love posts where the OP has blown their own mind with information that's factually wrong
Stranger Things

ellievsbear

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Monterey Bay Aquarium
almost home
YOU ARE THE REASON

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wallacepolsom
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pixel skylines
Not today Justin

izzy's playlists!

★
art blog(derogatory)
Today's Document
RMH

Origami Around
"I'm Dorothy Gale from Kansas"

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@daisyachain
love posts where the OP has blown their own mind with information that's factually wrong
just finished watching the 1979 tinker tailor soldier spy miniseries... huge night for people who love vain self deluding losers
Ao No Flag 🩵 panel colored💕
TikTok: tenmei_aonoflag
Pinterest: Tenmei_ANF
"omg i LOVE it when love between characters is so strong it overrides the boundaries of flesh and selfhood, merging them into some sort of (un)holy chimera" — person who's uncomfortable with the idea of permanently sharing a bedroom with someone else
amazing wayback machine find
I miss lothal
snowdrops
While I’m making lists, characters better-served in the live-action:
Inkarmat, her scenes are denser, giving her an arc that is a steadily deepening mystery. Her romance with Tanigaki is deprioritized compared to her knowledge about Wilk and connection to Tsurumi, allowing her to act as the viewers’ and Asirpa’s guide to the greater stakes. She opens the question of Shiraishi’s betrayal and she has a complete character arc over the span of the movie.
Tanigaki, his actor’s gruff and stoic demeanour hearkens back to the early Tanigaki defined by scepticism and wariness, a soldier out-of-place and self-loathing. He doesn’t communicate the naïveté and helplessness that I find so tedious about the later Tanigaki, and so the character remains a cautious and reluctant ally rather than a stooge.
Nihei. Actor is going balls to the wall + additional huge fight sequence in Abashiri
Characters better-served in the animation:
Sugimoto. Please no wait for me to explain. I have some thoughts on Sugimoto, he’s got a lot of stuff going on that I like that basically stops after he is shot. He plays a crucial and interesting role toward the end of Karafuto arc, but he ceases to be much of anything as we head to the mainland. This isn’t a bad thing; he gets usurped by Asirpa and Shiraishi, two people I find a lot more fun and interesting. That said, Sugimoto is a noticeably neglected character in the latter third and he’s solidly in the bottom 5 of interesting characters.
I think the animation gives him a leg up by giving him a voice actor; a source of charisma and warm emotion, the magnetism of the strong that Noda describes, someone so confident in his invulnerability that he can be kind. Yamazaki does not do this in the live action; his Sugimoto is a void, a machine, a child grown large. Animated Sugimoto has a charismatic and almost paternal English VA, his Japanese VA is perfectly serviceable even if I couldn’t tell you where he shines. So: animated Sugimoto works because because a voice actor imbues him with a personality even in the moments where he’s forced to act as an exposition catcher.
Sofia NO don’t run away!!! Come back please. Please. At least from the episodes I just watched, she’s drawn with care and looks good. The show places a focus on her in the Hasegawa raid that I don’t remember from the comics; Kiroranke’s backstory ends up centring her more than I felt in the comic and she doesn’t look bad. She works great in the manga but I really felt that she stood out when given a single episode to sum up everything about her.
It’s complicated:
Tsukishima is very different from live action to comic. I think his live action version is less effective by emphasizing his dead eyes from the start, but I like real Tsukishima more for being that explicit. I enjoy the trope of the automaton learning to feel while the framing of Tsukishima as normal made me so frustrated until I finally, finally got the joke in fully like ch312. Skill issue for me.
Koito’s live action version doesn’t capture what I love about him, which is the clipped control that he has whenever he’s not going mad. However, the messy hysterical butcher Koito of the live action feels truer to his arc; it fits more naturally with end stage ‘for the men’ diabolical war criminal Koito.
I can’t take Wilk’s big anime eyes as seriously as I should be able to in the manga, so I like having his actor there to think of
Tsuda Kenjirou playing Ogata Hyakunosuke
GK object of the first flicker of gay inclinations from least to most cursed
Least:
Tanigaki (for Sugimoto)
Nihei (for Tanigaki)
Wilk (for Kiroranke)
Koito (for Tsukishima)
…
Kikuta (for Ipopte)
Tsurumi (for Koito)
…
Most:
Tsurumi (for Usami)
Happy (late) birthday Kirawus!!! (Sorry i was so sleepy yesterday anw)
❄️❄️❄️.
