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@professionalasker121

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the politically offensive ones all come from reading with the wrong lens. they're dumb but you can have a worthwhile debate of different worldviews while debunking them.

Pipe-weed being marijuana comes from being brain fried on marijuana.

Yeah but saying Melkor and Sauron had a point takes ignoring how pretty much everything they seem to do involves destroying, conquering, or enslaving someone and how those two practically embody the archetype of evil overlord.

Wait I change my mind. Morgoth and Sauron did have a point. In fact...

...They had lots of points!

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the politically offensive ones all come from reading with the wrong lens. they're dumb but you can have a worthwhile debate of different worldviews while debunking them.

Pipe-weed being marijuana comes from being brain fried on marijuana.

Yeah but saying Melkor and Sauron had a point takes ignoring how pretty much everything they seem to do involves destroying, conquering, or enslaving someone and how those two practically embody the archetype of evil overlord.

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papenathys

Absolutely insane lines to just drop in the middle of an academic text btw. Feeling so normal about this.

[ A Critical History of English Literature, Vol. 1, Prof. David Daiches, first published in 1960 ]

I’ve seen this cross my feed a few times now, and it’s certainly a poetic piece of rhetoric. But you know what? I think it’s almost completely wrong.

Allow me to explain. To begin with, punishments absolutely can “undo the crime” for a great many crimes and circumstances. When a thief is punished by being made to restore what he stole (or its equivalent monetary value) to whomever he stole from, the crime has been in a very real sense ‘undone’. Sure, the time in which the thing was stolen can’t be erased, but the compensation extracted from the thief can take that into account. And once the thing is returned, situations can (in many cases) simply return to the way they were before it was stolen.

This is obviously impossible, of course, in the case of murder (for mere mortals, anyway; I will refrain from considering divine intervention here). But even then, there are things that can be done: the murderer can be deprived of whatever ill-gotten gains the murder profited them, and they can be prevented from committing future murders, to name two. Whether or not they no longer deserve life themselves, they certainly don’t deserve to simply continue with their life as before. Even if the punishment can’t completely “undo the crime”, there’s still a big difference between letting it stand entirely unchallenged, and undoing what parts of it can be undone.

Continuing backwards: personally enacting revenge by killing the murderer may also be unjust, but not because it accomplishes nothing. Revenge can’t “undo the past”, but the only way it can be said to “re-enact the past” is in the mere materialistic sense of one person killing another person. The materialistic sense is an incomplete one here precisely because the context and motivations for the act are significantly different.

And contrary to the assertion that “there is nothing you can ever do about the past”, there most certainly is something you can do about it: in depriving a murderer of their ill-gotten gains (whether by legitimate or illegitimate means), a very significant part of the past is, in fact, “undone”. Furthermore, in bringing the murderer to justice, you are preventing them from perpetuating their crimes any longer. How is that not a “purposive action directed towards the future”? It certainly seems like one to me. So these don’t seem to be correct things to say, either.

Now, on to the specifics. Setting aside the question of whether Hamlet’s “preconceptions about the nature of life” were really shattered (as opposed to merely his preconceptions or estimations about his mother and uncle), questions about “what could be done” would seem to have an obvious answer. Hamlet, on a personal level as the son of the victim, and on an official level as a member of the Danish royal family and heir to the throne, has no small amount of legitimate interest in seeing the murderer, who is also the reigning king, brought to justice. As a royal, surely there would have been multiple avenues for him to pursue in bringing his uncle to justice by legitimate means, rather than resorting to killing him personally.

The problem isn’t that Hamlet desires to see something done, the problem is that he chooses to take it entirely upon himself to do it, and lets his lust for revenge overbalance the need for justice. Once he became certain of Claudius’ guilt, he could’ve confronted him privately, or publicly accused him before the court. He could’ve tried to find witnesses to testify that his father’s body didn’t have a snake bite on it at all, so that it wasn’t merely Claudius’ words against his. Really, there are any number of paths Hamlet could’ve taken here which would’ve been entirely legitimate.

