this is not fair because of reasons

josephdreemurr  asked:

You have to hate shoplifters though. What they do is not legal, or fair to others, and it's fucking scummy for one, we have yet to figure out how they take something from someone and still feel good about themselves.

I hate shoplifters who think their theft of a $60 makeup palette is somehow justified because of their gender. I hate shoplifters who think stealing that amount of money in makeup is justified for whatever reason. I hate people who lift non essentials and then claim “it’s essential to me because I’m trans”!

I don’t hate people who steal food because they can’t afford any and if i ever see someone doing that I will gladly pay for it.

~ Mod Jewel

anonymous asked:

So then should you stop being a Larrie because the things they have to do upset you still and you still make your comments about that? I'm just not really understanding your position. You are telling people they shouldn't be complaining but as a harry fan I'm not going to just go away because I disagree with his strategy? That isn't fair. That's like saying "you don't like the stunts so you should stop being a larrie and stop caring about them" don't you think? Is it different?

Okay but look at my blog…am I complaining about their current situation day in and day out? Does it look like I’m having more fun than not? I don’t know, I’d like to think the answer is clear but. Who know.

I’d also note that I hope the main reason anyone stans an artist is for their art. If your issue is how they handle their art that should be a sign, I’d think. (Though maybe you should also wait to actually see how they handle their art once it exists to the public, but what do I know.)

I will also repeat myself and say that ofc it’s perfectly fine to express disagreement! But if you’re out here saying the same things day in and day out when nothing has changed and all you’re doing is being upset with what’s actually, clearly happening, and unable to be more happy than not, then that is when I am saying maybe you’d be happier otherwise.

I hate that there’s a limit to the Gay™ I can reasonably expect from modern media. Even though there are millions of books, movies, and tv shows with purely straight characters I could never hope for a show with more than a few or, god forbid, only queer characters. It’s like there’s an unspoken rule that I can’t hope for more than one, maybe two non-straight characters or relationships because any more would be ‘unrealistic’ or 'pandering’. Fucking pander to me man, to all the other queer people invested in the worlds you create, because it’s not fair that because there’s a lesbian couple there’s an invisible cap and now I’ll never see a bi main character, or that having a trans side character is “enough activism” and that trans character will never have another friend on the show like them. Why do you have to maroon all your gays in this heterosexual world? Why can’t you let us find each other??

Humans are weird idea: malicious compliance. The aliens either do as they’re told or place an objection if there’s a specific reason, and once ordered to perform a task they do it to the best of their ability because their authority is logical and fair. Then humans show up and start disobeying in a way that is technically correct and they have no idea what to do.

“Human, you were instructed to bring ration packs to the storage bay.”

“I did.”

“There are only two ration packs here.”

“You didn’t say how many you wanted.”

“Why would I request only two? The ship needs to be restocked with supplies for a five-cycle mission.”

“Hey, I’m not a mind reader. You’re going to have to be more specific.”

*sigh* “Human, please bring the entire pallet of ration packs into the storage bay.”

“Human, why is the station’s luggage transport vehicle still in the storage bay?”

“You wanted it taken back out?“

“The vehicle belongs to the station. It doesn’t even fit in the storage bay.”

“Hey, after Tau Alpha you told me not to do anything unless I was ordered to. Nobody told me the forklift needed to be put away again.”

*alien turns rather purplish and makes a low hissing noise*

“…If you want me to put the forklift back you’re gonna need to give me an order, sir.”

*more hissing*

Dear Parents:

You may think that “My house; my rules” is an entirely fair position for your children to be in. After all, you bought the house, you pay the bills, you provide them with their food; it’s only reasonable if they abide by your rules in return.

However, please consider that this is not a trade. A trade can only happen when both parties choose to engage in it. Your child cannot freely choose to live with you because, if they ever leave, the police can hunt them down and return them. If they ever try to get a job to support themself - buy their own food, pay their own bills - the State can arrest the employer.

And the child never entered this arrangement freely in the very beginning. They appeared with the contract giving away their rights already signed. If you had a child by choice, you basically kidnapped a human being from the formless void and put them in your care. If you’re going to do that, you’d better hold yourself to some standards in caring for your inmate.

