(machine speech)

Okay so this is super random but I saw a post a few days ago about Dr. Doofenshmirtz of Phineas and Ferb and father’s day (I cannot find it for the life of me so if you know which one I’m talking about let me know) and I was thinking about it just now and I realized…Dr. Doof’s backstories are the perfect way of thinking about villain motivations. From what I remember, almost every one of his evil schemes were based on some kind of traumatic experience. Each scheme involves some kind of crazy and outlandish machine and passionate speeches about the evils of lawn gnomes or whatever he’s angry about. BUT in the Christmas special he can’t come up with a reason to hate Christmas and therefore has no motivation to go through with his evil plan to ruin Christmas so he sort just goes along with it because “he’s evil” and it’s all just so pointless. WHICH IS EXACTLY HOW IT SHOULD WORK. Just like Dr. Doof, your villain needs a legitimate motivation to go through all the work and be passionate enough to fight with everything they have against the protagonist. Without it they’re boring, easily thwarted. and kind of listless. As goofy and stupid as some of the backstories are for Dr. Doof they make sense to him and that’s what makes for a great villain.

On Jyn, whom I love like burning

I’ve been thinking about making this post for a while now, and I’m finally at a point where I think I can articulate all of my thoughts.

Two of the criticisms I’ve seen about Jyn are as follows:

  • The movie doesn’t give us enough information to be able to fully understand her.
  • The change in her is too abrupt, making her arc seem unrealistic.

I, of course, disagree.

The film tells us the following things about Jyn: she had parents who chose, early on, to rebel; she had a close relationship with her father; she had to flee her home, alone, at a very young age; she watched agents of the Empire kill her mother while her father stood by; she was raised by a soldier as a soldier; she was ultimately left behind by said soldier; she is desperate; she is a lone wolf. From all of this, we can discern that she has been abandoned by one father figure and “betrayed” by another (Galen did not actually betray her, but consider how the events on Lah'mu might look through the eyes of a child: “Dad, Dad who is great and whom I love and who says he loves me and will protect me, just let bad people kill Mom and went with the bad people instead of coming after me”); that her childhood was difficult, violent, and traumatic; and that she has difficulty interacting with other people (which is a direct result of the former points).

The film also tells us that, beneath her tough facade, she cares, and that she maintains a firm moral center positioning her against the Empire. That’s why she says that she prefers to believe that her father is dead; that she rescues the child in Jehda; that Saw asks her, “you don’t believe in the cause anymore?” Her apathy is feigned. It’s a product of the fact that, post-Saw, she shut down and began surviving just for the sake of it, because she was littered with wounds that would not heal.

When Jyn says to Saw, “it’s not a problem if you don’t look up,” she doesn’t actually believe it. Watch her: she pauses, and her mouth quivers, and the words come out mealy. It would be easier if she believed it. It would sync up with her trauma. But because she knows right from wrong, she can’t say it with conviction; she can only deploy it as a “gotcha,” as a set piece in an argument. She is trying, very poorly, and as a self-defense mechanism, to convince herself of a convenient fiction.

The reason she becomes a beacon, a “speech machine,” after watching Galen’s message is because said message resolves 95% of what she’s been going through. It tells her that her father did not actually betray her, that he has always stood against the “bad people,” that he wants her to fight against them, too, that he’s actually paved the way for her, for everyone, to do it. He’s been steadfast and true, something the people in her life, up until then, have decidedly not seemed to be.

Jyn doesn’t change, after Jehda. She just takes off her mask.

To that end, Cassian’s “welcome home” works on two levels: it welcomes her into her found family, into a group of people whom she can trust and rely upon and who believe in her as much as she believes in them, but it also welcomes her back. She is the prodigal daughter, showing up on the doorstep of her childhood home (the rebellion, lower-case-r because it’s the spirit, not the organization) after having worked through all the shit that made her leave.

  • Machine: WHY? WHY WAS I PROGRAMMED TO FEEL PAIN?
  • 9S: It's okay, 2B! They're just robots! They're just mimicking random human speech!
  • Machine: I AM VERY FRIGHTENED AND I DO NOT WANT TO DIE
  • 9S: What could be making them choose to say those completely random words? 🤔
My Pitch for how to rewrite Arrow.

So, a while back, after me and my brother had a chin-wagging session on why Arrow was a legitimately terrible show after Season 2, I decided to do a little think piece: say I was tasked with rebooting Arrow a couple of years down the line. How would I do it? What would I change (a lot)? What would I keep the same (not a lot)? I decided to sit down and write out a basic outline for a rewritten Arrow Season 1.

…two weeks, 2000+ words and another basic outline for Season 2 later, I am pleased to present my pitch for Arrow Season 1 under the cut to anyone who might give a shit.

WARNINGS for: discussion of violence, mental health and swearing.