The Sofia segments of the show really do pick up, they’re crisp and good-looking. The arrangement of the same old score with brass to give it a ~russian~ flavour in her and Hasegawa’s scenes is a fun touch that I enjoy, and the production did a good job in communicating the sense of affection with which Kiroranke speaks of Sofia, the flashback works in and of itself as well as hinting at just what Kiroranke’s priorities may be in addition to emancipation. This is also his Friend who he feels he abandoned
Socially, the narrative of the woman as gold-digger is exceedingly pervasive. It is the punch line of many jokes that get millions of laughs, it's the topic of many manosphere videos as well as incel's laments. Its also an idea that garners a lot of sympathy from men and women alike when spun the right way.
People are very fast to bring up, condemn, and dehumanise women 'using men for free meals and nail sets and dresses' as though this is some massive injustice endangering the financial stability of men everywhere, rather than just something pretty rude but rather inconsequential in the grand scheme of things.
Already, we could point out the obvious: if a man pays for a date and a woman rejects him anyways for any plethora of reasons he can of course call her a gold-digging whore. Dehumanise her. Paint her as greedy, morally bankrupt, a hoe and a bitch, all for simply rescinding her interest in romantic partnership. From the outside, no one can tell if she 'did it for a free dinner' or 'tried dinner and didn't feel a connection'.
The gold-digger label is one that exists to control women, to socially pressure them into saying 'yes' due to fear of these accusations and how they may harm her social standing and reputation among her peers. It is not a term born out of the need to call out the Terrible Abuse of Men's Wallets, but to control and restrict women's way of asserting their autonomy. Hence why the term has no masculinised equivalent.
All of this has of course been said before, but what i do think is often missing in these discussions is how little people link this to the reality of economic abuse. Men may pay for the first date, but it is men (not women) who use their partners once in a relationship as a cash machine.
Recent studies from the UK found over 1/3 women from 16-24 have experienced economic abuse, with 1/6 of women being a victim of economic abuse within the last 12 months. Economic abuse of women is increasing at a drastic rate in the UK, by 78% in the last year alone! And yet the average person still believes that a high percentage of the female population are capital G Gold-diggers, and that this is a Serious Issue that needs to be address.
And yet when we look what do we see? We see the shattered lives of countless women who where economically abused by their male partners for years. We see the dead bodies of women too, with one woman dying every 19 days in the UK in relationships where financial abuse in involved.
In a world where MRA rhetoric flourish and the anti-feminist backlash is in full swing globally, it is important to fight these pervasive narratives about women and recognise them for what they are: Misogyny.
The gold-digger label is designed to control and limit the choices of women in the modern dating scene and obscure the real relationship between gender and economic abuse, which always sees women getting the short end of the stick.
Articles and sources used (not ordered according to appearence)
1: https://www.theguardian.com/uk-news/2026/mar/05/economic-abuse-partner-deaths-report
2:https://www.theguardian.com/society/2026/jul/09/domestic-abuse-technology-finances-control-uk-charities
3: https://survivingeconomicabuse.org/wp-content/uploads/2023/09/Seen-yet-sidelined_SEA_2023.pdf (my main source as well as cited articles for satistics)
4:https://survivingeconomicabuse.org/
5:https://www.theguardian.com/society/2023/sep/03/he-took-every-penny-the-women-left-with-a-debt-mountain-by-coercive-partners
6:https://www.theguardian.com/money/article/2024/jun/17/i-was-abused-twice-first-by-my-partner-and-then-by-my-bank
All presented social media comments where found within a 10 minute browse on: Reddit, Facebook, YouTube, and Instagram.
I <3 Terasoma Masaki's performance as Kiroranke in the animation and this is not just because of the obvious reasons. He's smooth and melodious, he has a warble similar to Hijikata's that lends him a somewhat theatrical presence. Has the sound of a storyteller, a mellow and well-oaked vintage. Ikeuchi sounds closer to how I imagined it, but I think Terasoma does a lot of legwork in making Kiroranke sound trustworthy. Down-to-earth, smooth without being slick, he is a person who sounds so real that what he says must be true
I wish it were more common to have "bilingual" stories. By that i mean stories where it's important that 2 or more languages are spoken throughout. There isn't any translation, there's just multiple languages spoken by the characters. I understand why this is seldom done considering how heavily limiting it is to the number of people who can actually read or watch it. But idk I think the world would be better off with some stories like that.
She poses.
The tigress Nayanthara amidst human onlookers Taken in Tadoba-Andhari Tiger Reserve, India Photographed by Nazeer Badar