The characterizations of the ghost’s motivations as “purely selfish” and the task as doing “no possible good” thus also look false. I fail to see where the ghost is requiring that Hamlet pursue revenge as a private and personal matter, instead of publicly and legally. Hamlet at least contradicts the ghost’s request insofar as he certainly does “contrive against” his mother. How, then, can the ghost be said to be “at fault” in any sense?

The tragedy of Hamlet isn’t that “no action can be of any use” and Hamlet acts anyway, the tragedy is that Hamlet, in his fury, chooses one of the worst possible courses of action he could possibly have chosen, and persists in it long after it should’ve become blatantly obvious how unwise a course of action it was.

The 1980s comedy Strange Brew, starring Rick Moranis and Dave Thomas's Bob and Doug McKenzie, is an adaptation of Hamlet. John Elsinore is murdered by the evil Brewmeister Smith in order to make John's younger brother, the craven Claude Elsinore, head of the Elsinore Brewery in order to kickstart a plot for world domination via mind controlling beer, but have to contend with Pamela Elsinore, John's daughter, trying to solve her father's murder with the help of Bob and Doug. It is a gloriously stupid movie that never takes itself even a little seriously, but the reason I'm bringing it up is because it ends with the villains soundly defeated and Pamela as head of the brewery. It was possible to right the wrongs done, because in this film Pamela does not go on a one-woman wrathful crusade, and Bob and Doug's bumbling actually becomes key to solving the murder and defeating the villains.

Or consider the much more famous Hamlet adaptation with a good ending, The Lion King. Simba can't bring Mufasa back, but he can save his kingdom from the corruption and famine that is destroying it and avenge his father's death by defeating Scar. (Perhaps coincidentally, both versions of Hamlet with happy resolutions feature comic relief sidekicks for the Hamlet character to work with.)

The idea that no action can possibly be of any use because it can't undo the past is just defeatist and we should never listen to that.

Or Macbeth, where Malcom and MacDuff bring an army to overthrow the tyrant Macbeth, and then go on to successfully kill him and restore order to the kingdom.

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luna-drinker

I've noticed that after two characters finally get together their once great chemistry flatlines immediately 🤔

I think the reason is that when two characters get together, the dynamic of their story has fundamentally shifted, but the writers don't realize it.

In romance stories, the story focuses on the characters approaching each other. How they get closer, take a few steps back, then get closer again. But once they get together? They're together. The only way you can have them be moving as much before is to force them apart, then back together. Which either gets repetitive or makes the dynamic look unhealthy.

The trick is now the story is about where they go together, how they go through life together. They've become a team, now what hardships do they face? How do they disagree about their current path? How do they complement each other, etc.

TL:DR: Writers don't realize that after the couple gets together, the tension in the story is no longer "will they won't they", it's the shared burdens of facing life together.

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I want a home video release short for TF One called Ratchet's No Good Shit Week. This bot just spent the last who knows how long fixing up people who almost died for a propaganda obstacle course, and next thing he knows there's a violent revolution, an impending civil war, and his new boss is in his robot early twenties fresh off a break-up.

No wonder he's so grumpy in some continuities...

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Another thing I really have to give TF One credit for is the sheer amount of violence they got away with by virtue of all their characters being robots. Like, where else could our deuteragonist-turned-final-boss literally rip the villain in half on-screen and walk away with a PG rating?

Oh sweet summer child. They've been doing this since 1986.

The first animated film alone got away with violently gunning down several major characters in the first 10 minutes! Including one barely offscreen shot of Megatron shooting Ironhide's head point blank. With the Fusion Cannon. One character is blasted so hard he's burnt into a charred crisp that crumbles to dust. Another explodes.

In the third season, Optimus shows up as a zombie whose body is horribly mangled onscreen.

Beast Wars had a character get stabbed in the heart, leading to him exploding. Then the character who did the stabbing's destroyed remains float to the surface. Another is hit by an explosion and has his charred head shown next episode.

