Female monologues disney

Theatre

2009.03.04 22:53 idledebonair Theatre

Theatre theory, design, news and community. This sub is aimed at professionals in the theatre community working in the industry, but is open to everyone, including students, community artists, and fans of the artform.
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2012.11.26 04:26 ClashOfFeminizations Tell the ladies of reddit about all things feminine

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2022.12.24 16:19 Karlieklosslegs Disney Babes

Pic of Female Disney Babes, sfw, nsfw
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2024.05.21 07:02 SirJake92 What is the duck cartoon I remember from the 90s?

I cannot remember the name of a duck cartoon from the 90s. Please help
I regularly reminisce about cartoons is used to watch when I was a kid. I used to watch A LOT of cartoons in the 90s, so many that I forgot the names of some (primarily the ones I only saw one or two episodes of). No duh, am I right? regardless, there is this one cartoon I that has really bothering that I can't remember what it was no matter how hard I have tried. It was about ducks. I am familiar with most of the duck cartoons from the 90s like Ducktales, Mighty Ducks cartoon, Quack Pack, etc. But there was this one that only one scene from. The scene showed an oddly colored duck (purple I think) holding some kind of artifact and it made him grow muscular and called out something like "I'm getting stronger!" in an evil sort way. I think his eyes turned red too. Then I think it cuts to him having an argument with a female duck whom was taking a bubble bath. He grabbed her rubber duck (ironic I know) and crushed it in his hand. The female duck appeared somewhat anger at him for it. That is all I remember. This was not an adult cartoon to my knowledge, as it appeared to be a kids cartoon. Its art style was similar to 90s Disney, duck cartoons, but I'm sure it was not from Disney. It may have been from Fox Kids, but that's just a guess. Also all the ducks did not seem to be wearing clothes, which was common for cartoons such as these. I cannot remember what cartoon it was and I would really like to know. I do a lot of research on cartoons and this one seemed quite interesting. If anyone has any clues as to what it is, I would greatly appreciate it.
submitted by SirJake92 to animation [link] [comments]


2024.05.21 04:44 Maximum-Image-2432 Name like Flynn for a short story/novel

I've been writing a Rapunzel retelling short story. I've been using the name Flynn for the male main character, but as I've gotten more serious about writing this and realized that I may want to make it into a novel, I think Flynn is a bit cliche for the story and too close to the og Disney movie. I want a name that gives the same energy, but maybe has a meaning surrounding rebellion, travel, betrayer or something like that? The female main character is named Cyra and I would love a name that sounds good with that. I love this subreddit and have gotten a lot of other character names from here and would love some help. Thank you!
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2024.05.21 04:39 Maximum-Image-2432 Name like Flynn for a short story/novel

I've been writing a Rapunzel retelling short story. I've been using the name Flynn for the male main character, but as I've gotten more serious about writing this and realized that I may want to make it into a novel, I think Flynn is a bit cliche for the story and too close to the og Disney movie. I want a name that gives the same energy, but maybe has a meaning surrounding rebellion, travel, betrayer or something like that? The female main character is named Cyra and I would love a name that sounds good with that. I love this subreddit and have gotten a lot of other character names from here and would love some help. Thank you!
submitted by Maximum-Image-2432 to namenerds [link] [comments]


2024.05.21 02:07 phantom_avenger I just finished watching this miniseries for the first time, and I can't stop thinking about it!

I have seen this show come up a couple of times with clips appearing on YouTube, I've even seen it come up on Disney+! I finally decided to give it a watch after seeing a couple of clips, also Kate Mara playing one of the lead roles caught my attention and all I can say is I am amazed at how well they explored the complexities of an unsettling illicit relationship between a female teacher and a male student.
Watching it made me feel so conflicted because of Kate Mara and Nick Robinson's on-screen chemistry, but I honestly think that was the whole point to show just how dangerous cases like this can be IRL.
The casting of Kate Mara was also perfect, because it was so easy to look at her and almost dismiss how manipulative Claire actually was and how she was the one who made Eric feel like he was initiating their relationship when it was her who had power over him the whole time.
This might even be Mara's best performance from her that I've seen from her career IMO, as I always found her acting average from other projects I've seen her in. But this role really showed how much she's improving on her craft. She does such a great job at making Claire dimensional, where I do think she feels guilty for the people she's hurt (even if she's mostly concerned about herself) but she is still too delusional and narcissistic to take full responsibility and can't admit to herself that despite hating having to suffer consequences. She loves chaos, as it's the only thing that she feels gives her "boring life" more of a "thrill", which is probably why we never see her seek or accept that she needs professional help!
Nick Robinson was also phenomenal with Eric's transformation as the show progresses, and ends with him realizing how toxic and messed up his relationship with his teacher actually was by the finale. I love how he saw through Claire, and gives her the reality check that they have to both live with how much this relationship between destroyed their lives forever!
I'll probably be thinking about this miniseries for awhile!
submitted by phantom_avenger to ATeacherTV [link] [comments]


2024.05.21 00:13 InverseNexarus 60+ Year Old DM does not charge his friends in Pay-to-Play campaign, insults the party for his amusement, and is probably a misogynist. Spoilers for Curse of Strahd.