And, if you had a child by accident, then please have some compassion for your fellow cell-mate. They aren’t here any more willingly than you are.

so i’ve seen a lot of posts that ask “why do bi women experience domestic abuse at higher rates than lesbians?” which is a good and fair question. but then these posts add something like: “you can’t say it’s because of men, because that’s victim-blaming.”

i’m a bi woman and i abhor the idea that bi women are to blame for their own abuse. and — not but — i think the reasoning above is dangerous to bi women, and actually, counterintuitively, encourages victim-blaming. let me explain why.

i’ve seen people say that bi women are more likely to be abused because they’re more likely to be with men and that this is their own fault for being stupid enough to date men, which is absolutely disgusting. it’s important to understand, though, what’s going on in rhetoric like this.

the people who say this are NOT just making one claim, but two separate claims — one is a fact claim, and the other is a moral claim.

the fact claim is that bi women are more likely to be in relationships with men, and that this is related to their higher rates of abuse.

the moral claim is that therefore bi women are at fault, that they somehow deserve the abuse they suffer at the hands of men.

by treating these two claims as one inseparable claim, one actually does the victim-blamers’ work for thempeople who blame bi women for their own abuse want you to believe that this blame — the moral claim — follows directly from the fact claim. but the truth is that it doesn’t.

by accepting these claims as one claim and dismissing the fact claim on the basis that it inexorably leads to the moral claim, one suggests that if the fact claim were proven true, bi women actually would be at fault.

i reject this and maintain that no explanation for bi women’s abuse rates would actually imply that they deserve that abuse, and that a serious attempt to reduce bi women’s abuse rates will require considering all the potential factors, while actively opposing any attempt to place blame on victims.

because if it turns out that bi women’s abuse rates are related to their relationships with men, and we ignore this because we’re afraid on some level that it would mean we’re to blame, then we’ll miss opportunities to understand and address that aspect of the problem (i.e. men’s homophobic and misogynistic partner violence) and our intervention will be less effective. this is one way in which our internalization of this victim-blaming narrative can do concrete harm to bi women.

fight victim-blaming; reject the idea that blaming the victim is the natural conclusion of any explanation of bi women’s abuse rates.

Those who choose to change their names, for any reason - to sound more masculine, feminine, neutral, or just because they like that name - are fantastic beans. No matter your reason for choosing a different name, as long as you are happy with it, then it’s perfect. Nothing is too “common” or “boring” or “weird”, not if it fits you. Your name should always be respected, no matter what. It won’t always be, because life isn’t always fair, but keep reminding yourself that no matter what they say, that *is* your name, and you are wonderful.


The time has come, dear friends, for me to address another font of waste potential: The Curse of Achilles. Lots of people have already talked about it before, but there are a few things I would like to add. One of the reasons that the Curse was removed was because it might make Percy too powerful, so no one else could compete with him. A fair point, but Superman continues to show up in comics because not only is he an interesting character when written correctly but just because Superman can level a building with a thought does not make Batman’s struggle against Joker any less impressive. Besides, Percy’s Curse offers tons of interesting story applications.

  1. For one thing, Percy always naps in TLO to keep him from overworking himself. It has comic potential, to be sure. Percy needs his rest, otherwise he will die of exhaustion. But just because he is sleeping does not mean the monsters are. What if Percy was dead asleep downstairs while things go to Hades upstairs? This could show the other demigods that they are strong even without Percy’s might (character development is fun).
  2. Consider the Eidolon fight scene. Only Percy, the invincible juggernaut, needs to be possessed, and it gives Jason an opportunity to show his mettle. While a good, noble Roman must always fight honorably and has no use for tricks, Jason MUST think like a Greek and emulate Heracles’ fight with the Nemean Lion. SO MUCH POTENTIAL

Check out Part 2!

Dear Hillary Clinton, I'm so proud of you.

Because I grew up under eight years of your husband, eight years watching you in the news serving New York, four years as Secretary of State, and another four years inevitably planning this campaign, I don’t know if my feelings toward you as a politician are based predominantly on fact or on a skewed narrative as presented by the media.  I’ve never been 100% Team Hillary, but to be fair, I’ve never been 100% Any Politician.  I don’t think it’s reasonable to expect any person serving in our government to agree with us on each and every issue, because it’s their job to know more about them than we do.  For you though, because of your long history in the government as the most high-profile politician we’ve had during my lifetime, I hold more against you than the average liberal politician.  Part of that is because you’re an old white person whose history contains more than a few hiccups that affect people who look like me, but part of that is because the country decided they hated you long before I was old enough to pay attention to politics, and I’ve been affected by it on some level.  For me, that Hillary vs. America narrative wasn’t enough for me to withdraw support, but it was enough for me to never be overly excited about the prospect of having you in the White House in the pilot’s chair.  All of this is too fresh for me to fully wrap my head around what part of my hesitance is warranted because of your politics and what part is a reaction to Hillary The Monster as spoonfed to me by the news media, but that’s not why I wanted to write this.