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Some great discovery associated with it may hereafter make our most sanguine forecast of today seem poor and mean beside the reality. That its collections must increase is the law of its being. To it are coming, and will continue to come, things rich and rare from the four quarters of the globe. No limit can be set to its expansion along the lines already so wisely laid down, nor to the results which may flow from it. This is the century of wonders, and its closing years are like to be the climax for all which have preceded them. Men of science tell us that the problem of aerial navigation is on the eve of solution, mainly through atmospheric observations and the study of the motion and structure of birds, carried on it part in collections like this. It is said that the mighty power of electricity has not even shaken off its swaddling clothes, and is yet to tower before us like genie of the Arabian tale from the unsealed vase. If these things be true, and if other revelations of which we do not even dream are to remake the world in these or some of these, it may well be that the institution will have an honored part.
— 

Mr. Edward G. Mason, President of the Chicago Historical Society, “The Message of the Museum to Chicago and the World.” 

Field Museum opening day and dedication ceremony, June 2nd, 1894. 8,000-10,000 people in attendance. 

Reading this passage gave me chills, putting myself in the position of those at the ceremony, their place in time and history. The fact that when the Museum was opened - the same collections I work in today - that aerial flight was on the horizon, and electricity was in its earliest, infantile stages, is awesome in every sense of the word. Many of these words have endured* more than 120 years and uphold the mission we carry out today – No limit can be set to its expansion along the line already so wisely laid down, nor to the results which may flow from it. 

If these people thought then we were at the brink of discovery, then now we are just beginning the gradual downward slope into the infinite spiral. At the center of that spiral lay our increasingly important museums and the collections they house. 

*some have not..

my only comment on Louis’ promo is Nick using the west wing theme music while announcing Louis is going on the breakfast show is giving me instant tomlinshaw au vibes. 

Louis is a stressed out WH staffer, hardly a step up from an intern, working in press office and Nick is a very annoying social media related journo who no-one takes seriously but then he stumbles on something that might be a lead and it’s Louis job all of a sudden to take him seriously but also make him shut up. Meanwhile somehow Nick who doesn’t seem to value much is all of a sudden making Louis feel a little valued and less part of a machine

or

They are speech writers and Nick is a subject matter expert brought in to help with a new announcement in the SotU and Louis is pretty damn pissed off about it all, this motion was his baby since before Ohio and to have it modified by some to-tall newcomer is galling to say the least. Anyway, he’s found a long abandoned rubber ball in the back of a drawer in his desk and he is slamming that baby against the wall of the space Nick has been set up in. It’s quite late at night, and Grimshaw is done being annoyed, and has just marched into Louis office - eyes glittering and just full on pissed off, not expecting the smirking creature he encounters.

This all said - I can never imagine either of them as anything other then British so maybe transpose this all to Downing st and replace Ohio with a party conference at a terrible seaside resort of your choosing. 

yup Jack Zimmermann is 100% lowkey bothered when people call him a hockey robot

I haven’t talked about the Fringe finale in a while, so hey, let’s do it - esp given like the semi-recent trend of works wrapping up in a Cheesy Domestic Mess - probably 10 popped into your mind right now.

In so many of these Life Or Death! shows, manga, books, etc. we somehow oversimplify everything with a timeskip & domestic life.  Every woman’s a homebody & everyone’s hooked up with someone else.  Kids are everywhere. Things are peaceful.  Loose plot point are loosely tied.

I’ve been pissed off at SO MANY of these “endings” because… they seem so… lazily constructed.  Uh uh uh shit how do I end the story?  OKAY LET’S MAKE MARRIAGES & FAMILIES & MAKE SHIPPING WARS WORSE NAILED IT GOT IT.

But the “domestic” ending WORKS for Fringe, specifically for Olivia.  & for a lot of critical fans who say that it’s contrary to Olivia’s character…. 

… um… you might want to analyze Olivia again.


TL / DR: Given the struggles Olivia has had to overcome [insecurity over womanhood, motherhood, & relationships] a “domestic” ending is so rewarding. In the finale, Olivia FINALLY, after 5 aching seasons of self-loathing, self-doubt, & self-harm, Olivia loves herself.  Olivia values herself, & all that comes with that.  Olivia finally views herself as being “good enough” - a good enough woman, wife, & mother.  A “domestic” ending is deserved.

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Who Could Be the Benefactor?

I’ve actually gotten an extra day before I have to go for two weeks (EEEEP), and that means I’m going to write five million posts about the new Teen Wolf episode before I go! :-)

So I’m going to try to go through each potential Benefactor and try my hardest to identify who has the highest chance of being revealed as our villain. I’ve gone through three suspects I’ve seen people suggesting around Tumblr, so I’ll start with these guys, and I’ll investigate some other people if anyone wants me to!

Okay, let’s go through them all!

Suspect #1: Lydia Martin

POTENTIAL EVIDENCE:

-Lydia is connected to death through her banshee abilities, and has been known to do things automatically without being aware of it or remembering the significance of what she did. Unfortunately it is fully within the canon conception of Lydia that she could be doing something like this and not even know what she was doing.

-This is furthered by the constant references this season to Lydia not knowing how her banshee powers work.

