that he's misunderstanding Sydney's annoyed jealous tone or is it something else? Notice his reaction to Sydney's change to being noticeably upset, he dissociates like his brain spasms "is this not what she wanted me to do'.

immediately after watching, i saw it as a 4 star watch. even after looking at a couple critiques on here, and acknowledging its flaws, i can’t deny how absolutely locked in i was. i binged the whole thing in 8 or so hours, i didn’t sleep until i couldn’t process what i was watching coherently. as someone just getting back into anime, you’d think i’d bail once i saw light coming through the windows. (this bitch is lowkey long my b)

Under that regime, slave owners and their agents, such as slavecatchers, could show up in a Northern town and essentially kidnap any person of color on claims of being an escaped slave, regardless of their actual status, and without due process. Indeed, even if someone had proof of their free status, it was likely to be a moot point with the lack of due process, but the proof could just as easily be destroyed or painted as a forgery. (Dickinson addressed this in the fifth episode of Season 1; I briefly discussed this parallel after watching it.)

The law was extremely unpopular in the North, where it also required officials to facilitate the capture and return of escaped slaves (or, again, any person of color anyone accused of being an escaped slave), in other words requiring them to uphold and enforce an immoral institution prohibited under their state laws (as well as Federal ones, e.g. the Northwest Ordinance of 1787, which outlawed slavery in the land that eventually became the Midwest).

The Act, along with the subsequent 1857 Dred Scott decision, found both Congress and the Supreme Court on the wrong side of history, and only strengthened the resolve of the abolitionists and other Northerners fighting for justice…

I have so many thoughts about this, that I can't articulate rn

Something about Enkidu being created to fight Gilgamesh (at least that's the impression I get) so he can stop terrorizing the people of Uruk, and even though they do fight, Enkidu changes Gilgamesh because they love each other and because Enkidu's death makes Gilgamesh actually face mortality. And then he embarks on this crazy journey that makes him the wise and good king the becomes.