from inception

The three part Noclip documentary on FFXIV is finally out! It tells the complete story of the games development from its inception, to release, to failure, to release again, to the present day! Give it a watch if you’re interested in the game or its history!

The egoists, brutal men from brutal experience who, in turn, brutalized all life they contacted, scorched the air and the page with their cries of ‘brutality!’ … Their personal biographies are without exception marked by excessive abandonment, death, insanity, and morose love affairs. Yet, out of their work and their lives there did reverberate the echo of an astounding, invaluable insight which had been lost to Europeans in the cacophony of radical thought: the human individual could construct the experience of autonomy proceeding deliberately from conception to inception. They discovered once again that ideas were those night creatures of the dreams and myths of mankind which possessed the power to subvert, transform, and transmutate the very substance of the earth between the twilight and the dawn of consciousness.
—  Cedric J. Robinson, “On Anarchism”
from The Terms of Order: Political Science and the Myth of Leadership
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I call these “raiding my other fandoms for clothing ideas” - McCree’s poncho stolen from Red Dead Redemption and Hanzo’s Nagajuban-under-a-suit look nicked from Inception’s Saito.

@klanceweek Day 5: Partners in Crime

Content Warning: Violence

“Have I told you,” Lance says, tone conversational and pleasant as if talking about the weather, “that you look very nice today?”  He shoots a projection in the head and continues.  “I mean, you look very nice every day, but I wanted to comment anyways.”

“Noted.”  Keith drags Lance with him towards a wall they can use as cover, cursing viciously as they narrowly avoid bullets.  “I appreciate it.”

By the time they stop running, Lance is already holding a sniper rifle; it’s almost unfair how quickly the man can create objects in dreams.  “Did you do something with your hair?”  He looks down the scope and pulls the trigger.  Something explodes in the distance.  There’s a lot of screaming. “I bet it’s the hair.”

It is the hair, but Keith will be damned before he admits it.  “Nope.”  A projection is trying to sneak towards them from behind.  Keith throws a knife at them.  “Guess again, Casanova.”

Lance scoffs.  “Liar.  It’s the hair.”

“Uh, no it’s not?”

“You’re lying,” Lance says, singsong voice completely incongruous with the violent chaos surrounding them.  “Your face is doing the thing you do when you’re lying.”

There are perks to being good friends with a Forger, but this is not one of them.  Keith splutters. “You’re not even looking at me!”

“I don’t have to.  I know you too well.”  Lance shoves his rifle towards Keith, raising his eyebrows expectantly.  “Hold my flower.”

Keith sighs, but replies with, “Kick their ass, baby.  I got yo flower.”  It’s worth it when Lance offers him a sunny smile before throwing a grenade at the angry mob approaching them.  

You sure know how to pick them, an imaginary Shiro says with fond exasperation.

I really do, Keith thinks.

Quick drawing and fic-thing from my Inception AU.  Probably won’t be part of the main fic I’m working on, but it was fun to write anyways haha.  Used a reference for the drawing because I am Bad at Poses.

Something I really appreciate about the new BATB film is that the costumes managed to (1) pay perfect homage to the original color tones and styles as seen in the animation and yet (2) carry symbolic changes and account for characters’ personalities, while also (3) being period appropriate. Like, wow. Major kudos to the costume designer and associated staff on this one.  

For example, let’s just talk about Beast/Prince wardrobe, which I find really interesting and beautiful. BATB begins with a dance, and the Prince is in this very dark, regal yet kind of gaudy clothing, standing out from the sea of women in white. (He’s also wearing a makeup mask, which is just another awesome layer of symbolism and era-appropriateness that I will not go into right now.) 

Throughout the film, Beast’s clothes get progressively lighter: from dark, torn rags (like he’s a criminal, a prisoner in his own palace) to the iconic lighter blue suit at the dance…to the moment Belle declares her love and they’re both dressed in all white (in this case, a symbol of purity and absolution)…to the very end, where the Prince wears blue again, but this time it’s the lightest shade of blue we see him wear. This change also reminds me of the trailer, where the word “Beast” in the title grows lighter as it gets closer to the word “Belle”. Beast’s subtle clothing changes represent the changes in his disposition and character. His wardrobe follows the path of the curse, from its inception to completion, as the castle goes from dark to light, from winter to spring, from death to life. 

The two other dance scenes are also important. 

When Belle and Beast dance together for the first time, Belle is the one who stands out in that stunning yellow dress. When Beast lets her go, her yellow dress positively pops in an otherwise monochrome, snow-covered forest, like a beacon in the night. And as he watches her go, he returns to rags, representing his hope leaving him behind.

In contrast, when Belle and the Prince dance together at the end, they both stand apart from the crowd but for different reasons than before. Unlike their first dance, this time the Prince is the one who shines the most in an otherwise temperate crowd, which parallels the opening dance scene. Unmasked, the Prince is in a light blue and white suit, the opposite of how he dressed before; and yet, this ending suit almost matches how Belle was dressed at the beginning of the movie, in her classic blue and white dress. Meanwhile, although at first glance Belle’s mostly white dress at the end might make her appear like just another girl in the crowd, she really stands out due to the roses on her dress, like a physical manifestation of spring coming back to the castle and the curse being lifted. 

NHL players, and hockey fans in general, are overwhelmingly complicit in regards to hockey’s relationship with white supremacy.

Last night at the ESPYs, four of the NBA’s most prominent players (including LeBron James, an arguable candidate for the best NBA player of all time) gave a stirring, well-composed speech on police brutality in America and the specific manner in which, to quote directly, “black and brown bodies” are targeted by police. 

