killing you all with feels

senshiofmom  asked:

Top 10 sailor Moon Monster of the week

10. Screaming violin woman (093)

9. Pegasus hits the gym (143)

8. WHAT the ACTUAL HELL (151)

7. An 80s stripper who also happens to be a shoe (106)

6. Me (114)

5. The animation department had a lot of extra pink paint (174)

4. An elephant vacuum cleaner, but like in a sexy way (094)

3. My breasts are two small screaming snowmen (038)

2. Ball Family (132, 140, 146)

1. A straight-up, actual volcano (067)

3

Even if you could do all those things, but how could you be someone who could do that? The world would know that you were the one that betrayed every last one of our partners. Betray the memory of Charles Vane. 

Charles Vane is dead. I’d do it for us. It’s how it started. It’s how it’s going to end.

It sometimes still makes me mad how poorly Paul was treated directly before, during, and for a while after the big Breakup.

None of these boys were saints, obviously–there were a bunch of unresolved issues, perfect familiarity starting to breed contempt, outside influences starting to put pressure on them (cough Yoko cough), and ego is undeniable–but I always have hated how much Paul got the brunt of the anger and how the other 3 banded together against him.

Especially when you consider the fact that Paul was right. The other 3 blamed him for pushing too hard, for wanting a different lawyer, for not wanting Spector anywhere near their stuff, for holding out, and for being the one who eventually dropped the news.

I’m pretty sure the break-up would have happened no matter what–Yoko had her claws deep in John by this point, they’d all been together a long time, there were tensions and they were exhausted–but I also sort of believe that had they listened to Paul (and maybe if he had backed off just a tad bit), had they tried to keep things together instead of ostracizing one for not agreeing with the others, maybe there could have been another Beatles album in the future. Maybe things could have been resolved a little bit more kindly. Maybe there would have been time–after a cooling off period wherein the band actually operated as a “4 sides of a square” group–for John and Paul to finally TALK, for them to set aside some of their major beefs and differences, for each Beatle to try their hand at a solo career, and then they could have come back and continued work together as The Beatles. 

But that didn’t happen. It went down the way it went down, and history shows that Paul was right. The legal mess could have been avoided had they decided to go with a different firm, Spector was a terrible person and most of his producing work does not sound as good as what the Beatles + George Martin had ever done. Also, I can’t blame him for not wanting to be all in to the LSD craze or being genuinely concerned about John’s Yoko-influenced heroin addiction. Paul was not perfect. He had his ego, he had his ‘my way or the highway’ attitude, but it has always seemed unfair to me that the others banded against him so viciously. 

It is also the height of men-who’ve-known-each-other-since-teenhood pettiness that one of the biggest things that pushed the Beatles into an “us vs Paul” mentality was the fact that Paul was the one who finally dropped the official news–AFTER he’d been voted down on everything and his music had been corrupted without his permission or knowledge. I’m pretty sure John’s mentality was that he’d left the band first, why does PAUL get the credit?

But then even after they’re broken up, even while George is experiencing great solo success and John has his precious Yoko, they still have so much bitter animosity towards Paul. George, John, and even Ringo collaborate on post-Beatles records–but Paul is not invited. John and George create caustic, unkind lyrics for songs, trash his music in the press, speak bitterly of him in personal contexts. Even Ringo has his turn, in things like ‘After 1970′ saying that he “doesn’t know” if Paul would play with him, but knows the other 2 will. 

I guess it just kills me because John was the one who created most of this discord. He was the one who started bristling at the fact that Paul was taking control of the band cos he was too deep in his Yoko/heroin addiction. He probably definitely encouraged some of George’s minor ‘anti-Paul’ thoughts, and he was absolutely the ringleader when the 3 decided to go with a different lawyer, a different producer, etc etc. In any case, it was John who created the tension, who caused the bad feelings–but it’s Paul who gets ostracized. It’s Paul who gets the blame for causing the breakup, for being against the others, for holding out on what the rest of the group wants. 

And all Paul really wanted was to keep creating music. Keep working with his best friends, keep pushing The Beatle ingenuity forward. We’ll never know if he could have been successful, we’ll never know if the Beatles creativity could have gone any further, if they could’ve kept things together without them exploding eventually. But I think it’s a shame they never got a chance to try. 

To me, it’s really not fair that Paul, who had kept them together after losing Brian, is the one who ends up losing his passion project. Yes, he went on to work his tail off to keep his career going, founded Wings and all that, and–for the most part–kept his nose clean of all the mud-flinging, but still bears the brunt of Beatle-breakup crap. 

It just seems like rubbing salt in the wound.

kittyichooseyou  asked:

I have a klk question, and I apologize if you've answered it before, but, do you find any significance in Ryuko taking a big bite out of an unpeeled lemon in her introduction? Like, was it just meant to make her seem hard? Or like, does it have some subtext I don't understand? Is she ever seen eating lemon/drinking lemonade as a background thing? I've always wondered about this. Thanks.

I gotta be honest with you: I’m atrocious at talking about symbolism. There’s a reason that my hundreds of essays hardly ever mention it. 

So… I haven’t especially covered this before, but I can provide some Thoughts.

First and foremost, the lemon scene has been largely understood as a homage to FLCL, a coming-of-age anime worked on by Gainax—the studio that Hiroyuki Imaishi and Masahiko Otsuka left to found Studio Trigger, which is the team behind Kill la Kill

In the first episode of FLCL, Naota, the protagonist, refuses to drink the rest of the sour, “Lemon Squash” pop that his friend Mamimi didn’t finish. He claims that he “[doesn’t] like sour drinks” and proceeds to toss the can aside.

