about the very fact that that show exists

The Force Awakens and fairytales, part one: Snow Queen and Snoke

Thank you @ewa-a-nie-chce-spac​ for your encouragement and @shadowlass​ for inspiration :) I’ve been thinking about writing this post for a year, but recently few things happened that motivated me to do it:

Finally I had a chance to watch “Beauty and the Beast”. Well, I saw the animated version before but watching the new one only made me realize why I disagree so strongly with the conclusions of this fairytale. I was never a fan of this theory which highlights the parallels between Kylo and the Beast. Of course, there is some similarity in the outer layer and symbolism but the core of the story is totally different: while Beast is a proud and vain man and so his task in the story is to learn how to love another human being, Kylo is full of self-hatred and doubt and his main goal in this trilogy is learn how to love himself.

What is more, there are many fairytales that reflect more accurately the main motives visible in the Force Awakens. The two that, in my opinion, are the most fitting here are “Snow Queen” and “Prince Lindworm”. But let me say this: since I’ve become a part of this fandom I admired all those talented people who were creating amazing stores, drawing beautiful fanarts and those who put their extensive knowledge (from fabulously varied fields!) into use, writing metas. I also wanted to contribute and share those bits and pieces that I’ve collected during my studies. I decided to divide this post into two parts: the first one will be about the Snow Queen and I will discuss the similarities between the fairytale and TFA on the level of the plot and its symbolism. This one will be more like a summary. In the second part I will write about Prince Lindwom and more psychological stuff, like trauma, dissociation and archetypal defenses of personal spirit. However, I will focus on Kylo’s relation with Snoke in both parts, because I feel that there are still some things that need to be said.

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anonymous asked:

You seem like someone who isn't new to fandom and I have to ask: have you ever had the experience of seeing a large chunk of a show's fanbase actively campaign against a spinoff? i.e. is what's going down with The Blacklist a unique case?

*rickety grandma voice* I’ve seen some crazy-ass shit, son.

Jokes aside, yes, to me it is rather unique, anon, because TBL/R is a unique creative catastrophe. More rambling and complaining behind the cut, as usual:

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anonymous asked:

So does fandom still think there is a 4th ep? I've been feeling pretty down about it today :( just seeing how busy BC is gonna be coming up and knowing Martin is busy too and knowing how shitty they left us it's like someone died. Or up and walked of of your life never to return. I'm trying to be hopeful but it feels odd like they all of them are quietly moving on from this mess. The sheer silence from the Sherlock camp/actors isn't helping either. I'm just so bummed again. Help me believe lol

Hi Nonny!

I actually answered a similar post here the other day. In a nutshell, yes, I am still holding out hope until March 8 at the very least for some sort of news, but for me, everyone’s complete silence about the series is WHY I am suspicious about there possibly being another episode. Plus the COMPLETE 180˚ in TFP from the 12-episode narrative that was being told just doesn’t make any sense to me AT ALL. And there’s all the IN-CANON hints given in S4 and TAB, during setlock (with the Back to Back pics and the Mary and Molly in different wigs AND scenes filmed that we haven’t seen), AND MOFFAT actually being the one to START THE RUMOUR, NOT US. Also some other interesting coincidences have popped up (for instance, Benjamin Caron, director for TFP, once directed a special for illusionist Derren Brown, who is a very close friend of Gatiss… Some speculate that Brown is actually WAY more involved in the series than we intially thought, possibly helping Mark come up with a long game plan. I’ve seen speculation that his appearance in TEH may be a clue to this). 

If there is a secret episode, it is already done, so don’t worry about Ben and Martin not being able to “film” it. We believe that the Secret Episode contains alternate versions of scenes from S4 and from previous seasons’ filming, since we know for a fact that S3 ALONE has at least 3 hours’ extra film. And, as I mentioned above, there were many scenes that were filmed during setlock and we never actually saw in any of the three episodes. So there’s that taken care of.

