Endings reveal a lot about the overarching ideas of a piece, and by finishing with Korra and Asami, the writers establish that The Legend Of Korra is a story about women first and foremost. It’s a series about how women relate to each other as friends, family, and rivals in romance and politics, an idea has became especially prominent in Book Three. Before that, there was much more emphasis on Korra’s connections with the men in her life: her father-daughter dynamic with Tenzin, her romantic entanglements with Bolin and Mako, her conflicts with Aman and Unalaq. Those relationships made Korra’s experience especially relatable to the adolescent females in the audience dealing with their own father drama and boy drama and the oppressive reality of living in a male-dominated society. But then the show stopped being about that.

The amount of time spent on Jinora, Asami, and the Beifong women in Book Three shifted the focus to the female cast, and Book Four pushed the men even further into the background by spotlighting a female villain and devoting more time than ever before on the inner workings of the title character. There are multiple times in this season when all the major players on screen are women, which is a remarkable thing in any action television series, animated or not. With so much emphasis on the female characters, it makes sense that The Legend Of Korra would end the series by looking at Korra’s relationship with another woman, and just the hint of a lesbian relationship is an extremely progressive step for an animated series geared to a younger audience.

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That time i realized that i had become a child who would be found. So, i broke into tears of happiness. No matter how far we’re separated, you two would definitely find me. 

It’s nice knowing, someone will find you.


Happy 30th Birthday, Bob Moley;

December 20, 1984

@WildpipM: The grounders could’ve asked for, technology, radio communication, deployable acid fog resistant tents, literacy. But all they want…Finn

when i did my brief, ill-fated stint in the indie game industry, i went out of my way to argue for representation. i wasn’t in a position to do this, since i was a total junior, but i did it anyway. 

and sometimes my voice was heard, and sometimes it wasn’t. but being heard doesn’t always mean you’ve succeeded. 

even in a tiny studio, working with a small team, my voice got lost. my insistence that a lesbian romance option would be a big deal for a lot of people was listened to and given vague consideration but ultimately it was deprioritized (and finally cut, i believe) due to time constraints and the decision to focus on creating more content for the hetero romance paths. 

so yeah, generally speaking, as lgbt folks, we DO come last. we DO get cut. we’re the first thing to go when it gets down to the wire. and we have to fight insanely hard to even be considered for inclusion in the first place because straight people generally do not notice or care if we’re not there and some of them would prefer we weren’t.

and man, after years and years and years of heteronormativity and never seeing yourself or people like you in anything? it pretty much grinds you down into dust. 

it’s just… you get used to it, but it never gets less disheartening.  

And in the end
I’d do it all again
I think you’re my best friend
Don’t you know that the kids aren’t al-,
kids aren’t alright?

Of course when Fall Out Boy releases a new song the first thing I think of is to draw Homestuck fanart of it.


Jamie & Claire in the new Outlander promo (x)