However, at the end of the episode, Mamimi offers Naota the sour pop again, and his reaction changes. While he repeats his sentiment—“I told you, I don’t like sour stuff”—Naota doesn’t toss the can aside this time, instead guzzling the drink down.

So, when Ryuko, the protagonist of Kill la Kill, begins the first episode of her show not just forcing herself to consume something sour, but does so purposefully, without flinching… there’s probably something there. Kill la Kill’s director Imaishi did work extensively on FLCL, after all.

But what exactly is meant to be conveyed in either series is entirely dependent on how the “sour” symbol is understood.

On the one hand, the “sourness” could be a symbol of “first love.” For Naota to accept the drink in FLCL would be to accept an “indirect kiss” from Mamimi, who had been drinking from the can previously. The “first love” idea seems supported in Kill la Kill, with Ryuko noting, after Mataro steals her lemon (at least in the original Japanese script), “You’re that eager to learn what first love tastes like?”

Mataro: Bitch, don’t try to be all witty! I’ve had my first kiss!

And with the idea of “first love” comes the idea of childishness. Though it may have some… Unfortunate Implications, in both FLCL and Kill la Kill, it could be said that getting into a first romantic relationship is a sign of growing up. The fact that Naota initially refuses to taste “first love” represents his initial refusal to come of age—and the fact that Mataro in Kill la Kill insists that he has had his first kiss (or “get[s] way more action than [Ryuko]!” in the dub) represents his desire to seem “grown-up” and experienced.

Ryuko’s utterly blase eating of the lemon would then also imply that she has had romantic relationship(s) in the past and is not afraid of them.

However, with all of this, the “sourness” could simply be a larger metaphor: a metaphor of adulthood, maturity, that kind of stuff. Naota deciding to take in the sourness at the end of the first opening episode signifies that his show is going to feature his coming of age—something he initially didn’t want anything to do with, but that the story is going to push him to experience regardless. Ryuko immediately biting into a lemon could then signify that she’s already come of age, but—and more likely, considering Kill la Kill’s ending—it could also signify that she’s not afraid of the hardships, challenges, and “sourness” that comes with coming of age.

In this way, I also see the “sourness” as a bit of a metaphor for moving forward rather than running away. The lemon pop in FLCL is first featured when Naota struggles to tell Mamimi that his brother is seeing someone else—a hard, difficult, “adult” situation that’s not fun and not comfortable. Naota throws the can away, perhaps representative of how he wants to run away from this problem. At the end of the episode, though, Naota has revealed the truth to Mamimi, and he then drinks the pop, signifying that there’s no more running away: he’s growing up, whether he likes it or not.

But disregarding the FLCL tribute, a character introduction that features the character biting into a raw, unpeeled lemon is powerful on its own. It tells audiences right away that this character is badass—whether her lemon-eating is because she’s not afraid of growing up or hardship or “first love” or because of any other reason, you shouldn’t mess with this chick.

10

i water my plants until they drown

     it’s the only way i know how to love / saphael + twitter

We simultaneously portray these rival countries as …

1) rapidly militarizing, unstable supervillains who must be dealt with swiftly, but also

2) inept buffoons with a far inferior military whom the U.S. would crush instantly in any action.

These two somehow-not-conflicting notions then dovetail perfectly to help us both justify a war and make said war seem super easy and winnable. It’s really a perfect propaganda tool for our military – citizens are not gonna rush to enlist for some war where it sounds like they’ll definitely be killed. But do you actually feel “afraid” of Kim Jong-un at all? Don’t you feel like, 70 percent sure you could take him in an arm wrestling match or a game of darts, even though you definitively suck at both? Why do you suppose that is?

Take this New York Post headline. Piggyback rides! North Korea looks like some new CBS Hogan’s Heroes reboot that’s now called HOGAN and somehow features no Asian actors. And sure, The Post is a tabloid that can squeeze a full goofy article out of “Guy kind of looks like he’s on another guy,” but consider these other North Korea headlines it printed this month alone.

North Korea is a credible threat that’s hellbent on destroying the U.S. and its Pacific allies, but fortunately, it also consists of a bunch of piggyback-riding children playing dress-up who we’ll crush in eight seconds as soon as we’re finally like “fiiiine” and get around to doing it.

This same pattern was extremely evident in the lead-up to the Iraq War.

How Our Military Uses The News As Marketing For Recruitment

*shrugs* maybe people point out OP is a terf/terf-supporter because it can change the context (or rather, make it more clear) of the post, or maybe some people just really don’t want to interact with someone who supports people who are actively against them/hate them for who they are and I mean you can think whatever you want about that but dismissing them as childish/derailing is kinda naive

kalalalito  asked:

Favorite Harley quotes?

  • “I’m rubber, you’re glue, whatever you say bounces off me and makes a six-inch-diameter exit wound in you.”

  • “After all this time–all these years–you and I have history. I know what you think of me. You think I’m just a doll. A doll that’s pink and light. A doll you can arrange any way you like. You’re wrong. Very wrong. What you think of me is only a ghost of time. I am dangerous. And I will show you just how dark I can be.”

  • “I want a lawyer! I want a doctor! I want a cheese sandwich!”

  • “Anyone who throws boomerangs has some real issues letting go.”

  • “I’m going to kill you. For everything you’ve done to me. All the times you’ve made me feel useless and small. For all the times I will never forget. For all the things I can never forgive. All the memories.”

  • “The furries are cheating!”