This shows a deep understanding of the issue, one that understands the manner in which white supremacy brutalizes bodies deemed to be outside of whiteness, and the way in which police power relies upon this very brutalization at a basic level. From their inception, police have been specifically used not to protect, but to maintain an order of law with the threat of violence or incarceration. 

The NHL, the whitest of the Big Four sports, has not seen any appreciable discussion of police brutality, or even of any issues with racism beyond incredibly shallow gestures towards a supposed progress. When a talented player like Joshua Ho-Sang is sent home from camp for oversleeping and the response loudly condemns him, when a player like PK Subban is traded in a lopsided deal for a player of the same caliber but older and on a worse contract, when Wayne Simmonds is loudly condemned but other players are excused for far more dangerous conduct, when the hockey media runs articles attempting to describe Auston Matthews in a manner that will allow the mostly white fans of the Maple Leafs to see him as not only Canadian but more specifically a white Canadian, it should be easy to tell the sport has a problem with race. 

Both specific examples like these, and far more nebulous examples such as the manner in which many NHL fans discuss the NBA with dogwhistles and coded language, contribute to an image of the sport as unwelcoming and moreover unwelcoming by design. While programs such as the You Can Play Project have made admirable strides, this progress is not an excuse for the racism of the league.

Hockey absolutely has a problem with whiteness, with white supremacy, and that much should be rather clear from engaging with hockey fans for any appreciable amount of time.

And this is not simply relegated to the fans, but to the players themselves. As Stars players offer condolences to the Dallas PD, their silence on police brutality as well as other events such as the Pulse Nightclub shooting is incredibly apparent. That the most memorable examples of players mentioning police brutality are poorly thought-out tweets from Tom Sestito and Bobby Ryan complaining about protestors and insisting neutrality while implicitly protecting police from critique says quite a bit about how players feel. Considering the incredibly deeply embedded cultures of white supremacy in both America and Canada, it should come as no surprise that the league is so deeply white in every sense, but that it is unsurprising is not an excuse.

Hockey fans must begin to openly, loudly, and relentlessly critique the whiteness of the sport, must talk about the manner in which its whiteness is preserved through structures of racism deeply in North American society, and to challenge the overwhelming silence of NHL players on matters of racial justice in America.

@toonami thank you for this holiday

Sen. Al Franken On Comedy, Trump And The ‘Curdling’ Of Washington

Minnesota Sen. Al Franken has the distinction of being the only former Saturday Night Live cast member to serve in the U.S. Senate. It’s a singular career trajectory, but it’s also not particularly surprising given Franken’s deep interest in politics and comedy.

It all started in high school, when Franken began writing satire with his friend (and later SNL writing partner) Tom Davis.

“One of the first things we wrote was a local newscast the night of the day of World War III,” Franken says. “It was … 'Well, it happened. World War III. The stock market closed today — for good.’ ”

Franken was a writer and cast member on SNL from its inception in 1975, and he performed off and on until 1995. Throughout it all, Franken maintained his interest in politics, and in 2008, he won a seat in the Senate.

Despite his penchant for humor, the Democratic senator is quick to note that his gut reaction to the Trump administration isn’t levity — and that his colleagues on both sides of the aisle feel similarly.

“It’s clear that this guy is outside the norm in many ways,” Franken says of the president. “That rightly frightens and makes nervous all of us.”

Franken looks back on his life in comedy and politics in his new memoir, facetiously titled, Al Franken: Giant of the Senate.

last days of thunder 🏁

“North Wilkesboro Speedway was a short track that held races in NASCAR’s top three series, including 93 Winston Cup Series races. The track, a NASCAR original, operated from 1949, NASCAR’s inception, until the track’s closure in 1996.”

this shot is a five picture panoramic stitched together. of all the places i’ve explored, this is probably one of the raddest.

when i see people going “su hasn’t explained ____ yet four seasons in… they’re never gonna do it” i just think about how adventure time has continuously teased a resolution for the “where did finn come from” storyline since the inception of the show and didn’t fully explain it until this year with the 250th episode. only now in the eighth season (of nine), over 250 episodes in, does it feel like we have answers for a majority of the questions raised in the first ten or so episodes of adventure time

In the film What Happens In Vegas, Ashton Kutcher and Cameron Diaz awaken to find they have tied the knot after a blackout drunk night. Following a brief argument and an agreement to call it quits, Kutcher plays a slot machine with Diaz’s quarter and wins a jackpot worth 3 million dollars. Diaz, wanting her half of the money, reminds him “What’s mine is yours” and shows him the marriage ring.

Cut to a scene in a New York City courtroom where a judge “sentences” them to six months of being husband and wife, because he’s sick of people insulting the sacred institution of marriage. Romantic comedy shenanigans ensue. See? The law can be wacky, too!

In reality, this marriage could and would have been annulled in a hot second, and Kutcher would have made off with the entirety of the cash with precisely zero problems.

First, the marriage took place in Nevada. No matter how wise and plot-convenient their sense of justice might be, a New York judge has precisely jack shit to say about its annulment or divorce. Second, those two things we just said aren’t synonyms. An annulment declares a marriage to be void from its inception: It’s like it never happened. A divorce means the marriage is legally recognized, but the parties no longer want to have any legal relationship. This is important, because dividing marital property can only happen in the latter case. Which makes perfect sense because the law was not carefully designed to produce nothing but wacky conflicts.

5 Dumbass Legal Mistakes Movies Keep Making