@icedgembiscuits - Tumblr Blog

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mabeltanaka

I was gonna include it and then decided against it, but ok, yes, here it is

and then he does his song about sexting

snailtongue

withyourblueflame-deactivated20

taejin radiating “you can’t sit with us” energy

teachytv

10 years ago today, Ebony Dark’ness Dementia Raven Way went back in time to sedouce Volxemort and protect all of us from his evil plans

reblog this post to honor Enoby’s brave sacrifice, ignore if you’re a prep or a poser

abandoned-as-mustard

somehow, i kept hearing about this character and not actually hearing that that was the plot.

keplercryptids

I'm very in favor of abolishing the police and prisons, but I still have strong feelings of wanting to see the "bad person get what they deserve". I know the vast majority of people in prison are in for nonviolent crimes and prison is torture and the whole system's fucked but I don't know what to do with the beliefs about justice I've been taught my whole life. I know revenge/punishment isn't justice but I'm not sure I know what is. Do you have any recommendations (books, articles, videos, etc)?

hey, grappling with this is normal. if you’ve ever heard the phrase “kill the cop in your head,” that’s partly what it refers to. reframing what justice means to us and the kinds of justice we can envision is one of the first and most important steps of thinking about abolition.

luckily, abolitionists have been organizing, thinking about, writing about, dreaming about, and sharing this information for decades. people who are new to abolition don’t have to imagine a new kind of justice. in many areas, that justice is already in practice.

i’m going to link to and mention a lot of information here, so i really advise that interested folks take their time and come back to these resources as they’re able.

Abolition Journal put together a study guide here that’s full of great resources. i recommend checking the whole thing out, but Week 6 in particular goes into alternatives to prison.

Transformharm.org, created by Mariame Kaba, is truly a treasure trove of resources, articles, and curricula for people who are new to transformative justice.

The Abolitionist Toolkit created by Critical Resistance is another great resource that I frequently share. (Critical Resistance in general is a terrific place for more info.)

Survived and Punished is an amazing organization and they’ve curated a bunch of resources here.

Here’s a Police and Prison Abolition Resource Guide (PDF) with just. So many links to resource kits, articles, videos, etc etc etc.

Many of the above guides and hubs combine written, audio and visual resources so I hope people are able to find what works for them. If you have specific access needs, let me know and I’ll see what I can round up.

For podcasts, I highly recommend Rustbelt Abolition Radio.

For books that I personally have read/own, I recommend Are Prisons Obsolete? by Angela Davis; Conflict is Not Abuse by Sarah Schulman; The Revolution Starts at Home (anthology); and We Do This Til We Free Us by Mariame Kaba.

as you can see, there is just so, so much information out there, developed over decades by people who intimately understand harm, injustice and the carceral system. I actually had to reign in how much info I could have shared just to keep this post from being eight miles long lol. The question of “what do we do instead of police and prisons?” isn’t a simple one, of course, and it isn’t a question one person has the answer to. Hopefully these resources are a useful jumping off point for you.

specialagentartemis

“whatever the fuck these two characters had going on” is a vastly underrated character dynamic

hornedmelonproductions

thatdisasterauthor

HOLY SHIT I JUST FOUND THE BEST FUCKING HOUSE EVER. I NEED IT IMMEDIATELY SOMEONE GIVE ME $3.75million RIGHT NOW.

What even is this??? Why are there so many shapes? Why is there a fake mining tunnel with cars about to drop off a bridge like in a bad western?

There is just. So much going on here. And I love all of it. Supposedly that garage fits 11 cars and comes with a lift and a painting setup.

IMAGINE the DND games you could have right here.

Look at this fucking castle shit. Apparently there’s a huge dumbwaiter to bring up your firewood. And does that support pole have a tiny rock climbing wall???

OH MY GOD IT DOES. And there’s a piano with…rails? IDK.

I have 10% of an idea what’s happening here but is that…bench? covered in a string of heads??? With some kind of…prayer kneeling thingy at the end there? What is happening. What kind of weird religious bastard built this place?

I have so many questions about this random mining tunnel thing. So fucking many.

There’s even a 3D tour available: https://www.zillow.com/homedetails/36570-Us-Highway-24-N-Buena-Vista-CO-81211/2076799379_zpid/?

jessica-problems

this is like if a neural net trained off cathedrals and outback steakhouses tried to make a mcmansion

thatdisasterauthor

This comment wins, everyone else go home.

withyourblueflame-deactivated20

no one: absolutely no one: taejin: *casually holds hands* 🤝

peachpitandpomegranate-deactiva

Tell me this ain't Nicky and Joe. I dare youuu

ground-zoro

I have never seen Islam shown so humanized, so relaxed, so innocent and pure. That’s brilliant and funny.