Personally, everyone’s silence about everything is why I’m really suspicious; it’s fortunate both Martin and Ben had other engagements immediately after S4 aired, so it explains why they’re generally silent about it all. But Mofftiss are really… blasé about S4, almost acting like it WASN’T critically panned or not talking about it at all. This is why many think it was a purposeful thing, and why people think that they’re trying to recreate the outrage of ACD’s time when he killed off his Holmes in The Final Problem – essentially, Mofftiss killed off their “Sherlock” with the Final Problem, and it generated outrage and demands to fix it. Piss poor planning, if this is the case in my opinion, since I don’t think they were thinking about how much it would hurt their fans, but I digress.

ALL that said, Nonny, do not – DO NOT – feel obligated to HAVE to feel good about how it was left off. You have every right to be upset and bummed. There’s a ridiculously good chance that there IS NO secret episode… it’s not officially confirmed and its very existence is all based on speculation and rumour. If you aren’t able to have your heart broken again, THAT’S OKAY. IT IS OKAY TO BE SKEPTICAL ABOUT IT. In fact, we ALL should have a healthy skepticism; part of proving a theory is to be skeptical about its existence so you can openly find proof without bias. I would hate for you to be bummed again if it turns out that the special isn’t real. You are more important than this show. <3 But I do hope that I have made you feel a little bit better.

5

bittersamgirlclub TOP 5 PROMPT #11: TOP 5 SAM-PRAISE MOMENTS 

Making this made me feel all warm and squishy inside, there are many other little moments I could have chosen and that makes me very happy. Sometimes it feels like Sam is so underappreciated, both in fandom and in universe, so to focus on all those moments where characters talk or feel about Sam the same way we do is just wonderful.

These are not necessarily in any order, although those first two are pretty much interchangeably in first place.

  1. Marie - Fan Fiction - I just love how with three words Marie manages to sum up so much of what we all adore about Sam, those core facets of his being that make Sam so beautiful. But what I love even more is “there’s nothing he can’t do”. There’s something so powerful about that, and it’s so true on so many levels. The way in which Sam has defied destiny and other’s expectations for him, time and again. Working his way to a full ride to Stanford. Building himself a new life, not once, but twice from the ground up. Overcoming the devil. How could anyone not believe that Sam is capable of anything after reading about that! The other thing I love about Marie is that, although she exists in universe, she gives us an out of universe perspective on Sam, in that sense I find her, and her praise of Sam to be very relatable, it feels as if I am being voiced directly through the show. Of course the fact that Sam did not hear this praise saddens me, but I think it is incredibly important that Dean did hear it, to be reminded of all those things that deep down he knows, and loves about his brother.
  2. Jess - Pilot - I think its no secret how much I adore Sam/Jess and their relationship. Of course we only get tiny slivers of their life together, these fleeting moments, but ones like this especially I think illuminate their relationship perfectly. In this scene, Jess makes absolutely sure that Sam knows how proud of him she is, bringing up his LSAT score, praising how amazing it is, making sure he knows she’s serious when she says she’s proud, that she wasn’t just kidding around, that she really means its and that she believes in him. I think Jess was painfully aware of how little, if ever, Sam had been exposed to the concept of someone being proud of him and that intentionally worked to rectify that at every available opportunity (I might have written a little ficlet about this *cough*shamelessplug*cough*). We hear in ‘Phantom Traveller’ that apparently John expressed his pride in Sam to others, but clearly withheld it from Sam himself, the fact that Jess goes out of her way to ensure that Sam knows how she feels is just SO important.
  3. Mr Wyatt - After School Special - This episode in general is just EVERYTHING to me, but this moment in particular is incredibly special and I think actually instrumental in shaping Sam. I think its quite likely given Sam’s reaction to thinking the Mr Wyatt was going to fail him, that prior to this scene Sam was actually rather apathetic about school, moving from place to place, never being able to make real connections, he probably loved learning and studying but was unable to find reasons to really care about doing well when in a few days he’d be off to the next school anyway, when he saw nothing in his future but more of what his entire life had been, death and danger and loneliness. Mr Wyatt not only praised Sam’s academic abilities, but more importantly he allowed Sam to believe that there could be something beyond his current life, that he was capable of escaping that, of building something of his own.
  4. Dean - Scarecrow - I love, love, love this moment! Firstly, I’m pretty certain that this is the first time Sam has heard the words “I’m proud of you” from anyone other than Jess, look at his reaction, he’s completely at a loss for what to do or say and just taken aback entirely. What’s also important here is what Dean is praising Sam for. Dean is saying that he’s proud of Sam for the very things that go Sam disowned and dissociated from his family, for things that Dean in the past (and sadly will again in the future) had criticised Sam for. Standing up to John and forging his own way were actions that Sam had been led to believe time after time were deep and terrible betrayals and things that he should feel ashamed of, that Dean in this moment acknowledges that they are in fact great strengths and worthy of admiration is just so incredibly important.
  5. Sarah - Clip Show - I actually think this one is a little odd, because I think what Sarah is picking up on here is Sam’s determination to finish the trails and to 'right’ all the perceived wrongs he was done, to make up for all the ways he believes he’s let Dean down, and I can’t really feel that that is a positive thing. On the other hand, Sarah a) doesn’t know the context of what she’s seeing, she’s genuinely trying to and say something good about Sam b) at this point in the season people who bolster Sam in anyway, especially to his face, are so few and far between that anything along those lines is like manna in the desert….