60+ Year Old DM does not charge his friends in Pay-to-Play campaign, insults the party for his amusement, and is probably a misogynist. Spoilers for Curse of Strahd.
Last Monday I posted a quick and dirty RPG horror story about a pay-to-play campaign. This will be a proper attempt at telling the whole story, from the alluring start to my bitter resignation. Spoilers ahead for the beginning portions of Curse of Strahd. Trigger Warning for bullying and mentions of self-harm.
Mondays and Tuesdays are my guaranteed days off, so that is when I am available to enjoy my TTRPG hobby. Typically I am involved in three or four campaigns a week as either a DM or a player. A year-long campaign I was running reached its finale in the middle of March. When that ended and the time slot opened up, I wanted to be a player for a while. So I started looking in all the usual places; Discord servers I am a part of, StartPlaying ads, LFG threads, and the Roll20 boards. I indiscriminately applied for free-to-play and pay-to-play games at 1 PM on Mondays and ultimately got invited to join a Curse of Strahd campaign. I’ve experienced good and bad games in both camps, so this story is not about bashing pay-to-play games. Being a DM requires time, effort, and availability; and I am willing to pay since free games are not typically hosted during that time slot.
The DM hosting this Curse of Strahd campaign presented himself as a knowledgeable Grognard from the Gygaxian era. A retired man who ran D&D games to have fun and get a bit of spending money as a side hustle. He made promises that this campaign was going to be more than just an out-of-the-box 5th edition game. It would run the gambit of Ravenloft’s rich history taking elements from older editions and novels like ‘I Strahd: The Memoirs of a Vampire’. The game would be going from level 1 to 20, as defeating Strahd and escaping Barovia was just the beginning. He planned on the party visiting other domains of dread and dark places within the shadowfel. During a voice call interview, we spoke about table conduct, civility, respect, lines and veils, and all the things that sold me the idea he was a professional DM and cared about the integrity of his campaign. At no point did this grown-ass old man proclaim anything along the lines of, “This will be like playing D&D with two friends in a basement, and you’re the third wheel who buys our snacks”. If he had, I would not have signed up. We shall call him the Bantering DM for the rest of the story.
Two weeks go by and the game fills with four players: My half-goblin moon druid named Olivia; an elf bladesinger wizard named Cayden; a purple tiefling lore bard named Eternal Cake; lastly the problem player Jormungandr the fallen-aasimar giant barbarian. We have session zero with everyone in the Discord voice channel. The Bantering DM goes over the same points from the interview and has us go around the table so that we can introduce ourselves, our characters, and the lines/veils we’d like to avoid. I don’t like witnessing instances of child abuse, Cayden does not like descriptions of spiders, Eternal Cake does not want the party to torture NPCs, and Jormungandr asks that we be patient with him as he has ADHD. I go above and beyond by making high-resolution character tokens for everyone. As we are chatting and filling out our character sheets, it is revealed that Eternal Cake and Jormungandr are longtime friends of the Bantering DM and are not paying for the sessions like Cayden and myself. Personally, I’d feel more comfortable if all the players either paid a fee or played for free, but I let it slide because everyone seemed nice at the time.
https://preview.redd.it/er4ul1kgmn1d1.png?width=1129&format=png&auto=webp&s=e9a8df11e4c27d1a3f89f7fab8de05985bae6667
In session one, unfortunately, Eternal Cake was not able to join us so we had to puppet his purple tiefling. The Bantering DM uses the Creeping Mists introduction. Each of our characters was spirited to Barovia with whatever equipment we had on our person. Cayden and Jormungandr sounded mildly inconvenienced upon discovering that they were kidnapped by magical mist and then plopped into a dark forest. Meanwhile, Olivia was scared out of her mind and avoided the three strange men. She decided to climb a tree to find a road or landmarks. Survival checks were made, she discovered a road not too far away and heard the howling of wolves in the distance. Even though she did not trust these men, she motioned for them to follow her, hopefully, they’d be safe together.
We were ambushed by three wolves on the road. During the surprise round, both Cayden and Eternal Cake were rendered unconscious. Pack tactics caused a critical hit on Cayden, the wolf’s bite attack damage was 13, meaning his wizard with 7 hit points was a single point away from instantly dying. Thankfully, I prepared healing spells for just such an occasion. It was at this point that I got to experience the Bantering DM and Jormungandr’s dynamic.
DM: “At advantage from pack tactics, that is a 17 to hit.”
Barb: “No that does not hit me.”
DM: “Your token is linked to your sheet. You have 15 AC, my guy.”
Barb: “What about with a shield? Ever think about that?”
DM: “Even if you had a shield, that's 17, it meets it beats. But you're using a maul.”
Barb: “Does Cake have silvery barbs? I demand a reroll.”
DM: “Cake is unconscious.”
Me: “Um, I will get him up when it is my turn. Can you drop it?”
Barb: “Fine.”
DM: “That is 7 piercing damage.”
Barb: “7 bullshit damage! I have not even had a turn. I’m not raging so it is FULL!”
Olivia played cautiously, healing the downed party members and using ranged cantrips. Jormungandr did big damage with his maul but complained and argued with the Bantering DM, extending each of his turns longer than they needed to be. Injured, but grateful to be alive, we travel down the muddy road.
The party makes it to the village of Barovia. We wander the streets and eventually find the Blood of the Vine tavern. Cayden and Jormungandr do the majority of the talking, as Olivia is unsure if the villagers will be hostile or welcoming to a goblin like her. The Bantering DM laced the expositional dialog with a lot of profanity, personal attacks, and spitting on the floor. The barkeep explained that spitting was a Barovian custom, that if an evil thing is expressed one must spit quickly otherwise demons will possess the soul. The insults were primarily based on our characters' appearances. Cayden was called a knife-ear, short, girly man, hairless, and physically weak. Jormungandr was mocked for being stupid, a savage brute, and likely to get struck by lightning as he had a metal pauldron. Eternal Cake was spared as he was not at the session, though I imagine the Bantering DM had plenty to say about a purple devil man. The barkeep called Olivia an ugly greenskin, asked where the rest of her clothes were, if she was like goblins in fairytales that hide under children's beds to eat their toes, and that I may as well “get it over with as it will happen sooner or later”, implying that I should kill myself. When he said that, Olivia spat and glared at the man. Through that abuse, we learned the leader of the town recently died. His son Ismark was now in charge, but no one liked him. There was a cursed child with red hair named Ireena, taken in by the prior burgomaster. The ruler of this valley is called The Devil and he’s been sending monsters to torment the village recently. The priest of the local church had gone mad when his son died in a recent attack. Finally, there is a town further down the road called Vallaki. We rent a room and end the session with a milestone level up.
After the game wrapped up, we were still in the voice call and I expressed a couple of concerns I had about the banter during combat. Saying that it made the fight drag on for longer. I also said that I could handle rude or unlikeable NPCs and that I understand Barovia is a bleak atmosphere, but I felt the barkeep overstepped into abusive language with his comments. The Bantering DM apologized, said that it was all just in character, and excused the innkeeper by saying he is scared, small-minded, and considered us a bad omen on top of recent terrible events. I chalked it up to adjusting to a new group. This will be the only time that the Bantering DM will apologize or engage with my concerns and criticisms. After this, he would ignore what I had to say.
For session two Eternal Cake is unable to play again. The party woke up and left the inn. Immediately we are confronted by Ismark, he puffs himself up and banishes us from the town. Yelling for us to get out, that we were harming his people, we were unwelcome, and no merchant was legally allowed to trade with us. Then he stomped off unwilling to talk about whether or not we could help his people. Now, I’ve run Curse of Strahd before, I have meta-knowledge about things we can do in this village. There is content to explore, stuff to do, and ways to better the village. Some of which was hinted at by the barkeep last session. However, in character, Olivia was told to kill herself and a few hours later got banished. She does not belong here, she is not wanted, so the true neutral thing to do is leave. But in-character and out-of-character are very different beasts because I know that leaving would mean abandoning the story's most pivotal character Ireena. Jormungandr and Cayden both agree, well screw this town if everyone is going to be a jerk. I’m panicking, internally screaming, trying to come up with an in-character reason to force us to meet Ireena, but drawing a blank.
Then as we are about one hundred paces outside of town, we hear a young woman calling out after us. It is Ireena. She is running after us, short of breath and begging us to stop for a second. She explains that we are the heroes of prophecy. Asking if she could travel with us to Vallaki. The way that Bantering DM is playing Ireena, makes me mad, as he is putting on a stereotypical airhead voice and making her sound dumb. Cayden and Jormungandr pick up on this and ask a few questions. Ireena explains that she was never allowed out of the house and that this is the furthest she’s been outside of the village. She found her dad's old breastplate and rapier, but she’d never used them before. That she’s never been in a fight. Later on, the Bantering DM would show this by having her routinely make dexterity saving throws in combat to not trip and fall prone. Describing her as swinging wildly and whenever she did hit an enemy made it sound like an accident. Nor does she seem to have any bonds with her village, or care to say goodbye to her brother. The biggest problem is never mentioned out loud, but through meta-knowledge I know that her father has not been buried yet. This means that the Bantering DM chose to cut the funeral from the module, or that it still needs to be done but Ireena does not care about laying her father to rest.
We travel down the road and come to the gallows at the crossroads. It just so happens that Olivia sees the apparition of her own body dangling from the noose. She expresses sorrow and I hint at backstory trauma, calling the event “probably a bad memory of the last time I had a rope around my neck”. Then the Bantering DM performs the final part of Ireena’s character assassination. Ireena kneels down, looks Olivia in the eye, and says, “You must have gone mad”, then laughs at her. This is not Ireena, this is a careless fool with no empathy. I don’t know why the Bantering DM made these changes. Because he is sexist? To be funny? Is it because he considers the village portion of Barovia boring? Is he ignorant or malicious? I cannot answer these questions, nor will I pretend to be a mind reader. I am just laying out what he did.
We continued to travel down the road, eventually meeting an old woman with a cart headed toward the village. Ireena seemed to know this woman, calling her Granny, and spoke louder to imply the older woman was hard of hearing. She greeted us and offered pies for sale. With meta-knowledge I know that this is Morgantha, a night hag who kills people and grinds their bones at her windmill aptly named Bonegrinder. But I would never act on this knowledge nor spoil the surprise for anyone else. Jormungandr then asked, “Are the pies made of people?”, without any suspicious behavior or provocation. Granny said ‘no, of course not’. But then Jormungandr started to question the old lady intensely. Why are you traveling all by yourself? Are you not scared of wolves? How big is this woman DM? Does she look like she has an arcane focus? Is there anything weird about her cart? Can I do an insight check to sense her motivations? He hardly even let the DM answer the damn question before firing off another one. So I break character and say. “Stop meta-gaming! Knock it off!” Confronting Jormungandr seemed to get him to stop, but this should be the job of the DM, especially one who laid out a list of table etiquette during session zero. Once we resumed, in character I ran defense for the hag. Saying that as a druid I could talk to animals and giving them food often lets them know you are friendly. Just because she is an old woman, does not mean she was incapable of taking care of herself. To which the hag agreed and gave me a free pie.
After that, we got to the Vistani camp and Madame Eva’s fortune-telling. The cards we got were the best pulls I’ve ever seen, super thematic, and a great fated ally. The Sunsword would be at the beacon of Agronvostholt after we light it. The Tome is hidden in Baba Lysaga’s hut, makes sense that she’d keep her darling son's diary safe. The Holy Symbol is behind the sun at St. Markovia, so we have to confront a fallen angel to retrieve an amulet of faith. And we got the G.O.A.T. - Ezmerelda d'Avenir, we could run into her at a bunch of different places. All of this was meta-knowledge, of course, and unlike Jormungandr I did not intend to start demanding we go to these places to speedrun win D&D. We ended the session at that point, and once again we got a milestone level up.
I left the voice call, took a few days to cool off, and then carefully wrote out a respectful message detailing my frustrations to the Bantering DM. Both about Jormungandr’s meta-gaming outburst during the hag interaction and how he chose to portray Ireena Kolyana. I explained that she was coming across as an unempathetic ditz. The way she was acting made it difficult for my character to like or trust her. Hammering on the points about the funeral as well as her mocking Olivia at the gallows. I wrote that I understand there are many ways the community around Curse of Strahd has characterized Ireena. Ranging from Palidoozy’s disney princess version to Dragnacarta’s complete rework of her character into an arc to recover her memories. Sometimes she is a damsel in distress, other times the light that Barovia desperately needs. I never got a response to my criticisms. Perhaps I was out of line? I did not want my comments to come across as backseat DMing. I never interrupted the flow of the session, waiting until afterward to try and communicate my concerns. I felt like my issues were tangible and explainable. I did consider leaving the game if things did not improve. In hindsight, I think that it was the insane fortune pulls that got me to stay.
In the third session, Eternal Cake could play with us, but Cayden could not. Also, we got a new player added to the roster. A paladin named Paul. The party travels down the road until they come across a kidnapping in progress. Several men were tying up a young woman and stuffing her into a burlap sack. We charged in, and the DM puppeted Cayden. Paul was introduced in this fight. He emerged from the bushes and went after the bandits, ready to smite evil and save a damsel. Eternal Cake passed out inspiration like candy and used spells like bless and command. Jormungandr became a big angry boy and smashed his way through the bandits. Olivia got to show off her higher AC from taking a level dip into monk. Blowing everyone’s mind when I explained how these features stacked with wildshape. However, once again this combat brought out the worst in Bantering DM and Jormungandr.
DM: “The bandit disengages and runs over here. Then he fires a crossbow at George-Munger.”
Barb: “Jormungandr.”
DM: “That is what I said, Gorge-Gander.”
Barb: “Say my name right. Jormungandr.”
DM: “Your Muh Ganger.”
Barb: “George is my cat. He is a milk puddle. But I am not George.”
Me: “Can we please keep combat going?”
Barb: “No one asked you.”
Me: “Whatever…”
DM: “Anyway, a 13 misses your AC. Then it is this bandit’s turn. And he kills Jormungandr instantly.”
Barb: “You haven't even rolled yet.”
We manage to win the fight and have one enemy restrained in my entangle spell. During combat, we decided as a group to spare one of the kidnappers so that we could question him. Untying the young woman and pulling her from the sack. Then the girl casts produce flame and murders the bandit. Everyone is miffed, as it felt like the Bantering DM took away our opportunity to gain information. The girl explained that she was a Vistana named Arabella. Asking for us to guide her back to her camp, it is not far from Vallaki. We do so, and I don’t remember much of what happened during this session. I was upset about the bantering and that our group agency was taken away. I disassociated from the conversations but got the gist of it
Like with Ismark and the barkeep, the Vistani people insulted us. They gave the party a cloak of protection as a reward for saving Arabella. The Bantering DM said that we should argue over who gets to wear it. The Vistani name-dropped Strahd and called themselves his allies. Telling us that we may as well give up any hope of escaping. He briefly mentions dusk elves also being in the camp. At one point, the Bantering DM realized I was not contributing to the conversation. So Arrigal asked if Olivia was for sale. I flatly said, “I am free, don’t ever say something like that to me again!” The lines between in and out-of-character blurred. When it was about ten minutes till, I wanted to do something else. I said that I would be interested in speaking with the dusk elves. The Bantering DM said, “They are prisoners and the Vistani told you to not bother them”. I asked if I could make a stealth check. He said, “There are like 300 Vistani in this camp and someone will spot you.” On the one hand, he did not make me roll for something I could not succeed in, but it still felt shitty to be told no it is impossible. We ended the session with a milestone level-up. I did not write the Bantering DM between sessions. I should not have returned for another game.
Fourth session, Eternal Cake is once again missing in action. I had hoped that in this session everyone would be able to play and we could finally all get on the same page. We were also supposed to go into the town of Vallaki. However, once we started walking down the path a dusk elf appeared. She, yes a female dusk elf named Kassy-Mira no less, asked us to go to a haunted fort to find one of her sisters named Savida. My meta-knowledge goes into overload wondering what in the hell did this Bantering DM do. For those of you in the know, I am looking forward to responses and speculations in the comments section. Kassy-Mira explains that Savida is the keeper of their lore and history, an elven leader who must be recovered. I ask a couple of clarifying questions because at this point I have no idea what is going on. The elves are prisoners of the Vistani, yet a leader was able to escape? Why did no one else escape? Where is this fort? If the fort is haunted why would they flee there? Why are the dusk elves prisoners anyway? Did you escape Miss Kassy-Mira? Do the elves want to revolt against the Vistani? But I only got answers that the fort was to the west and that returning their leader was paramount. Then she rushed back to voluntarily go back into dusk elf prison, I guess. So instead of going to Vallaki like I was hoping, I guess we are going to the house of the silver dragon. My only theory is that the Bantering DM wanted us to get started on the questline to retrieve the skull, so he shoe-horned in a way for us to redirect to Argonvostholt. But in doing so he also revealed whatever he did to the dusk elf lore. I’m guessing he reversed the gender of the events before the campaign started. Which makes me wonder, did he gender-bend Rahadin too?
We wander down the road and find the haunted mansion atop the muddy hill. Seeing the statue and for whatever reason we decide to check out the collapsed stables first. The rest of the session was a combat encounter against a dozen giant spiders. Two of the three hours were dedicated to this, mostly because the Bantering DM and Jormungandr took forever to keep the turns moving along. And they were particularly toxic during this combat because Jormungandr hated that his rage did not resist poison. I knew that once the session was over, I’d be writing up my farewell message. Every time it was my turn, I simply stated what actions I took and quickly did it. Elaborating if questioned on my abilities.
DM: "Make a Con save against poison".
Barb: "No, make me."
DM: "Do it bitch."
Barb: "Fine. 21."
DM: "You failed."
Barb: "It says DC 11 for spider DM."
DM: "Yeah, well, fuck you."
Me: “I use multiattack, bite, claw, bonus action unarmed strike. 21 to hit, for 7 piercing damage. 18 to hit, for 15 slashing damage. 24 to hit, for 5 bludgeoning damage.”
Barb: “You can do three attacks? That is bullshit.”
Me: “Brown Bear has multiattack, monk grants martial arts.”
After the fight, we had just enough time to enter the mansion and find Savida. Olivia still had some spell slots, so I tended to her injuries. The Bantering DM said that the party would question her at the start of the next session. Once we ended the call, I wrote up a few things. First I left a message in the general chat thanking the players and wishing them well. I learned from Cayden later on that my farewell message was deleted by the DM. Then I wrote my final criticisms and sent them to the Bantering DM privately, letting him know I would not be returning.
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The punchline to this joke of a campaign. A week later, today, Cayden tells me that the Bantering DM canceled the session because neither of his buddies showed up to play. Eternal Flake, Geogreinanger, and the Bantering DM, despite all my complaints I hope they continue to have fun. Maybe next time though, don’t play favorites and charge people for a “fun time in Grandpa’s basement”.
https://preview.redd.it/vycv0uqsln1d1.png?width=1229&format=png&auto=webp&s=2c241b09728ebc29653e384dea90a24d770e7a0b
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2024.05.21 00:09 Andrewbulldog Brio fall 2024 ideas / predictions