just-rhys-things

This feels like the equivalent of the school girl running to class with toast in her mouth but prayer

cripplepunk-sylveon

You all deserve to know dude in the foreground is Jewish, and has done his own version of this with Chanukah where he's literally just. Running out the door reciting his prayers in Hebrew and it's wonderful

tami-taylors-hair

Ya know how in Watchmen, Dr. Manhattan exists in all times at the same time? That’s what watching this felt like. I am both in 2020 and 2005. Who is this intrepid time traveler???

rthstewart

Someone on Twitter pointed out that apart from all the different elements, this is a master class in story telling and comedic timing.

mostly--bees

Something about her playing “Whatever” by Godsmack really adds to the overall whiplash of this video. like they where a pretty big early 2000’s Nu Metal band. But that song wasn’t even a single, and was not the first song on the album that it was on, I don’t know why this is important information but it just IS. THATS A FUCKING HOMEMADE MIX TAPE CD MY DUDES

A̶l̶s̶o̶ ̶t̶h̶a̶t̶ ̶a̶l̶b̶u̶m̶ ̶c̶a̶m̶e̶ ̶o̶u̶t̶ ̶i̶n̶ ̶1̶9̶9̶8̶ ̶s̶o̶ ̶t̶h̶e̶y̶ ̶w̶e̶r̶e̶n̶'̶t̶ ̶e̶v̶e̶n̶ ̶a̶ ̶p̶o̶p̶u̶l̶a̶r̶ ̶e̶a̶r̶l̶y̶ ̶2̶0̶0̶0̶’̶s̶ ̶m̶e̶t̶a̶l̶ ̶b̶a̶n̶d̶ ̶w̶h̶e̶n̶ ̶t̶h̶a̶t̶ ̶s̶o̶n̶g̶ ̶w̶a̶s̶ ̶r̶e̶l̶e̶a̶s̶e̶d̶

existential-celestial

“When Van Gogh was a young man in his early twenties, he was in London studying to be a clergyman. He had no thought of being an artist at all. he sat in his cheap little room writing a letter to his younger brother in Holland, whom he loved very much. He looked out his window at a watery twilight, a thin lamppost, a star, and he said in his letter something like this: “it is so beautiful I must show you how it looks.” And then on his cheap ruled note paper, he made the most beautiful, tender, little drawing of it. When I read this letter of Van Gogh’s it comforted me very much and seemed to throw a clear light on the whole road of Art. Before, I thought that to produce a work of painting or literature, you scowled and thought long and ponderously and weighed everything solemnly and learned everything that all artists had ever done aforetime, and what their influences and schools were, and you were extremely careful about *design* and *balance* and getting *interesting planes* into your painting, and avoided, with the most astringent severity, showing the faintest *academical* tendency, and were strictly modern. And so on and so on. But the moment I read Van Gogh’s letter I knew what art was, and the creative impulse. It is a feeling of love and enthusiasm for something, and in a direct, simple, passionate and true way, you try to show this beauty in things to others, by drawing it. And Van Gogh’s little drawing on the cheap note paper was a work of art because he loved the sky and the frail lamppost against it so seriously that he made the drawing with the most exquisite conscientiousness and care.”

— Brenda Ueland, from “If You Want to Write: A Book about Art, Independence and Spirit”

imagineafairy

nothing else matters except this.

rosequart

mentally i am here

gallusrostromegalus

I like to imagine that the reason you can whip around those floors at warp speed and so smoothly is that you’re running through the museum with a pair of wool socks on.

megapope-deactivated20220531

i thought the eyewitness vhs museum was a real place when i was a kid. i wasn’t a total idiot, i knew there were a few vfx things going on, but i thought it was filmed in an actual museum

fishmech

gahdamnpunk

When Zuko apologized to uncle Iroh in the tent cause he was so ashamed of his actions and what he’d done to the only person who unconditionally believed in his ability to do good >>>>>

opinions-about-tiaras

So okay, I’ve given this rant before but this is another good time for it.

Structurally speaking, ATLA did something important with Zuko that, in a purely mechanistic sense of narrative development, I think a lot of people don’t notice immediately, and that even fewer people who want to emulate what was done with him get.

Which is Zuko is made a protagonist VERY early, and the show goes out of its way to continually place Zuko into situations where the audience empathizes and roots for him.

This happens in literally the second episode of the series, if we count the two-part premiere as a single episode, which I think we should. The A-plot of that episode, “The Southern Air Temple,” is Aang reckoning with the genocide of his people… but the B-plot?

The B-plot is the introduction of Zhao, and more specifically, his introduction in a way that is calculate to shift the audience, whose introduction to Zuko did NOT engender a ton of sympathy to him, directly and forcefully onto his side. They want Zuko to kick Zhao’s ass.

This continues all through book one and book two. Remember, Zuko is never, ever the main villain of this series. That’s initially Zhao, followed by Azula and Ozai. (Plus various temporary players like Long Feng.) Whenever Zuko isn’t placed into direct conflict with the other protagonists, he’s always written and presented in a way that is careful, VERY VERY careful, not to make him too monstrous, and to make us root for him. He’s placed right next to Iroh, who is designed for people to like, and that reflects back onto Zuko; we want Zuko to be better than he is because we want Iroh to have good things.