I like you as a person.  Aside from politics, I think you are a formidable woman, a passionate patriot, an exceptionally intelligent politician, and a thoughtful humanitarian who really does want the best for everyone.  I feel so disappointed in America, but that’s a given.  Everybody is writing about it, everybody is feeling it, everybody is frightened about the next four years.  But just on a human level, my heart breaks for you.  I can’t imagine spending fifty years working toward a goal that was pushed just out of your reach by an actual monster.  You love America so much more than I do because I would’ve given up on us the first time we told you we hated you, and then the second time, and the third, and the fourth.  The fact that you never give up has been used as evidence of a personality defect, even though we tell our children to work hard for what you want, and if you don’t succeed, try and try again.  

You tried so many times.

Keep reading

@froekenpest (is it working now?) and I are talking about Draco’s characterization, specifically having lots of life history and dealing with it.

Every now and then, Draco stumbles with his feelings. It’s shitty and he’s the worst person to be around ever because he’s moody and cruel and nasty and self-destructive, but he’s the type to disappear when that happens. He doesn’t want to be around anybody, and he doesn’t want anyone to see him–for vulnerability reasons, but also because he knows it’s not fair to lash out at people, even if he wants to (and he does).

I have this scene of Draco with his back to Harry. Harry trying to get Draco to talk about it, but the more he tries, the more infuriated Draco gets.

Harry just doesn’t get it. He couldn’t possibly understand the things Draco’s grappling with, because their lives have just been too different. He wouldn’t understand the way Draco needs to push at the bruises he’s harbouring until they hurt and feel like they’re bursting open, because that’s his catharsis: remembering every single mistake he’s made, every fucking choice that has led him to being where he is today, every cursed, wretched thing he’s ever done that make him this ugly amalgamation that’s more beast than human sometimes.

Harry couldn’t possibly understand, and that infuriates him even more. Harry, the perfect human. Harry, who is lauded as amazing, who saved the world and is treated like a hero, Harry who can do no wrong.

He’s so angry and bitter, and the next time Harry opens his mouth to say something, Draco jumps down his throat.

“Don’t treat me like your charity case, Potter,” he snarls, and behind him, Harry’s mouth clicks shut in surprise. There’s a second of silence, and then he exhales sharply, sounding angrier than Draco expects when he speaks next.

“Is that what you think this is–what you are? Charity?”

Draco smiles cruelly to himself, feeling the bitter words crawl up his throat and spill out of his mouth.

“That’s what you do, isn’t it, Potter?” he sneers Harry’s surname acrimoniously, and doesn’t have to be facing the man to see how he flinches at the animosity. “You take in the strays, people who can’t get by without your help. Isn’t that what you did with the  Weasleys? Pathetic and contemptible, too poor to even feed their children but too stupid to stop having more.”

Harry’s silence speaks louder than any words he could have said then. Draco feels the shame creeping up his neck, making his cheeks burn like he’s standing in front of a blazing fire.

See? He wants to shout into the silence. See what I am? Not so eager to help now, are you?

The quiet continues, and Draco tenses and relaxes at the same time, waiting for Harry to explode, to shout abuse at him, to hit him, assault him, call him exactly what he is and what he deserves.

Harry doesn’t do any of that. What he does is breathe, raggedly at first, and Draco counts the inhales, synchs up their breathing without really noticing.

Then, after what feels like a lifetime, Harry says:

“I won’t be here if you’re going to behave like this. When you’ve calmed down, I’ll be in the living room.”

He leaves, then: leaves Draco to his miserable desolation, and Draco triumphs in having driven him away. He’s fiercely glad that Harry’s left and incandescently angry at him at the same time. How dare he leave–how dare he not get angry–how dare he walk away?

He’s so bitter and angry and resentful in that moment, because Harry is supposed to be different. Harry isn’t supposed to give up on him, isn’t supposed to leave him alone: that’s just not what Harry does, and Draco is incensed.