Train of world USA Disney land railroad Comes with old steam engine with tender ,2 carriages ,Mickey and Minnie figures
Advent calander 2024 This year it would come with a unpainted engine and carriage as well as some paint and stickers
Disney Scrooge mc duck with minecart
Double track curved pack 4 peices
Double track pack 3 double straights , double crossover track , v switch
New roundhouse with 5 way switch( 2 male 3 female ) works with turntable and figure 33476
Museum with old steam train and dinosaur skeleton
Ferry station
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2024.05.20 20:12 RiseFromTheDeep My fathers negativity is ruining my life

This is my first time posting to Reddit so go easy on me if I'm not doing this right, but I've seen people get amazing advice and get great results by asking Reddit, so here I am. I'll try to make this as short as I can.
I, 27 female, live at home with my biological parents (not sure if that's relevant but hey-ho). My father, let's call him James, 52 male, is constantly negative. He's got something mean, nasty, or negative to say about everything and everybody, and he's been that way my entire life. We used to say he was "a nag." He's always got to be critical. He'll critic my life, my choices, my clothes, my hair, my appearance in general, ect. When I tell you that I have a high level of anxiety to just exist in this man's presence! I'll make food and he'll criticise what I'm eating, how much I'm eating, how I'm preparing it. When I eat, he moans about my eating speed. I sit and study for my university in my room, he complains about me spending too much time alone, I sit in the living room, he complains that I'm not focused enough if I'm watching TV with him as well as typing away on my laptop. You get the idea. It's not just me. He treats my Mom, female 54, and sister, female 26, the same way. He also hates the world. He'll go on load, shouting rants for hours on end about how "Muslims want to bomb the world," about how gay people "are all pedos who groom children." Just last night he was watching Britain's Got Talent (we're in the UK if that's relevant) while I sat and worked on my laptop beside him, and some cute kids were singing about a song about how we're all different and yet the same, typical Disney movie moral stuff, and Dad paused the TV to rant to me about "the left brainwashing these kids about this f**ing rubbish." Most of what he says doesn't even make any sense. He's homophonic, transphobic, Islamophobic, classist, racist, basically all the ist's and bics! If you try to tell him he's wrong or that his information is flat out incorrect or immoral or just plain nasty, he'll yell at you for being stupid, blind, brainwashed, or all of the above, and keep yelling until you say, "yes you're right, X group of marginalised people are everything awful Dad!" he's followed me around the house, waited outside the bathroom, and all sorts, just to ensure he got his point across.
Living with someone who's 24/7 negative, hateful, or just down right gloomy is exhausting. I'm exhausted. Moving out right now is not an option for me. I don't work and need all my time to do both my university course and the work placement (voluntary; unpaid) that goes along with it. So I'm trapped here with him. And yes, I've tried talking to him about a million times about his behaviour. He doesn't think he's doing anything wrong and just laughs in my face for saying otherwise, as if the very suggestion that he's wrong is hilarious to him. I've even broken down in tears several times and threatened to get on benefits and move out to supported housing just to get away from him. He knows this, saw this, and just shrugged it off. What kind of parent can stand there, watching their child, even a now-adult child, cry hysterically about how much their actions drag them down, and just laugh in response?
I can't leave right now, and talking to him is a waste of air. So please Reddit, tell me, how do I live with this man without letting his poison effect me? Because right now, I just feel like "what's the point". Nothing I do is good enough anyway, so I may as well just crawl into bed and not get up, and I know I shouldn't care about what he says, but I do, and living with someone that spreads such darkness would tire out even the most optimistic among you.
How can I stop this black cloud ruining my sunshine? I need Super Negative Person survival tips until I can get out of this house.
TL:DR my father critics everyone & everything, is always super negative about the world, life & me to the point I'm super depressed. How can I cope with living with him until I'm able to leave?
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2024.05.20 19:20 phantom_avenger I just finished watching FX's "A Teacher" miniseries and I can't stop thinking about it!

I have seen this show come up a couple of times with clips appearing on YouTube, I've even seen it come up on Disney+! I finally decided to give it a watch after seeing a couple of clips, also Kate Mara playing one of the lead roles caught my attention and all I can say is I am amazed at how well they explored the complexities of an unsettling illicit relationship between a female teacher and a male student.
Watching it made me feel so conflicted because of Kate Mara and Nick Robinson's on-screen chemistry, but I honestly think that was the whole point to show just how dangerous cases like this can be IRL. The casting of Kate Mara was also perfect, because it was so easy to look at her and almost dismiss how manipulative Claire actually was and how she was the one who made Eric feel like he was initiating their relationship when it was her who had power over him the whole time.
Nick Robinson was also phenomenal with Eric's transformation as the show progresses, and ends with him realizing how toxic and messed up his relationship with his teacher actually was.
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2024.05.20 14:49 multificionado My Review on The Marvels

First, whatever positive I have to say on this movie - you can bury me in downvotes all you want, you can lynch me verbally if you wish, but you will not make me change my mind.
Suffice to say, I liked "The Marvels" once I was able to see it on Disney Plus. Now, there were plenty of places to press the fast-forward button on (like the planet of the singers and all the kitty flerkens [I found that absolutely weird]), and I kind of wish some scenes can be improved. Aside from them, I do wish they would've made Dar-Benn male; if they had to bring back a female Kree villainess, the least they could do is bring back Minn-Erva (got out before the crash, maybe if she got scarred).
I liked how Carol, Monica and Kamala were brought together. Kamala's fantasy in the opening does remind me plenty of Po's fantasy that opens the first Kung Fu Panda (when fantasy-Carol asks fantasy-Kamala to come meet some Avengers, the attitude of it made me think: "We should hang out." "Agreed. But hanging out will have to wait!" Yeah, Kamala can tend to be overexcited at times, but it also brings to mind Kung Fu Panda, Po an excited kung fu nerd as he is. I do wish they reduced all the rap songs in the movie; that scene where Carol, Monica and Kamala practice coordinating with each other, it's more bearable when I put on one of the Kung Fu Panda remixes (again, because Kamala makes me think of Po [and again, you can bury me in downvotes and lynch me verbally all you want for so much as expressing even the slightest liking, but you won't get me to change my mind]).
The ending, here...I think I'm more under the impression Carol is giving Aamir Monica's old house in Louisiana (when Kamala's ammi tells Aamir that it's a good place to raise a family, because it implies more that Aamir is going to live in that house, not Kamala's whole family), and I'd rather have that impression than Kamala's whole family being there rather than Jersey City. I mean, you can't have Jersey City without Kamala. As for the parody of the Iron Man post-credits scene Kamala and Kate have together...regardless of the awkwardness, Iman Vellani and Hailee Steinfeld have an interesting chemistry. I hope we'll get to see more of Kamala and Kate in the MCU (I especially enjoyed their dynamic together in the Avengers game).
And now my biggest criticism of the movie: Why the heck didn't Kamala keep BOTH quantum bands? I mean, they work better for her than Dar-Benn and obviously the two together would amplify Kamala's own powers.
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2024.05.20 14:48 multificionado My Review on The Marvels