sunflowerchester — I finally finished it! hahah…

anonymous asked:

This is random but...Very recently I realized that as much as I loved Bodhi... he was possibly the most forgettable main character in RO, and it made me sad because he's my favorite. I didn't even actually remember him until Tumblr started flanderizing him and turning him into a wilting flower. I would get indignant when the media forgot to put Bodhi on character lists, but I realized that even when he had a huge part in the rebellion, he wasn't a well-developed character, and that was why. :(

Here’s the thing—I’m not sure we watched the same movie. It’s true that I went into Rogue One for Riz, being already a huge fan of his and wanting to see him in a blockbuster for selfish reasons.

However, even if I hadn’t, I would have fallen for the character of Bodhi immediately, because he’s such a fascinating depiction of opposites. Riz portrayed him beautifully as being terrified to his core but absolutely determined to do what was right. He’s anxious, jittery, afraid, but he’s also fed up of people doubting him, (”You sure?” “YES.”) and working to put right his wrongs.

Riz did an incredible job with very few lines, showing in his eyes and face the terrified determination of a man who knows what he has to do and is well aware he’ll probably die doing it. He named the team. The Rogue Squadron exists because of him. I came out of the theater wanting to know everything about him, his backstory, his motivations, his inner workings, because the character so captured my heart.

You say he was your favorite, so I’m sure he was that for a reason. And yes, it’s true that the media erases him and fandom is wont to woobify him. But the fact remains that the entire story exists because Bodhi Rook followed his heart. For me, Bodhi is the soul of Rogue One, and I could no sooner forget my own head than leave him out.

So, @lenaluthordefensesquad sent this post to me and asked for my thoughts on the comments. Now this petty back and forth between supercorp and sanvers is something I have been aware of and seen but have purposefully tried to avoid as much as possible and not engage with. However, Meadow asked me to make a post because apparently I said some things worthwhile. So here’s the thing. I ship both supercorp and sanvers (although I still tag it detective danvers because I am a little petty myself but i’m not gonna talk about that here it’s irrelevant). So keep that in mind because I might sound harsh towards sanvers here. Basically, my problem with the comments on that post are that they are trying to blame something that they perceive as a problem on the existence of a non canon ship. So, my response to seeing the post is this: First of all, to say that in general Supercorp gets more screentime than Sanvers gets is just untrue. Lena has only been in a handful of episodes, most of which she had very little screentime. The fact that we finally got a Lena centric episode does not mean that supercorp is suddenly getting more screentime than sanvers. The other issue is that, the writers of the show are not putting scenes with Kara and Lena in with the non canon ship in mind. Lena and Kara’s friendship in and of itself, without the existence of the ship is IMPORTANT to the show.  The show is called supergirl, and while yes Kara and Alex are equal Lead characters, the main storyline is not about the romances and it shouldn’t be. Sanvers has always been a side plot for this reason and will probably continue to be. Lena’s episode relates to the larger action portion of the plot that the show has always focused on where Kara and the DEO are fighting bad guys, in this case Cadmus (idk if i spelled that right, but I don’t care). Also, it is important that Kara have friends on the show who are not just the boys that fall in love with her. In season one she had Cat as a friend and Alex as her sister. In season 2 if Lena was not allowed to develop this relationship with Kara, Kara would be down to NO female friends, and Alex being the only other woman she really interacts with often. So Lena and Kara’s relationship, even without the existence of supercorp is integral to Kara as a character and as the lead character. 