Armada had Optimus crumble into dust in one episode. In Energon Hot Shot briefly loses an arm. In Prime, a character is stabbed to death in the first episode, has his corpse resurrected as a zombie, which is then dismembered.

And that's not going into the many many times someone was maimed in a way. Or the tamer deaths that they could never have done.

In short, Transformers has always gotten away with a lot of violence they'd never be able to get away with if the characters were human.

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look, i dont care what directors say in behind-the-scenes or interviews, if they dont present that information in the film, they are bad story tellers. like, we had to assume everyone attended your comiccon panel? like? no. you are bad at story telling. if a character appears with zero context, it is confusing. i am not saying spoon feed the audience, but goddamn, there are plot devices that should be there to explain why that character showed up. not just information from your twitter. i shouldnt have to absorb five layers of media for your film to make sense 

PREACH

Even just a throwaway line would be great. “Hey remember when we saw that thing at that place”. Done!

“somehow, Palpatine returned and he’s broadcasting a message to the entire galaxy but the message isn’t in the movie, it’s only in Fortnite”

out of all the poor choices made in the Star Wars sequels, that was one of them

What the hell did you just say

You can have some supplemental knowledge as a fun bonus for people who want to know (think the Silmarillion references in the LOTR films).

But you can't have that stuff be important to the story you're currently telling! If it needs to be in the story, it needs to be in the story!

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Can you imagine God creating Golgatha? Can you imagine Him forming the hill where His beloved Son would be tortured and killed? His hand sweeping the dust to form solid ground. The rocks settling, the grass growing in patches here and there. Can you imagine His anguish at seeing His beautiful creation being used to destroy His own Son? The pain He must have felt as the cross stabbed the earth? When Mary fell to her knees in the dirt, did He shudder? Did He weep not just for His Son, but the hill He brought into existence? Can you imagine the despair and pain? Can you imagine?

What about the cross?

He plants this lovely tree, lets it grow tall and strong, all so it can be chopped down to form the cross that His son is nailed to.

Every spring leaf sprouting, every autumn burst of color all for the day it will be the death of the Lord's Son.

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i will not buy flowers for a girl because flowers are stupid and worthless and they die like really fast. get a girl a rock. rocks are strong. rocks don’t die after 2 days

diamond

the word you’re looking for is diamond

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datvikingtho

Diamonds are overpriced and far too common. Hand-forge a ring. Etch a script into it. Use it to ensnare the world leaders and take over the world.

There are literally two trilogies telling you why that is a bad idea

Yes, instead forge a set of jewels imbued with divine light, the sort that will be irresistible to all who see them, the sort the devil himself would put on his crown just to spite you.

Then have yourself and your family guard them zealously.

I can see no way that such a thing could possibly go wrong.

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edennill

❗Swear an oath to violently murder anyone who tries to steal them first ❗

No, no, swear an oath to violently murder anyone who tries to steal them SECOND, after someone else already stole them. That's obviously the way that'll turn out for the best.

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i will not buy flowers for a girl because flowers are stupid and worthless and they die like really fast. get a girl a rock. rocks are strong. rocks don’t die after 2 days

diamond

the word you’re looking for is diamond

Avatar
datvikingtho

Diamonds are overpriced and far too common. Hand-forge a ring. Etch a script into it. Use it to ensnare the world leaders and take over the world.

There are literally two trilogies telling you why that is a bad idea

Yes, instead forge a set of jewels imbued with divine light, the sort that will be irresistible to all who see them, the sort the devil himself would put on his crown just to spite you.

Then have yourself and your family guard them zealously.

I can see no way that such a thing could possibly go wrong.

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wild when villains claim to do all their evil stuff in the pursuit of truth, knowledge, or being perfectly logical.

like buddy... morality is true! you can possess knowledge of right and wrong! and if your logic is based on the false premise that morality isn't true, it's not perfect!

so give me a villain who finally gets what they want and is confronted with the horror of their sins. that'd be pretty neat.

This sounds like Gandalf's thoughts regarding Saruman who sadly wasn't in a listening mood...

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