First, whatever positive I have to say on this movie - you can bury me in downvotes all you want, you can lynch me verbally if you wish, but you will not make me change my mind.
Suffice to say, I liked "The Marvels" once I was able to see it on Disney Plus. Now, there were plenty of places to press the fast-forward button on (like the planet of the singers and all the kitty flerkens [I found that absolutely weird]), and I kind of wish some scenes can be improved. Aside from them, I do wish they would've made Dar-Benn male; if they had to bring back a female Kree villainess, the least they could do is bring back Minn-Erva (got out before the crash, maybe if she got scarred).
I liked how Carol, Monica and Kamala were brought together. Kamala's fantasy in the opening does remind me plenty of Po's fantasy that opens the first Kung Fu Panda (when fantasy-Carol asks fantasy-Kamala to come meet some Avengers, the attitude of it made me think: "We should hang out." "Agreed. But hanging out will have to wait!" Yeah, Kamala can tend to be overexcited at times, but it also brings to mind Kung Fu Panda, Po an excited kung fu nerd as he is. I do wish they reduced all the rap songs in the movie; that scene where Carol, Monica and Kamala practice coordinating with each other, it's more bearable when I put on one of the Kung Fu Panda remixes (again, because Kamala makes me think of Po [and again, you can bury me in downvotes and lynch me verbally all you want for so much as expressing even the slightest liking, but you won't get me to change my mind]).
The ending, here...I think I'm more under the impression Carol is giving Aamir Monica's old house in Louisiana (when Kamala's ammi tells Aamir that it's a good place to raise a family, because it implies more that Aamir is going to live in that house, not Kamala's whole family), and I'd rather have that impression than Kamala's whole family being there rather than Jersey City. I mean, you can't have Jersey City without Kamala. As for the parody of the Iron Man post-credits scene Kamala and Kate have together...regardless of the awkwardness, Iman Vellani and Hailee Steinfeld have an interesting chemistry. I hope we'll get to see more of Kamala and Kate in the MCU (I especially enjoyed their dynamic together in the Avengers game).
And now my biggest criticism of the movie: Why the heck didn't Kamala keep BOTH quantum bands? I mean, they work better for her than Dar-Benn and obviously the two together would amplify Kamala's own powers.
submitted by multificionado to Marvel [link] [comments]


2024.05.20 13:15 MirkWorks Excerpts from Beautiful Fighting Girls by Saito Tamaki (Chapter 6 The Emergence of the Phallic Girls) II