If Sanvers shippers truly want to complain about them not getting much screentime, there is a whole host of other things that are more responsible for that, that would be legitimate to criticize. Mon-El becoming more of a lead character and getting the screentime of a lead character is one of them. But I think we need to remember that this is an ensemble show, and it is not the Sanvers show. Sanvers has had and will continue to get some centric episodes where they get a lot of screentime, but because of the size of the cast that is not going to happen every episode. I also have a HUGE problem with the superiority complex shippers of canon ships seem to have. I honest to god always thought it was just a hetero shipper issue. But it looks like in the microcosm of fandom we are having a similar thing happen with the relationship between canon and non canon f/f shipping that has happened between say, white cis gay men and the rest of the LGBTQ+ community. It’s like once they finally get to be part of the elite canon group who has the power of writer validation behind them, they want to shit all over the people who don’t have that luxury. This is something I really truly do not understand. It used to be that ALL f/f ships were noncanon because we did not GET to be canon. and it is fantastic that we now once in a while get canon ships, but fandom was created and developed for the specific reason to transform the canon text into something new, to explore things within the story that do not get explored by the actual writers. This is our history. Please do not forget that. Fan works exist to take a story places that the mainstream media and the writers of the show won’t go. So to come in and hijack a post made by a supercorp shipper as a JOKE based on the fact that Katie McGrath has played many gay characters in the past and seems to have ridiculous chemistry with other women, melissa included, is uncalled for and rude and not actually justified. Supercorp is not canon. We know that. We KNOW that Alex and Maggie are in fact more gay than Lena because the show acknowledges their gayness, but we are allowed to joke about the chemistry and how flirty Katie McGrath is without have a horde of petty sanvers shippers jumping on us. 

And I have even more so a problem with this type of fan who would comment on posts in this way, because they seem to be the same kind of people who joined the fandom ONLY because they heard there was a canon f/f ship in the show, but instead of joining the fandom and appreciated supergirl as a whole and respecting the fandom environment and works created previously, they came in and shit on everyone in the existing fandom. They disregard season one and it’s importance, and many of them came in and shit on the General Danvers shippers for shipping a ship that has existed since the beginning of the show because it wasn’t the current canon ship and astra is “Evil and dead”. Which btw, General Danvers was my only ship on supergirl for quite a long time. And in that same vein, Supercorp actually existed as a ship long before Sanvers existed, and even longer before Sanvers became canon, so to suddenly feel that Lena and Kara’s relationship, which has been developing since the very first episode of this season, shouldn’t get screentime because sanvers is the canon ship is just petty. You want them to give more screentime to their canon f/f ship, you feel that they hype it up to much for the amount of follow through you get? fine, critique that about the writers, but do not blame supercorp and it’s existence and do not go hijacking supercorp shippers posts to be petty. I am not here for ship wars between f/f ships. The only ship wars I can at all justify are the ones where it is a non canon f/f ship pointing out the how a canon f/m ship is heteronormative or fans who happen to ship an f/f pairing critiquing an f/m ship because it is written in a sexist manner or a harmful manner. And even then, I do not support post hijacking or message spamming to the shippers of those ships. Otherwise, there is absolutely no reason that ships should be fighting and jumping on eachothers posts just to be petty, especially not between to f/f ships. So, that’s it. That’s my opinion on the “discourse”. This ended up being a hell of a lot longer than I expected, but I think everything I said was important and relevant. Please be respectful to one another. Other f/f ships are not the enemy here.

The Sublime in BotW.

Here’s a long rambling thing I wrote.

Link Above a Sea of Fog

Standing on the Great Plateau looking down at the swirling mess of fog and malice surrounding Hyrule Castle, our hero (and the player) is presented with a world of such scale, such magnitude, that it may very well, overwhelm us. How fitting, for an open-world Zelda game that feels massive to immediately draw parallels to the sublimity of Caspar Friedrich’s famous painting “Wanderer Above a Sea of Fog”.