How dare he be like everyone else? But then… of course. Of course he is. That’s what Draco wanted: he wants to be alone. He wants to push people away, because that means he’s right, that Draco is as big of a mess as he feels–that he isn’t worth staying for, and the thought burns and burns at him, making him even more furious.

Draco feels like a volcano is about to erupt inside him. It’s hot and angry and bubbling dangerously like if he so much as twitches, he’s going to burst and breathe fire more savage than fiendfyre, and he wants to let it–good god does he want to just let it out and let it consume him and burn the whole world to the ground.

It won’t come, he knows, because it never does, even when he’s burning brightest and wants it most, it refuses to manifest and Draco is trapped with it simmering just under his skin, zinging through his veins until he wants to tear at his own flesh to make it stop. But he can’t, because this is what he is. This is who he is–and that thought winds him higher.

(Of course, when he does come back down and regain sense of himself, he goes out and stiffly, unhappily apologises. He knows he’s wrong, he knows what he said is terrible and not true, but apologising still hurts, even if Harry–and the Weasleys–deserves it.)

I think that’s how Harry would handle Draco’s self-hating episodes. After the first couple times of them winding each other up and blowing up together, Harry would get smart and not engage when Draco was like that–just walk away and talk when he was less awful about things. And Draco would learn (conditioning, Harry is absolutely treating him like a dog, haha) that responding like that isn’t appropriate or even a good way to handle things, and they’d end up doing better together. And that’s how Harry helps.

I can’t get over the fact that Andrew has some level of trust and respect for Wymack. It’s made explicitly clear in the first book that Andrew frequently breaks into Wymack’s apartment to steal alcohol to the point Wymack had to get rid of his gun because Andrew kept breaking in so often. It’s also made clear through their interactions Andrew, despite his past, does spend a fair bit of time alone with Wymack and talks to him one-on-one almost as much as Dan and Kevin. It’s also interesting that when discussing who they would go for in a zombie apocalypse, the only reason Andrew gives for it going back for Wymack is that the other man would want to bring Abby who Andrew sees as a liability. In short, Andrew and Wymack have an amazing and dynamic relationship and I love it.

  • select legislators in various states: we're going to make it illegal to be on snap benefits [food stamps] for longer than three months, if you're not on disability, working, or have dependents
  • me: so like what about disabled people waiting to get on disability... a process that can take years...
  • me: a process where they are exactly the same amount of disabled the entire fucking time....
  • select legislators in various states: aNYWAY we think this is really fair because what POSSIBLE REASON could anyone have for not working when they don't fall under the listed categories
Emotion and Pacing in comics

One of the reasons that I love comics so much is that there are many valid ways to approach the medium. When I make comics, the parts I’m most concerned with are character and story. Everything I draw on the comic page is in service to character and story. Because of my focus on those two elements over, say, experimenting with my art and page structure, I will sometimes get criticism that my work is safe or boring. This is probably fair criticism! I don’t do a lot of experimenting with paneling or challenging storytelling or explicitly challenging artwork in my comics, because right now that’s not what I’m interested in. Maybe I will be more experimental someday, but not right now, with the kind of stories I want to tell. :)

When I make a comic, my goal is for my readers to be engaged with the story I’m telling, and the characters in that story. That’s also what I look for when I want to read a good comic. I want characters to love, I want a story to be engaged with.

For the most part, I struggle with drawing comics (most artists do, if we’re honest ;)), but there are some parts of comics I think I have a good handle on. I feel like I’m strongest when portraying emotion on the page, and I’m good at drawing those scenes out and making the reader feel what my characters are going through. Some of the techniques I use to convey emotion came from being obsessed with movies when I was a teenager, and some techniques are stolen from my holy trinity of influences: Jeff Smith (Bone), Hiromu Arakawa (Fullmetal Alchemist) and Naoki Urasawa (Monster, Pluto, 20th Century Boys). 

Of the three artists I’ve mentioned, I consider Urasawa especially to be a master of emotion and pacing. When I first started reading his comics, it was like light struck my brain; finally I saw what I’d been trying to do for years right there on the comic page in front of me! I like the way he lays out his emotional scenes a lot. Here’s an example (read right to left): 

Urasawa uses repeating panels and decompression to draw out the emotions of a scene. In this single page there isn’t a lot of movement. It’s literally just two characters staring at each other, but the tension rises going from panel 1 to panel five. Gesicht (the man)’s expression doesn’t change between panels two and five, but we literally feel his anger rising off-panel, concluding in the close up in panel 5.