High Context
Expression takes many forms. In this book I have interpreted the word media in a broad sense and treated each form of expression that I have discussed as an independent medium. What, then, is the reason for the existence of multiple media like manga, anime, and film? Are these simply multiple forms for mediating the same reality? Not at all. Multiple media exist in order to support multiple fictions. We clearly perceive the form of a particular expression at the same time as we take in its content. The various media function as a kind of context, or a transparent and continuous totality that attaches meaning to content. In this instance the media themselves attain their own unique contextuality. For example, we are not in the least confused if a heroine who breaks down in tears in a television drama suddenly appears smiling in a commercial during the break. This is because it is very easy for us to shift instantaneously between the context of the drama and the commercial.
In an earlier work I referred to this idea of the unique contextuality of each medium as the “representation context,” in order to use it in a more limited sense. This is because it is possible to use the media form itself as a form of representation. As I explained in chapter 1, my use of the term context is based chiefly on a combination of the ideas of G. Bateson and E. T. Hall, which I Have also explained in greater detail elsewhere. For our purposes here, it is possible to understand the contexts contributing to expression as existing in hierarchical strata. In the case of manga, the first context level is that of the narrative that gives meaning to the characters’ actions. Above that is the genre of the narrative - the expressive context that determines whether it is to be taken seriously or as a gag. The representational context is one level above this. Or, if we order them from top down, the process by which we understand the content of a manga can be understood as a hierarchical series of stages beginning with the work’s representational context (manga), proceeding to its expressive context (genre), on to the narrative context, and finally to the comprehension of the content. Of course, in actual fact we have to admit that this sort of hierarchy is ultimately not valid. It goes without saying that content and context exist in a relationship based on simultaneous and mutual corroboration. Therefore I should emphasize that the notion of representation context serves only for convenience of description and is not in any sense an isolatable object.
It is possible, for example, to think of visual media in the order of their dependence on representational contextuality. Contextuality in this case refers to the degree to which the form of expression itself determines the context expressed. In order of descending contextuality, then, we have anime, manga, television, film, and photographs. The statement “I saw a photograph,” for example, conveys no meaning on its own. But the statement “I saw an anime” evokes a relatively concrete image in the listener’s mind. This is because the anime form restricts the range of content much more than does the photograph. In other words, anime has the highest level of contextuality and photography the lowest. Here I follow Hall in calling this the “high context” nature of anime. In general, we can say that more popular forms of expression tend to be higher context (as in the difference between classical and popular music). In visual media, the less information conveyed on the screen, the higher the context (this being the difference between television and film). Thus “cool” media (with low levels of detail) tend toward higher context.
Let us think more concretely about the high-context nature of anime and manga. We have already established that form and content are intricately connected in both. In the case of these expressive forms, we can easily makes guesses about the content and authorship even of works that we know nothing about. Even a single frame of the work will be enough to tell us the genre, the orientation of the content, and sometimes even the identity of the author. Moreover, the instantaneous switching between the “gag” and “serious” modes that would be unthinkable in film but forms part of the grammar of anime (its so-called yakusoku [conventions]) can be explained only on the basis of this high-context nature.
I think of high context as the sensibility that emerges when there is no sense of distance between the producer and the consumer of a given media form . Once we immerse ourselves in this high-context space, the meaning of all stimuli is grasped instantaneously. Inevitably, emotional codes are more easily transmitted here than verbal ones. This high-density transmissibility enables extremely high levels of concentration and absorption.
Intersubjective Mediation, or Media Theory
Based on what I have said above, we can identify the difference between film and anime or manga first in terms of contextuality.
Is this the place for us to move to a discussion of media theory? Is the desire for the beautiful fighting girls a sign of an internal transformation, an “implosion” and extension brought on by our contemporary media environment? In some senses this may be true, but in others it is certainly not.
The development of the media environment has in fact partly transformed the structure of our society. The development of the mass media industry itself is one manifestation of this transformation. Its influence on the economy and on education has, of course, been enormous. But to what extent does this transformation penetrate our inner worlds?
In clinical terms there has not been the slightest structural transformation. The structure of our neurotic subjectivity remains intact, just as Freud discovered it a century ago. If asked to prove this, most analysts would say that it is not their role to offer general proofs of anything. This, too, has not changed in a hundred years. Analysts can speak about the truth. But, or perhaps therefore, they cannot prove what is true. But, or perhaps therefore, they cannot prove what is true. To say that the structure of the subject is intact is to say that the structure of desire has been maintained. What needs to be emphasized here is that, in order for the structure of desire to be maintained, the object of desire must constantly change. If the object of our desire looks different than it did a hundred years ago, this is only a change in appearance that results from the continual maintenance that we as subjects have performed on the structure of that desire. Yes, the development of media has brought about an outward change, a superficial change in the objects of our desire.
From this we can derive at least two psychoanalytic hypotheses. If we use Lacan’s divisions, the stability of the subject denotes primarily the stability of the relationality between the Symbolic and the Real. Moreover, the internal transformation that Marshall McLuhan referred to as “implosion” can be considered mainly as having emerged as a change on the level of form in the Imaginary. Herein lies one of the thorniest difficulties of media theory. If voice and writing are themselves already forms of media, what exactly have modern media been able to add to the equation? The transformation of the subject in the Imaginary can always make it seem as if nothing has happened. As long as this is the case, the appearance of media theory will remain in the always-awaited future, and its conclusions will only continue to be deferred.
But perhaps there is something to be gained nonetheless by taking a detour here and considering the mutual operations of the media environment and the Imaginary. The development of media is clearly most striking in the visual realm. Already we are able in principle to see any sort of image whatsoever. If we so desire, we can also keep large numbers of images in our possession on a computer hard drive. There is no little significance in the fact that, as is so apparent in the case of the ever-increasing functionality of the personal computer, it has become very easy for us not just to preserve but to reproduce, manipulate, and transmit visual information about all sorts of experiences. Our imaginary has been dramatically expanded and accelerated by the media, or extended through “implosion.”
The diversification of methods of mediation has had a number of effects. One of these is the potential impoverishment of content and form. As was clear in the case of the beautiful fighting girls, the narratives in a diversified media environment are surprisingly similar to each other. As I pointed out in chapter 5, there are hundreds of examples of the beautiful fighting girl genre, but only thirteen story lines. From the 1990s on, no new story lines emerged, and new works were simply rearrangements of old ones. In this case at least, we can say that, while the diversification of media may contribute to the outward diversification of the works, we need to be aware of the possibility that it encourages the involution of the genre as a whole.
The more information is exchanged, the more redundancies there are and the more monotonous it becomes . For example, now that communication by personal computer has become the norm, people read and perhaps write enormous amounts of text every day . As a result, we see developing a common “computer style” of writing that is excellent for transmitting information but extremely limited in its capacity for description and definition. The impoverishment of visual information is most evident in the spread of anime-style images.
So what is this about? Increasing the level of detail or rendering movement more subtly in anime would take exponentially more money and time. But of course these luxuries are not always possible. On the other hand, too much abbreviation reduces the images to mere signs and makes for a very dreary representation (like the Saturday morning cartoons in the United States, where the only facial movements are blinking eyes and opening and closing mouths). The solution to the problem in Japan was, I believe, the introduction of the “big eyes and small mouth” that has become the tradition in Japanese anime.
The only parts of a manga that cannot be drawn by assistants are the face, and particularly the eyes, of the main characters. The author’s style appears in its most concentrated form in the facial expression and the eyes. The shortcut technique that resulted from this was to divide up the drawing of the background among assistants and make the characters like simple signs. This made possible the division of labor. Then, to avoid making the characters too much like mere signs, the facial expression, particularly the eyes, and the hands are drawn with great care. Among all the human organs, these occupy the position closest to the grammatical subject. Drawing the eyes and hands with special care has the same value as inserting text. Or, to put it the other way around, as long as the eyes and hands are carefully drawn, the rest can be abbreviated. Then one can add more facial expressions and make them more complex with manpu. This procedure enables the streamlining of the production process while also effectively communicating a wide variety of subtle emotional codes, making it easy for the viewer to identify emotionally. This is likely the origin of the too-large eyes and tiny mouth that Westerners so often point out in Japanese manga and anime. The anime image is the result of a sophisticated technique that enables a maximum of communication with a minimum of lines.
One noticeable trend in recent years, which may have to do mostly with keeping costs down, is that even as the images are drawn with greater and greater sophistication of design and coloration, they tend to move much less. The appearance of movement is skillfully produced by blurring the image, using flashes of lights, and bank sequences [19*. Bank sequences, or Bankukatto, are sequences of animation that can be used repeatedly, such as when a heroine is transforming or assuming a decisive pose.], but on closer inspection there is actually very little movement. The impact of “anime images” results from drawings so refined that this sort of thing no longer appears unnatural. Moreover, because there is no need for the drawings to be particularly intricate, they can be easily digitized, which makes it possible to transfer them into a computer game without altering them. This style of drawing, which is devoid of texture and consists only of fine lines and surfaces, helps smooth the flow of the so-called media mix as the images are transplanted from comics to anime to film, games, figurines, and toys.
The space of manga and anime has introduced easily shareable code systems into our Imaginary. This shareability, in turn, introduces elements of polymorphous perversion into that space. As a result, in the 1980s we first became aware of a very important fact, namely, that even the objects of our sexuality were shareable through the mediation of manga and anime. This realization led to the explosive growth of sexualized images in this space. Of course, the wholesome notion that manga and anime are basically for children exists even now. But even this constraint was converted into a useful technique. Depicting sex in a context that is for children almost inevitably produces undifferentiated, which to say polymorphously perverse, effects. <also, and a much darker scene between the protagonist Utena and the antagonist Akio in the episode The Prince Who Runs Through the Night, a friend pointed this out to me, in terms of what it’s depicting and how True it is. The disassociation and ambivalence that suffuses a traumatic event…>.
To create an autonomous object of desire within the fictional space of manga and anime: was this not the ultimate dream of the otaku? They sought to create fiction not as a stand-in for the “real” sexual object, but fiction that had no need to be secured by reality. For this to work, not even the most elaborately constructed fictional worlds would suffice. In order for fiction to attain its own autonomous reality, it would have to be desired for its own sake. Only then would reality bow down to fiction.
“Fiction” versus “Reality”
Earlier I referred rather casually to the contrast between “fiction” and “reality.” Of course, I do not accept this contrast naively. In fact, it is my belief that everyday reality is itself nothing more than a fiction (or fantasy) and that it is fundamentally impossible to draw a strict distinction between them. One reason that I raise the distinction nonetheless is in order to think once more about “Japan.” The art critic Sawaragi Noi has argued that Japan functions as what he calls a “bad place” and that any act of expression that attempts to escape from that place can only end up by making it worse and getting caught in a vicious circle. If such a place can be hypothesized, it is entirely possible that it could also subsume the place of manga and anime that I have been discussing here. For now I call that space “Japanese space” and contrast it with another unique representational space, which I call “Western space.”
As I pointed out earlier, in Japanese space the distinction between fiction and reality is not completely in effect. The distinction itself is in fact based on a Western idea . **In his theory of ideals Plato begins with a three-part distinction between the ideal, reality, and art, and places art at the bottom of the hierarchy because it is only an imitation of reality. In Plato’s system there is only a series of copies, with the copy of the ideal being reality and the copy of reality being art. Art must content itself with the lowly position of being a copy of a copy, an imitation of an imitation. Added to this is the influence of Judeo-Christian culture, which rejects idolatry. In “Western space,” even today “reality” is made to conform strictly to this ranking. In this context the notion of the “Reality of fiction” is already attenuated by being subjected to all sorts of constraints.
<"But I say to you that whoever looks at a woman to lust for her has already committed adultery with her in his heart" Matthew 5:28.>
For example, in American popular culture the most privileged fiction form is film. To be made into a film is the ultimate proof of the success of any narrative, whether it originates as a novel or a play. Of course, there are any number of reasons for this, but one is surely the belief that live-action film is the most accurate imitation or reproduction of reality. The impact of live-action film is supported by the belief that what it portrays is a faithful reproduction of reality. In my opinion there is absolutely no difference between the fictionality of live-action film and animated ones; it is just that anime is considered more fictional because it is under the constraint of having to be drawn by someone. For this reason animated films have almost no chance of winning the Academy Award for Best Picture and will always remain a genre inferior to film.
Thinking about censorship practices makes this even clearer. Censors in Japanese space seem for the most part uninterested in the symbolic value of what they are censoring. As long as the genitals are not portrayed explicitly, they will allow even the most depraved images to be shown. In Western space, however, images are censored according to their symbolic value. The censors are not interested in the trivial question of whether or not the genitals are visible, but reserve their strictest scrutiny for obscenity and perverse content. A recent example is the cover for Marilyn Manson’s CD Mechanical Animals. In the composite photograph, Manson appears nude as he glares at the viewer, but with the smooth groin and small breasts of a young girl. This level of perversion does not cause the least problem in Japan. But in the United States it create quite a scandal, with several large music stores refusing the carry the album. One could list any number of similar examples of this difference in the way Japanese and Americans judge an image obscene. Of course, even in Japan this sort of taboo on images still lingers when it comes to the Imperial family, but even that is losing the force it once had. In fact, that taboo has become so weak that it would shock even Okuzaki Kenzo. We are now living in an age when it is possible to publish a manga depicting a bomb thrown at Princess Masako during a parade, and the romance between Princess Kiko and Prince Akishino has been made into an anime. In other words, we still do not have the slightest idea what it is that defines depravity.
One conclusion that we can draw from this comparison is that visual expression in Western space is symbolically castrated, while Japanese space there is only imaginary castration, at most. For example, in Western space any image that symbolizes the penis is censored, while in Japanese space as long as you do not portray the penis itself anything goes. In this ironic sense I would suggest that Japanese media enjoy the great freedom of expression. The problem arises with this freedom itself.
In Japanese space, fiction itself is recognized as having its own autonomous reality. As I mentioned earlier, in Western space reality is always in the superior position, and the fictional space is not allowed to encroach on it. Various prohibitions are introduced to establish and maintain this superiority. It is not permitted for example, to produce images depicting sexual perversion. This is because fiction must not be more real (riaru) than reality. Fiction must be carefully castrated so that it does not become too appealing. This is what I mean by symbolic castration.
It is often remarked that the heroines of Western comics and anime are for the most part not very cute. They often include beautiful women and naked bodies, but rarely do they directly represent characters as sexually attractive. This cannot be explained simply as a result of a discrepancy in technical skill or differing notions of beauty. In the case of an actual Hollywood actress, Japanese and American fans are likely to speak in similar ways about her sexual attractiveness. But the situation is very different when it comes to heroines who appear as drawn images. Betty Boop, for example, may be drawn in a sexy outfit (with a garter belt!), but she is more like a parody of a sexy actress. Her fans are not immediately captivated by Betty’s sexual charms.
To continue with our discussion of Western space, we might remember that 1957 saw the creation of the so-called Comics Code Authority that formulated self-regulatory codes for comics in the United States and effectively spelled the end of the golden age of American comics. At the time juvenile delinquency had become a hot-button issue, and comics were singled out as a contributing factor. Among comic fans the formation of the CCA is referred to as the “Total Disaster.” The list of restrictions is as absurdly detailed as the rules at a Japanese high school. A few items that stand out on the list are
  • “Divorce shall not be treated humorously nor represented as desirable.”
  • “If crime is depicted it shall be as a sordid and unpleasant activity.”
  • “In every instance good shall triumph over evil and the criminal punished [sic] for his misdeeds.”
  • “Policemen, judges, government officials and respected institutions shall never be presented in such a way as to create disrespect for established authority.”
Under the category of “Marriage and Sex” the code states that “Nudity in any form is prohibited,” “Females shall be drawn realistically without exaggeration of any physical qualities,” “Illicit sex relations are neither to be hinted at nor portrayed,” “Seduction and rape shall never be shown or suggested,” and “Sex perversion or any inference to same is strictly forbidden.” Japanese manga as harmless as Sazae-san and Doraemon might run afoul of these rules. If regulations this strict were in force in Japan, virtually every manga magazine in print would have to be shut down.
It is thus quite possible to analyze the differences between Japan and the United States from the perspective of regulations. But what I want to stress here is that these rules show all the symptoms of an excessive defense reaction. No matter how popular comics had become by the 1950s, they could hardly compete with film. Nevertheless, they were much more severely regulated, to the point of destroying an entire genre of expression. Would it be too much to see in this an echo of what we might call the West’s iconographic taboo? The highly detailed and concrete restrictions on the depictions of sexuality are particularly remarkable. In these restrictions we can clearly see operating the obsessive idea that images themselves must not be sexually attractive.
Pornography must be considered as part of this discussion of the visual expression of sexuality. Pornography, needless to say, prizes images that are realistic and highly practical. In the decline of roman poruno and the rise of adult video, for example, one can see the pursuit of convenience and practicality. Pornographic images trend toward being more suitable for private consumption, reproduction and distribution gets easier, and pornographic expression gets more and more explicit. But in the Japanese space this leads to another contradiction: namely, the existence of “porno comics.” I want to stress once again that I am speaking of pornography in general here, not of “erotic expression.” It is perhaps only in Japan that pornography has taken the form of comic books and attained a certain popularity in doing so. Of course, there are porno comics that are meant to be used as masturbation aids in the West as well, but on a scale that does not even being to compare with that of Japan.
It seems absurd that such an enormous market would emerge for pornographic comics in a country where “hair nudes” are everywhere and people are somewhat bored even of adult videos. As I pointed out earlier, anime-style drawing has been hugely influential in this genre as well. In terms of their correspondence to everyday reality, there is no less realistic style of drawing. Despite this, however, these kinds of representation have been widely preferred as a medium for pornography. This would be entirely unimaginable in Europe or the United States, and the contrast points to a significant cultural difference.
Of course, there is a historical background to this as well. According to Timon Screech of the University of London’s School of Oriental and African Studies, the so-called shunga that were produced in such huge quantities in the Edo period were used by the masses as masturbation aids.
If that is in fact the case, we should also be able to find the roots of manga and anime in the Edo period, in a culture in which sexual desire was both stimulated and satisfied by drawn images. The issue here, needless to say, has something to do with anything like the symbolic expression of eros. The problem that we have arrived at instead is that of the immediacy of the drawn image.
As I have already pointed out, there are many fans of anime and manga in the West. But they are virtually unanimous in their hatred for so-called tentacle porn. They believe that sexuality does not belong in animation. What do Japanese otaku think about this? If they were shown this sort of pornographic work they would either give a wry smile or launch into a lengthy discussion of the history of adult anime using works like Cream Lemon (Kuriimu remon) and Legend of the Overfiend (Urotsukidoji) as examples. I cannot help but see in this difference another huge contrast between Japanese and Western otaku.
Leaving aside the question of whether it is possible to read in this the traces of taboos and repression, for now let us reiterate the minimal facts of which we can be certain. In the Western space of popular culture, it is exceedingly rare to find drawn iconic images of cute little girls and erotic nudes. In that space there is an unconscious censorship of drawn images, and their reality is kept within certain limits. The type of caricatures so conspicuous in Disney’s animations can even be considered as a technique of exaggeration for the purpose of repression. Constant and meticulous efforts are made in this space to prevent drawn images from attaining their own autonomous reality. In other words, drawn images are always kept in the position of being substitutes for objects that exist in reality.
In Japanese space, on the other hand, it is permissible for all sorts of sites to have their own autonomous reality (riariti). In other words, real (riaru ) fictions do not necessarily require the security of reality (genjitsu). There is absolutely no need in this space for fiction to imitate reality. Fiction is able to clear a space around itself for its own reality (riariti ku kan). The appeal of drawn images of little girls, for example, is a crucial element in the production of this reality (riariti). Here, fiction must establish a logic of sexuality all its own. This is because, in Japanese space, sexuality is the most important factor upholding reality (riariti). Of course, this is not true only of anime. Why else, for example, did the artistic traditions of the past put so much emphasis on the depiction of women? Why do rakugo raconteurs spend so much time extolling the pleasures of womanizing? And why do manga instruction courses always begin with how to draw a boy-girl couple? All of these things, which are particular to Japan, suggest that in this space it is sexuality that upholds the reality of fiction (kyoko no riariti).
So let us accept the autonomy of fiction and put forward the thesis that this autonomy is a necessary precondition for the beautiful fighting girl to emerge. If this is the case, we cannot in any sense see in them the reflection of “everyday reality.” It would not be permissible, for example, to infer from the popularity of beautiful fighting girls that girls are being empowered in the real world. It is the stubborn habit of seeing fiction as an imitation of reality, which is hard even for the Japanese to resist, that is at the root of this misunderstanding. The misunderstanding may be logically consistent, but that same logical consistency is also precisely what renders it invalid.
Getting back to our discussion of the image in Japanese space, I repeat that representations in this space do not undergo symbolic castration. There are some gestures toward imaginary castration with regard to sexual codes, but these are barely functional, and in the end they actually come closer to initiating a drive toward the disavowal of castration. The disavowal of castration is of course the initial condition for sexual perversion, which is why this space exhibits such an affinity for perverted objects. All sorts of images come to occupy various positions within this ecosystem of autonomous reality, and the space begins to overflow with meanings rendered through sexual and other codes. In this place, so highly charged with meaning because of this sheer verbosity of codes, context is privileged over any single disarticulated code. Meaning is transmitted instantaneously here, but its provenance can never be traced back to a single code.
This sort of high-context representational space can sometimes lose some of its reality effect if it is circulated too widely and understood too easily. How might it resist this attenuation of reality? One way is, of course, through sexuality. As I have argued several times already, sex is a necessary component for a narrative to seem real. The various struggles and manipulations surrounding sexuality (i.e., “romance”) are what introduce a core of reality into a narrative.
The widespread transgression of sexual limits in Japanese representational culture can also be interpreted in light of the high-context nature of Japanese space. High-context expressive space is, by nature, incapable of making full use of the effects of structural and formal reality. Instead it is the intensities that emerge at moments of shifting and switching from one context to another that are used to create reality effects. In the highest context spaces of anime and manga, most important are those gestures capable of transcending the context of heterosexual desire. The various characteristics of the beautiful fighting girls, which include hermaphorditism, transformation (i.e., accelerated maturation), and the strange mixture of proactivity (i.e., fighting ability) and passivity (i.e., cuteness), all help facilitate the emergence of this transcendental reality. That all manner of perversions should be evoked in their presence is only natural.
[To be continued... The Phallic Girl as a Form of Hysteria]
submitted by MirkWorks to u/MirkWorks [link] [comments]