Put aside for the moment whether any specific character, including Zuko, deserves their redemption. If you’ve decided you’re going to do that, you have to erect the proper narrative scaffolding around them, and it extends to far more things than “did this person not do things that were too horrible” and “is this person genuinely sorry and is working really hard to atone.” There’s a difference between protagonist and white hat, but if you want someone to eventually wear that white hat, you REALLY need to establish them as a plausible protagonist early on.

helly-watermelonsmellinfellon

Yeah, it was made obvious from the get go that Zuko is definitely nowhere near Zhao’s level of nasty, which in turn means he’s nowhere near Azula’s and nowhere in the scope of Ozai’s.

1.)

He made a deal with Aang to leave the Southern Water Tribe alone if Aang went with him. When Aang escaped with help from two of those tribe members, Zuko didn’t demand they go back and destroy what was left of the tribe as revenge. He didn’t even think of it as an option. There was no split second where he went, should I/shouldn’t I?

2.)

This is repeated. He corners the Avatar somewhere, causes some damage to the area in the ensuing fight, but does not stick around to raze the village/monastery to the ground and kill the people when he doesn’t get what he wants. Doesn’t consider this a necessary action even once.

3.)

The Iroh&Zuko relationship is juxtaposed with the Zhao&Zuko relationship. Both older men have more power over him. Iroh is a retired War General and Prince who is not banished. Zhao is a Commander in favor of the Firelord, who is also not banished. We could tell early on that Iroh is wise and despite being on the bad side, seems to be pretty chill. We took a liking to him immediately. Zhao is the opposite. He is very much like early!Zuko. Impulsive, rude, loud, cocky, etc… But why is he more annoying? Why do we root for Zuko as opposed to him?

Because we see what Zuko is like with his Uncle Iroh. Iroh does not rub in the fact that he’s banished. He doesn’t use that when reprimanding him for his attitude or his failings. That is a hot iron and he knows it. It’s to the point where Iroh can bend fire in Zuko’s face and Zuko is perfectly relaxed over it and doesn’t once believe his uncle will hurt him. There is a lot of faith in Iroh, from this angsty teenager, and it’s very obvious with their interactions.

Zhao is not trustworthy from the start. We’re shown this by how both Zuko and Iroh are hesitant to interact with him and don’t want to linger in areas he has control over, for too long. They even lie to him despite him obviously having more favor in the Firelord’s eyes than either of them do. Zhao’s personality opposes both Zuko and Iroh. And as we like Iroh, we want him to win and have nice things, as stated above. But Zuko&Iroh is a package deal. And as Zhao reveals himself more and more to be nasty even if it’s subtle, we want Zuko to win even harder.

And even when Zuko wins and he’s in the prime position to do to Zhao what Ozai did to Zuko for also ‘speaking out of turn’… he doesn’t do it. He walks away. He is the bigger man in that scenario. And Iroh further puts shame onto Zhao when he goes against the sacred rules of the Agni Kai because he can’t handle a loss to a banished teen. We are shown that Zuko follows rules and has honor, which is reinforced by Iroh’s, ‘even in exile, my nephew is more honorable than you’. Iroh’s Word is basically Law at this point. Sf he says it is so, then he must be right and the audience accepts that. He knows Zuko better than us and hopefully we’ll get to understand more as the story progresses.

Already by the 3rd episode, we’re shown that Zuko is in no way the worst person from the Fire Nation. In fact, we’re given a sort of scale now from the four major Fire Nation people we know of. Iroh–Zuko——-Zhao–Firelord.

We’re also hoping that Iroh rubs off on Zuko enough for him to also become wise and learn to chill out.

4.)

When “The Storm” finally rolls around, we’re pretty invested by then in the Iroh&Zuko relationship and that episode gives us so much more info into Zuko’s character and we are shown that Iroh is right. He has honor and he cares for others. And yet it’s obvious the Firelord doesn’t because we see Zuko do the right thing(protesting the plan to treat new recruits as cannon fodder) in the wrong place, and then his face gets burned off by his father because of it. And further, he’s banished for refusing to fight his own father. What sane parent wants to do battle with their own child? What sane parent banishes their child for speaking out of turn at the defense of their own peoples’ lives? What the fuck is wrong with the Firelord?

Zuko was punished severely for showing compassion and having a kind heart. And Iroh(and the ship crew even) is properly mortified by the punishments his nephew received for it, which in turn affects the audience’s perception of this situation. Iroh doesn’t like it, it’s especially bad then.

Now we start wondering why does Zuko wants to go back to the guy who burned his face off?! Iroh, talk some sense into him! PLEASE!

Halfway through S1, they got us to the point of wanting Zuko to have a redemption arc.

Making the audience want a character to be redeemed is also very important in this. We were shown he has redeemable qualities. We want that pay off! Do it justice!