There’s an excellent You Tube channel called Every Frame a Painting (I’m sure you’ve heard of it, but if you haven’t, please go watch all the videos! There aren’t many, and they’re all really informative). My favourite video is this one, about editing:

This video hit on something that I strive for in my comics: emotion takes time. When I draw a scene that is emotional, when characters are struggling with something, or celebrating something, or being challenged, I want my readers to feel what the character is feeling, and one of the best ways to do that, for me, is to take my time. To give that emotion time to breathe on the page. 

I’m going to use some scenes in my graphic novel The Nameless City to illustrate how I use decompression and pacing to underscore the emotion in my comics. To avoid spoilers and because this is getting a little long, I’m going to put it under a cut. Please read on! :)  

Keep reading

Okay, but Bellamy visibly bracing himself to check the body was just…so much.  First of all, there was zero need for the Azgedans to cover up the body except it would be glaringly obvious that Clarke was not a bald black man from a fair distance away.  So the only reason the show chose to hide the body was so we could have Bellamy shakily checking who it was, only to be instantly relieved that Clarke was still alive.

It also gave us Roan’s annoyed look, because he saw Bellamy breathe a sigh of relief at the death of one of Roan’s people.  And Roan is clearly loyal and protective of his people, so that look felt to me like I see you, Bellamy Blake, with your Clarke Feelings crossed with You know someone I cared about DID die though, right? (Shoutout to Zach McGowan for managing once again to put like, 15 different lines into one split-second side eye.)  It was a moment of relief for Bellamy and pain for Roan before then they pushed that aside to be the action hero reluctant bros we all know they can be.

But the fact remains that the show made a deliberate choice to have Bellamy panic about losing Clarke shortly before gearing up to make a confession to her, just in case he loses her.


All’s fair in friendship and espionage.


Submission: “I know some cats like to jump on and ride around on your shoulder like it’s the most obvious thing in the world. Kenko was not one of these cats. But he learned to climb up by following a finger target. He can now do it from the floor (ie without step-stoning on the knee). It’s both one of the most fun and impressive-looking tricks I’ve taught him. 

Fair Warning: only works once the finger target has build up a lot of value. Also, DANGER: Risk of getting scratched, risk of the cat enthusiastically trying out their new trick on unsuspecting members of the household, you’ll want to get it on stimulus control ASAP. Recommend not pushing your cat to make jumps they’re not comfortable with because that’s when the claws come out and oh yeah, wear thick clothes. Can’t emphasize that last one enough, there’s a reason why the hoody is up.”

Don’t be afraid to fall in love with life. Open your eyes to the world around you. There is beauty in every gust of wind, in each smile you’re the reason for.

And life gets tough, and you’ll have your fair share of heartache. But don’t take for granted that you



Dance like you mean it. Fall in love like you



Laugh as if it was saving your soul.

Because it is.

I cannot stress enough how vital it is to appreciate this small eternity of a lifetime. It goes by fast, and it doesn’t come back. Don’t waste it waiting. The More you’ve been waiting for is out there somewhere. Maybe it’s right in front of you. Maybe it’s a world away. Wherever it is, you’ve got to look for it, fight for it, reach out your hands as far they’ll extend, and



—  d.e.m. // “Hold On”

johnlocked-ianthony  asked:

Personal headcanon: the real reason John "has trust issues" Watson changed therapists was because Ella had seen him at his worst during the 2 year hiatus and it was obviously clear to her that John was(/is) in love with Sherlock. Of course Ella would try to make him see sense but he doesn't want that. He wants to have someone to blame. To push some of the burden of his own guilt on someone else. Ella would see through his shit and convince him that it wasn't fair to Sherlock. So he replaces her.

This makes an odd amount of sense, Lovely. John is running away from his own feelings AGAIN. Like CLEARLY Ella is still existing in this universe, why did John change therapists? This is a lovely headcanon and I am going with it.

  • Lily Evans: This is a report I wrote outlining every law the three of you broke to become Animagi. Give me one good reason I shouldn’t hand this over to Dumbledore right now.
  • Peter Pettigrew: I mean... I can't think of any.
  • James Potter: Because Remus needs us for the full moon. Nobody knows how to help him more than us, okay? Nobody.
  • Sirius Black: Fair point. Still, illegal.