2024.05.20 12:29 Acceptable_Smile_915 Which Disney females should be the leader?

Which Disney females should be the leader? submitted by Acceptable_Smile_915 to cartoons [link] [comments]


2024.05.20 11:36 shu_vuuia Questioning if I'm really trans

UPD: Please don't give me advice like "gender is a myth, just be yourself", "you don't have to transition" and such. I don't struggle with that. I have already gone through this aspects on my own and knowing it didn't help me. I don't struggle with "I feel like I should do something I don't want", I know that I want it but I struggle with figuring out if my wants are real.
I'm 25 AFAB, FTM. And I was dealing with doubts about my gender identity for a very long time now. For context, I'm currently pre-everything and closeted IRL, since I'm living in transphobic household. Sorry for a long post, I'm autistic and afraid of missing important details, and I feel like chronological order of events is important.
I didn't had signs of dysphoria in early childhood. In fact, I was totally fine with being perceived as a girl until puberty (12-13 years old), with wearing dresses, playing with "girl" toys, etc. But I admit that I didn't had circumstances for distress from not getting enough "male role" at that time bc my parents weren't limiting me in my choices based on gender - I could get any toy I wanted no matter if it was a Barbie or a battleship, I was allowed to read both about dinosaurs and female etiquette, and noone forced me to choose dresses over pants so I could freely choose (the only exception being school uniform bc I used to associate "business style" women's pants with those annoying old ladies that shouldn't be allowed to be teachers until they get therapy, so I was heavily against wearing pants to school bc those style of pants was my option, but I quickly changed my mind after invention of skinny jeans since the black ones were allowed to wear at school). At this period of my life, gender was a bit more of "why does it matter at all", with only exception being bullied at school due to my autism and getting "it" treatment, it was the only situation when I was starting to point out that "I'M A GIRL", and generally liking the Disney princess aesthetic. And I liked having long hair just because I have natural curls. So until puberty I was just accepting that I'm a girl in a "yeah, whatever the adults say" manner, and in general only thought of myself as a girl bc my personal taste aligned with aesthetical aspect of being a girl. However I have always subconsciously wanted to be included into the "boys" category when it was about games organised by teachers, or helping with cleaning the classroom.
But when puberty started, the things start getting... Strange, let's call it that. I didn't had any hatred to my body, and at that time I was sure I didn't had dysphoria at all. But I was seeing the changes in my body and had this background feeling of wanting to reverse it and get back to my old body without curves and breasts. And any attempts of my mother to put a dress that was amplifying my curves was uncomfortable - not in a hateful way, but in a "I just don't want to see my body like that" way. But I was still wearing dresses time to time because well, the clothes were beautiful and my mother was equaling "I think this dress is beautiful" and "I want to wear this dress", same with jewellery. So I ended up hoarding a ton of stereotypically female clothing and jewellery which I was barely wearing unless reminded to do so. At the same time I started to wear more and more of oversized clothes, genuinely believing that I look better like that. And the genuine reason for me thinking that way was literally the fact that having a soft sports bra under a 2 sizes too big T-shirt worked surprisingly well to make my C-cup breasts barely noticeable.
Also at the same time I got on social media. At first I tried to present as female online bc I had a feeling that being a girl it's what I should do. But from the very beginning I have picked up a different name, for several reasons: I wanted to have privacy from my parents and classmates, I was planning to hang out in English-speaking spaces and my legal name is a Slavic name nearly impossible to properly pronounce for foreigners, and also I started to feel like my name is too... sweet and soft, I don't know? So I first used a name of one of my favourite characters, and then switched several names getting progressively less and less feminine.
I also got hooked up into text roleplay community. At first I was making female characters because most people around me were roleplaying characters of the same gender as their AGAB and I took it as a kind of a rule. Later on I took some male roles when playing roleplay-flavored mafia (a forum I was hanging out on was hosting online mafia games where we were also roleplaying as characters from different franchises), and since then I was roleplaying almost exclusively male characters. And I had an interesting quirk that when I was roleplaying as a guy I was insisting on keeping he/him pronouns in the discussion chat even though most other girls were switching tho she/her, and if I was making friends there I would stick to he/him even in DMs and even after I have long left the RP itself and don't have to be "in character" anymore. And I remember clearly than when one of the girls I was roleplaying with said that she could tell that I'm a girl from how I wrote my male character but it was way harder that with other girls, I was simultaneously happy and sad - I wished to not have any signs of being a girl at all, but at least it was harder to notice.
Also at this time I have learned about existence of trans and non-binary people... And since I have already had some feeling of not belonging "with the girls," it didn't took much time for me to start thinking it might be me. But I completely disregarded the possibility of being a binary trans guy since I didn't know of the possibility of not having strong dysphoria and still being a binary trans, so I just assumed that if I don't hate my body and I can be okay with being perceived as female, I must be some flavour of non-binary. And spend the next 10 years trying to find or even create a label for myself because I felt more in a "strong masculine combined with strong feminine" way rather than "soft blend of masc and fem" most of non-binary labels felt like.
It was this way until 23 years old when I started playing Genshin Impact. I remember that when I first started playing, I took enormous effort into figuring out which twin should I pick. I liked Aether for some reason more, but the community was clearly favouring Lumine, especially the fem half of the fandom. In the end I took Aether and it felt like a right choice. Three months later I tried to enter a different server and took Lumine out of curiosity. And this account got abandoned after AR 5 because playing as Lumine just wasn't vibing, I could self-project myself as much as it was with Aether even though the plot stays the same. And I also was exposed to a completely new type of masculinity I haven't seen before - what Genshin and later HSR definitely do well is adding stereotypically fem traits like long hair and decorated clothes to their tall male characters while still keeping them inherently masc in nature.
It was a kind of a trigger that finally put the pieces of puzzle I already had in their places. When I allowed myself to consider the possibility of being a trans guy, it suddenly started to feel like I was a trans guy this whole time, just maybe with alternative gender expression. And I think that the "feminine" part of my gender might actually be the desire to have access to stereotypically fem traits as a man.
But I also started to regularly get intense cases of impostor syndrome, since my mind keeps fixating on some aspects that make me doubt myself.
  1. If I'm a trans guy, why didn't I had childhood signs? Why it took me 23 years to realise?
  2. Why haven't I felt any clear dysphoria?
  3. Isn't it weird that my trigger for self-realisation was a videogame?
  4. Why I was okay with being a girl before?
  5. Is it possible that I have unintentionally convinced myself that I'm trans?
  6. Why do I keep to self-misgender even after 2,5 years?
When I have this doubts it's so intense that I literally start crying sometimes. And even though I clearly answer "yes, give me that male body" on all variations of the button test, my brain still manages to invalidate it. I'm afraid that I'm imagining things and that I will regret transitioning even though I want it - I didn't had clear thoughts about transitioning before accepting I might be a guy, but I did had thoughts about reverting to pre-puberty body without curves, wanting a deeper voice ect.
I will be glad if someone can help since what I might need is a perspective of people who did end up going back to their AGAB. Maybe if I won't resonate with such experience it will finally be the last piece of puzzle I need to calm down.
submitted by shu_vuuia to actual_detrans [link] [comments]