-The keyword is Allison.

-Lydia subconsciously knew the Benefactor’s coding.

-Lydia is now part of the growing group of characters who have financial issues (Scott with the repairs, Stiles with the bills, Kira with the house on sale, Derek and Peter without their bonds). It was mentioned in the weird mute scene with Mason that they are going to sell the lake house, something that was giving Lydia considerable anxiety after spilling the wine, and also when Lydia and the werewolf dude were talking about the cost of the alcohol.

-We’ve known for a long time that season four was to be Lydia’s season, just as season one was Scott, season two Allison/Jackson, season 3A kind of everyone, and 3B was Stiles. We also know that we’re going to explore how the banshee powers work, and Lydia’s family history, and even get plenty of scenes with Lydia’s mum. Although it doesn’t sound very suspicious, we know Lydia is a key player this season, and it’s worth keeping an eye on!

THOUGHTS:

What if Lydia subconsciously has still not gotten over the death of Allison? Perhaps Allison literally is the key, as in the key to solving the mystery. We have a lot to learn about how a banshee works in this universe, and therefore a banshee being affected by a personal tragedy and quite possibly being emotionally unstable could have large, subconscious consequences. We’ve seen it when she was traumatised after season one, which Peter made use of. And now, with the theme of money apparently on her mind, perhaps something is going on with her.

SUSPICIOUS LEVELS: Low, but worth keeping an eye out for.

Suspect #2: Peter Hale

POTENTIAL EVIDENCE:

-You can literally never trust Peter Hale.

-Peter is another person who could know the significance of Allison being the password, because of that “His password is also Allison?” moment in season one. I could see him making that the password just because he’s a douchebaguette.

-Peter took the Mute’s speech machine from him, which I felt was significant as Peter literally prevented the Mute from saying anything—first, through taking the machine, and secondly by murdering him just as he was about to be arrested and taken in for questioning.

-Also, why was Peter even in the school with them? I don’t think either of them would have invited him along, which means Peter was there on his own business.

-Peter is NOT on the list. This could mean a number of things. At first, I guessed that he wasn’t on the list because the Mute had assumed him dead after the tomahawk attack, but this can’t be true because the Walcott family were all murdered but remain on the list. Unless the Walcotts aren’t dead (which I really don’t think is true) that means that Peter Hale was never on the Benefactor’s list to begin with. Sketchy, Peter!

-His daughter Malia isn’t on the list either…

SUSPICIOUS LEVELS: Pretty high, as always! I don’t suspect that he’s the Benefactor, because he doesn’t have the money to pay assassins, as the money the Benefactor uses to pay them was stolen from him. However, he’s always up to something, and I think whatever he’s doing, he’ll try to get Malia involved somehow too.

Suspect #3: Deputy Parrish

POTENTIAL EVIDENCE:

-Parrish knows so much more than he lets on. In season 3B, he encountered and fought the Oni without ever commenting on how they appeared and disappeared, or seeing them as anything unusual. There was that deliberate moment where the Sheriff asked why Parrish had come to Beacon Hills, and his reply of “I kind of felt drawn here,” which is made suspicious by the fact that the Nemeton draws supernatural creatures. This season, there has been that weird moment between him and Lydia, where he was decidedly unsurprised by her potential psychic abilities and I even got slightly creepy vibes off of him in that scene. His declaration that he wishes he didn’t believe in anything is suspicious, too. He knows something.

-He’s so likeable! He’s constantly been shown as a really good guy, and it really reminds me of Jennifer Blake. Seeing as we know that he is hiding something, I’m suspicious that there’s a darker side to Parrish that we haven’t seen yet.

-The Benefactor stole his or her money from the Hales, using tear gas (I think that’s what it was?). Parrish would certainly have access to those kind of things. Also, Parrish would definitely have needed to steal that money to start the operation.

-Parrish seems incredibly eager to know what Sheriff Stilinski is doing, which could be innocent, but maybe not. He was curious about the Sheriff’s “expert”, and even interjected later in the Sheriff’s office.

-Another member of law enforcement is acting shady—Agent McCall. We’ve seen him this season in an incredibly darkly lit setting, talking about “getting started on a list of repairs” right before the Benefactor list comes into existence, and the tools that Scott stumbles on are never seen due to the dark. This could mean absolutely nothing, but Agent McCall also saw the Oni. If he’s in any way involved, I don’t think he knows about Scott.

-We’ve also seen in trailers that shot of police officers dragging Scott.

THOUGHTS:

What if Parrish or someone like him saw Allison’s death as the last straw for the supernatural in Beacon Hills? I think that, if the Benefactor is Parrish, it’ll be because he think he’s doing the right thing—a “for the greater good” idea—and I don’t think he’d be entirely alone in that thinking. I could definitely see Parrish leading a small group within law enforcement in Beacon Hills, doing this thinking that removing the supernatural will dramatically lessen the number of violent incidents in town.

SUSPICIOUS LEVELS: Very high. Currently, Parrish is my top suspect for the Benefactor.