2024.05.20 07:33 Fast_and_Curious786 Why is it okay to completely change the race of a classic character? (Take Disney for example.)

I know this is might trigger some people even though this is a genuine thought that just flies over everyone's heads😭, but why does it seem to be okay for movie companies these days to completely replace/change a character's race than from what they originally were? And why it is okay?
Take Disney for example; I'm not gonna lie, I was so disappointed when I found out what they did to the cast of the live-action remake of The Little Mermaid. They changed quite literally EVERYTHING of the movie besides the minor basic details that we all wanted more emphasis on. Now don't get me wrong, Halle is amazing and I love her! But this was not okay and totally disrespectful. White redheads is still a race, I don't get why Disney needed to changed Ariel's looks just to add more Black representation. The movie was awful already, but come on man THEY DIDN'T EVEN MAKE HER HAIR THAT RED. I also really hated the fact that they changed the looks of the sisters and their names, I will admit that making each of the sister represent the 7 seas was clever but none of them looked related and it even got my mom to say "Are they trying to show that King Triton has different women?" They did this with Tinkerbell too, LIKE HER HAIR WASN'T EVEN BLONDE. And again, white blondes are still a race. Sure fairest are mythical creteaures, sure mermaids are half fish, but Mulan was also a legend/myth. Can you imagine the anger people would have if the live-action Mulan, another terrible live-action remake, movie casted a Japanese or Korean female actress to play a CHINESE LEAD? It would be proper representation right? What about turning Tarzan black? That would be racist right, making a black man live in the jungle like an animal? And I'm sure people would RAGE if they turned Tiana white. So I'd replacing a black character is disrespectful then why is replacing any other race NOT disrespectful?? Just make new characters. They're also DESTROYING the live-action Snow White, it's gonna flop so badly for sure. First off, Snow White IS NOT COLUMBIAN. She's WHITE, the story is Germanic and back then Germans used to be known for having fair skin. So ruining that race is ALSO disrespectful. I also hate the fact Disney didn't cast short people for the Dwarves, they really aren't adding proper representation where it should be. And I gotta say this too, WHAT THE HECK IS WRONG WITH FALLING IN LOVE? I like Mackenzie Ziegler, but I don't like how she's hating on the movie. All the other actresses loved their roles and the original characters. SO WHAT IF IT ISN'T 1947 OR WHATEVER? There's absolutely nothing wrong with falling in love. Y'all do realize Snow White isn't actually 14 like Google says right? An executive workeerat Disney confirmed that her and Prince Florian are both older teenagers and are around the same age. If they don't want to make it "Oh you just met him" sort of thing then do with that they did for the remakes of Cinderella and Sleeping Beauty/Maleficent; have then meet somewhere before hand and make them bond so the love story makes more sense. "Princesses can be the heroes of their own story." GIRL PLEASE, THEY ALL WERE: Snow White literally changed the lives of seven men. She didn't do the work besides tidy up the place in the beginning, after that she 'trained' them to live better. Cinderella was able to finally stand up for herself and leave an abusive step family. Aurora didn't back down on adventure when the 3 fairies told her not to be so curious, because when she started going near her parents' kingdom she found out she was the princess. Ariel proved to her kind that not all humans are bad and she proved to her father that loving a human isn't a bad thing either because they also have emotions. Belle literally changed the heart of the careless prince and helped him care for others and show the brighter side of life. Belle literally changed the heart of the careless prince and helped him care for others and show the brighter side of life. Rapunzel escaped from isolation and followed her gut that something is out there for her and in the process also saved herself from never seeing the light and also was reunited with her parents. Jasmine might've had a small role in Aladdin, but even then she didn't let others silent her by saying she isn't a prize to be won by other men. Aladdin was the only guy who didn't have anything to offer and wasn't interested in riches because other princes wanted to use the Sultan's riches sinces he's richer. So that's why she likes Aladdin. Merida from Brave can literally speak for herself. Elsa can speak for herself to. She freaking saved her sister and gave the "you can't marry a man you just met" line; because yes, time has to be involved. Anna was reckless with Hans because he manipulated her, but she survived a frozen heart and all just to get to her sister. That's a hero right there. Anna fell in love with Kristoff later on, not right away. Tiana opened her own restaurant and fought poverty. She was also the one who defeated the villain. Mulan can also speak for herself, she literally saved her damn country.💀 She fell in love because Li Shang was the first one to trust her when she was disguised. No one else did, he did and saw potential in her. Pocahontas was the most inaccurate thing ever.🗿 But she fought for her people and changed the views of the Spanish of the Powhatans in Disney's version. Moana was crossed the whole entire ocean to save humanity from dying out. So you see, each an every princess was a hero in their own story. Love was just along the way because there's nothing wrong with falling in love. And the men they fell in love with were literal green flags. Falling in love was shown as a huge problem in Barbie and I hated that. Cinderella and Maleficent were the best live-action remakes Disney has ever made.
But back to the race thing, it isn't just Disney that does this. White redheads are always getting replaced; there was a remake of Annie, MJ front Spider-Man, Boonie from The Vampire Diaries because she's a white redhead in the books but Black on the show, and so many more. And now Disney made an animated show on Ariel with the changes race, like com on man. Like again it's not the actors, IT'S THE COMPANIES!
I'm not trying to be racist but seriously, just make new characters. Why is replacing certain races matter more than replacing others? No race should be changed. (Please don't take this the wrong way!!😭🙏🏻)
submitted by Fast_and_Curious786 to u/Fast_and_Curious786 [link] [comments]


2024.05.20 06:38 Count_By_5s Genetic basis for the gifts of the Madrigals

I’ve seen a couple of threads that tackle this, but I don’t think any of them adequately address the issue. The following is based on the gift being a sex linked trait.
Scenario 1: gift is recessive This would allow for a scenario in which the children (Pepa, Bruno, Julieta) express the gift, where the parents (Alma, Pedro) did not, provided the parents are both carriers. However, outsiders marrying in and who would always be unceptional, as Agustin put it, would mean grandchildren who were carriers and all of whom would lack gifts.
Scenario 2: gift is dominant This would allow for unceptional outsiders marrying in to have gifted offspring. However, this cannot be possible from the start because both Alma and Pedro would have been gifted, and we know that was not the case.
Based on Mendelian genetics, these are the only possibilities, but why does neither create the possibility of the scenario that we see in the movie? I would propose a third option. The gift is a dominant trait associated with the X chromosome, and it is based on a mutation. That a woman would have three non-identical twins is highly unlikely to begin with, but the odds of all three of them having this same mutation is beyond astronomical.
So, my hypothesis is that at some point during the oogenesis that led to the ova that would lead to Pepa, Bruno, and Julieta, there was an X-linked mutation that started the genetic expression of this gift gene, and it is a dominant trait.
This creates a scenario in which all three children now have the dominant gift gene expressed on the X chromosome, are gifted, and have the potential to pass to their children that X chromosome. This would mean all male grandchildren (Camilo and Antonio) would express the gift, but with unceptional outsiders marrying into the family, each female grandchild (Dolores, Luisa, Isabela, and Mirabel) would have a 50/50 shot at being gifted or not. Over time, this would lead to the gifted being male dominated in future generations, statistically speaking at least, or perhaps being potentially lost altogether.
If anyone sees any holes in my logic or has any input, please feel free to point it out or chime in.
Full disclosure, because this seems way too involved for a Disney theory, I have a toddler and am on the 382nd viewing of this movie. So, I have to find some way to occupy my mind while watching.
submitted by Count_By_5s to Encanto [link] [comments]


2024.05.20 05:43 SirJake92 I cannot remember the name of a duck cartoon from the 90s. Please help

I regularly reminisce about cartoons is used to watch when I was a kid. I used to watch A LOT of cartoons in the 90s, so many that I forgot the names of some (primarily the ones I only saw one or two episodes of). No duh, am I right? regardless, there is this one cartoon I that has really bothering that I can't remember what it was no matter how hard I have tried. It was about ducks. I am familiar with most of the duck cartoons from the 90s like Ducktales, Mighty Ducks cartoon, Quack Pack, etc. But there was this one that only one scene from. The scene showed an oddly colored duck (purple I think) holding some kind of artifact and it made him grow muscular and called out something like "I'm getting stronger!" in an evil sort way. I think his eyes turned red too. Then I think it cuts to him having an argument with a female duck whom was taking a bubble bath. He grabbed her rubber duck (ironic I know) and crushed it in his hand. The female duck appeared somewhat anger at him for it. That is all I remember. This was not an adult cartoon to my knowledge, as it appeared to be a kids cartoon. Its art style was similar to 90s Disney, duck cartoons, but I'm sure it was not from Disney. It may have been from Fox Kids, but that's just a guess. Also all the ducks did not seem to be wearing clothes, which was common for cartoons such as these. I cannot remember what cartoon it was and I would really like to know. I do a lot of research on cartoons and this one seemed quite interesting. If anyone has any clues as to what it is, I would greatly appreciate it.
submitted by SirJake92 to u/SirJake92 [link] [comments]


2024.05.20 05:31 badatmemes_123 Maarva’s Speech

For those who don’t know, in episode 12, at the end of Maarva’s hologram monologue, she says “Fight the Empire!” However, if you look carefully you can see that it’s been dubbed over, and the original line was “Fuck the Empire!” It was changed by Disney higher ups who didn’t want that word in the show.
I, like many others, think this was for the best. As much as I am against censorship of swear words and think that corporations have too much control over art, in this particular instance it dramatically improved the final product.
With all of that out of the way, here’s my query. Assuming the show DID have the full freedom to use as many swears as they wanted whenever they wanted, where do you think the swearing would have made sense, or perhaps even elevated the show?
If I had to pick one major spot, it would probably be Kino’s speech in episode 10. I think Andy Serkis’s portrayal of that rage and contempt of the empire would have been far more suited to harsh expletives like fuck.
I also see a world where lots of swearing happened during the heist, particularly by skeen. And I also feel like Cyril would have called Maarva a bitch at some point.
What do y’all think?
submitted by badatmemes_123 to andor [link] [comments]


2024.05.20 02:56 Trencher4ever90 Awkward 33 f looking for friends

Hello! I am a 33 female who is a mom to 2 boys, i am married! I live in the USA. I am shy and kinda awkward. I have hyperfixations. I do have ADHD and a learning disability and probably dyscalculia.
I love cartoons (some of my favorites are invader zim, rugrats, Angry Beavers, jimmy Neutron, grim adventures of Billy and mandy, Code Lyoko, Ed edd n eddy and etc! (I do love 90s- 2004 cartoons), anime (Bleach is my favorite but I like yu yu hakusho, death note, high school of the dead, Dr stone and etc) music (my favorite Band is Marianas Trench but I listen to pretty much everything) disney (my all time favorite disney movie is A Goofy movie but I love coco and encanto alot and others)
If you have anything in common, you are welcome to message me!
I am shy and awkward and will try to message you back.
please be respectful that I'm only looking for friends.
submitted by Trencher4ever90 to MakeFriendsOver30 [link] [comments]


2024.05.19 23:27 lilytutttt When a guy [29M] becomes more condescending/conceited after getting a well-paying job. Does this show true character?

I had a childhood friend whom I was never attracted to (but he liked me) and eventually I agreed to be friends with him. We were pretty much the only Asian American kids in our middle school. To me, he was never particularly bright and I found him quite unattractive, but my parents encouraged me to be nice to him.
After college graduation, I came back and we reconnected. He left the state for 3 years to attend a masters program, but regularly came back to visit his parents (and me, I guess..).
He graduated from his masters program last May and got a $125k job as a physician assistant in NYC. Since then, he’s pushed hard to get me to get into a relationship with him (I am single though - also my dad has always thought he would be a good choice).
Maybe I’m just in a poor state of mind because I’ve been dealing with chronic health issues (tendon issue in my ankle) for the past 2 years or so, but I have grown to be unable to tolerate the guy. He’s gotten much more arrogant since he got a job even though he’s $200k+ in student loan debt.
He makes me feel stupid, small, and unimportant by saying things like “my job is MORE important than YOURS” and “my job is very important so that’s why I always need to look at my phone in case my boss texts while I’m talking to you” (he said this on a Saturday morning when he wasn’t on call). And “my sister has high standards for dating, unlike you and me”. And one time I got a text out of the blue saying “-random female friend- said my banana bread tastes amazing. Just like me.”
And he makes subtle hints about how he has beautiful, successful (doctor) female friends. And when I bought a townhouse 2 years ago, he asked if I needed a roommate (him) and that he can help me with the mortgage (but I had to add his name to the title). I stopped talking to him for 6 months after that.
It’s gotten to the point where I can’t even be friends with him anymore because he monologues about how awesome he is when I don’t think I’m that much worse than him?
What does it mean when a previously good guy becomes extremely condescending/not nice after he starts earning $$?
submitted by lilytutttt to dating_advice [link] [comments]


2024.05.19 21:33 Trencher4ever90 Awkward 33 f looking for friends.

Hello! I am a 33 female who is a mom to 2 boys, i am married! I live in the USA. I am shy and kinda awkward. I have hyperfixations. I do have ADHD and a learning disability and probably dyscalculia.
I love cartoons (some of my favorites are invader zim, rugrats, Angry Beavers, jimmy Neutron, grim adventures of Billy and mandy, Code Lyoko, Ed edd n eddy and etc! (I do love 90s- 2004 cartoons), anime (Bleach is my favorite but I like yu yu hakusho, death note, high school of the dead, Dr stone and etc) music (my favorite Band is Marianas Trench but I listen to pretty much everything) disney (my all time favorite disney movie is A Goofy movie but I love coco and encanto alot and others)
If you have anything in common, you are welcome to message me!
I am shy and awkward and will try to message you back.
Please be 18+, please, and please be respectful that I'm only looking for friends.
submitted by Trencher4ever90 to MakeNewFriendsHere [link] [comments]


2024.05.19 20:35 orchidschild Sick of being labelled as an annoying feminist

Hey! I just need to vent and you can vent in the comments too. I'm just fed up by being perceived as that annoying girl that makes everything about feminism. I often feel like even my close (but male) friends see me like this and every time I try to come up with some feminist topic I can see it's not taken well or seriously. And it really makes me sad. Not only my male friends but also my female friends are sometimes saying stuff that makes me wanna have a monologue about why it's problematic and misogynistic on an internalised level. It makes me feel like I live in a bubble with my feminist lens and view of the world and that no one really cares because "feminism bad and unnecessary". I like my friends and I'm grateful for them but this makes me angry sometimes. How do you cope with that?
submitted by orchidschild to Feminism [link] [comments]


2024.05.19 07:26 JaydenChip Am I aroace, or just some microlabel?

I forced myself to be attracted to people because I thought that's what I was supposed to do because all the other kids my age were being in love; I just became really good friends with my 'crushes' and never wanted to kiss, hold hands, or do more than just hang out; I never thought any of my classmates were attractive; if society deems someone attractive, then so do I; I never realize people are genuinely drawn to people they think are attractive and want to DO things with them; I think romance is gross when I see it IRL or between live-action people and think it should just stay in books or non-live-action media. I just think people of any gender presentation look pretty. Growing up, I developed a 'crush' on anyone who was nice to me; I had a crush on ALL my friends and just wanted to hang out with them a lot; I got super uncomfortable and my attraction faded when we became 'intimate' with me like holding hands or wanting to date; and I feel this towards ALL genders, so I thought I was pan. But inside my head is the only place I feel sexual and romantic attraction, and it's only between non-live action characters and is always experienced from a 3rd-person perspective. Love and sex are just a storyline to me; I feel the romantic and sexual emotions of the character I'm telling the story's perspective from, but once the storyline ends, so does my attraction. I have a libido; I still experience personal desires, but I find that they can be managed easily on my own. I feel very repulsed by the idea of having sex with someone else. But, when I do get aroused, it's sexual attraction to anyone of any gender, but again, it's viewed from the 3rd-person perspective. After the solo mumbo jumbo, the arousal and sexual attraction fade into nothing; I even get repulsed by sex and romance for a long while after solo spicy adventures. I genuinely don't understand how somebody looks at someone else and wants to touch them, kiss them, and have sex with them. It's always been "Oh, they're pretty!"; it's never been "Oh, they're pretty; I want to date/have sex with them!". When I was a kid, I was a hopeless romantic; I wanted to find my soulmate, but the way of doing that was unrealistic. It was more like a remix of a Disney movie rather than something I actually wanted. I saw other kids my age have crushes, and adults always asked me if I was going to get a boyfriend, so I always thought it was something I was supposed to want, but I don't. I'm fine with being single forever. I'm happy this way, but I also don't want to do anything with anyone, so I feel as though I'm somehow on both the a-spec and m-spec. I’m not sure how exactly. All I know is that I consider both men and women attractive, but I don’t necessarily care about their gender identity when it comes to finding them attractive or not. I honestly can't understand how someone wants to do romantic or sexual things with another person. I dated this one guy in my freshman year, and it only lasted a week, and I avoided him like the plague the whole time. I felt all mushy and blushy when we talked and did things together, but once we started dating, I got super uncomfortable. We texted, and I was a huge flirt, saying we could hold hands and all that stuff , but when I went to school and he wanted to hold hands, I didn't want that. I didn't like being touched in a romantic way. I'm fine with my friends, though. What's confusing is that, at the same time as never wanting or feeling romantic attraction, I still want to do those things. I literally only feel romantic and sexual attraction to fictional characters. Because I am attracted to [female OC] and [male OC] (currently speaking, not speaking about past fictional crushes). I always have the strongest desire to be with [female OC], touch her, kiss her, and do other things, but I don't feel those things in the real world. She is literally my soulmate. Yes, romance and sex are still just a storyline to me, but I would say that I am in love with her. And sometimes the same can be said for [male OC]. There are some moments where I, Rowan, will get blushy and just smitten over him, but again, it's never in the real world. Would this even be considered a romantic or sexual attraction? I think it would. It's very rare when I feel something for real-world people, but it's always on the a-spectrum, like cupioromantic or grey-, for example.
— Rowan (they/he)
submitted by JaydenChip to AroAce [link] [comments]


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