Painted in 1818, Caspar Friedrich’s “Wanderer Above a Sea of Fog” is often used as a perfect example of the concept of the sublime, an utterly confounding idea that being awe-struck can have an effect on one’s ability to rationalize and cause one to be consumed entirely by the immense beauty/power of something. The box art for Legend of Zelda: Breath of the Wild pays homage to Friedrich’s painting almost perfectly. While this is nothing new, the ‘Wanderer’ is a common image used in all forms of media, it’s usage here for BotW feels deliberate, and meant to evoke direct comparisons to the original work.

First brought about by Longinus in the form of what he called hypsos, the sublime has had a long history of putting man up against the grandeur, splendor, and immensity of nature and thought, overwhelming the senses and often leading to an introspective battle with the subjective self. Longinus’ work on the sublime saw it as an effect of impeccable rhetoric, but even in the early days of the term ‘sublime’ there was always an element of a spiritual closeness to God.  There is this idea that something is so powerful it’s as if you are staring into the face of God, an immanence that envelops the subject, leading potentially to feelings of ekstasis (feeling outside of oneself). In Longinus, scholar Robert Doran says “ekstasis is explicitly related to an experience of the divine as a momentary transcendence of the human condition. Indeed, the notion of sublimity as being identified with an exceptional or extraordinary state of mind – with intensity, as contrasted with its normal, everyday state from which it is displaced.” He then talks about how terror is considered the strongest emotion that would likely cause displacement from the mundane condition, which is why an element of terror and fear is associated with the sublime.

There is much more to be said about Longinus’ ideas on the sublime, but let’s fast forward to the 18th century, and Emmanuel Kant’s look at the sublime in his Critique of the Power of Judgment. It is from here that we can better see what Caspar Friedrich’s painting is all about, and as such, how the cover art of BotW is itself sublime.

In a well composed paper on the sublime, Laure Cahen-Maurel summarizes part of Kant’s thoughts in this way: “the sublime brings to light a limit that is both ‘mathematical’ and ‘dynamic,’ that is, theoretical and practical, concerning the capacity of the human being to directly access whatever surpasses the sensible world.” What is being teased here is the sublime is beyond what is rational, beyond judgment. Kant’s thoughts on the sublime are focused on the inner turmoil we feel when trying to make a judgment of something. The limits of our own subjectivity.  We reach Kant’s ‘mathematical sublime’ when we encounter something that causes us to either suffer a failure of comparison or allow us to make an absolute comparison. Which makes some sense when he follows that up by saying that the ‘absolutely great’  can be expressed as either “that which is great beyond all comparison” or “in comparison with everything else which is small.”

Kant also explores a second form of the sublime, which he calls the “dynamically sublime,” which has much more to do with relations of power and dominion. Kant starts with an encounter with natural power  “nature considered in aesthetic judgment as a power that has no dominion over us is dynamically sublime” which is somewhat paradoxical, in that he’s saying that this power is greater than our own, yet does not have dominion over us. Robert Doran says this about Kant’s somewhat awkward phrasing: “we fear nature only to the extent that we find that we are “no match for it,” and yet we resist it all the same. Thus if the power of nature must be perceived as threatening (“an object of fear”) to produce a feeling of aesthetic elevation, the elevation itself derives from the resistance to the all-powerfulness of nature, that is, a resistance to that which cannot be resisted, a resistance to a superior power that, despite its superior power, has no dominion over us. In this manner we are, paradoxically, exalted by a power that overwhelms us – the dual transcendence-structure of sublimity.”

It’s a situation where something is seen as so great, and having such overwhelming power, but at the same time can be judged as being impossible in its ability to actually act on us with this immense power. Nature exudes power, but the idea that nature will then crush us with this power seems unlikely or impossible. We’re not talking about a hurricane, or an earthquake, but more simply looking at a mountain and recognizing it as having a power over us, even though that mountain isn’t going to do anything to us. We are awe-struck, and fear the mountain, but it won’t actually do anything to us.

So… That’s the sublime… Now, back to the BotW cover art and Friedrich’s Wanderer.

The Wanderer stands on a rocky peak overlooking a sea of mountains and fog, just as Link looks over the Kingdom of Hyrule shrouded (at least somewhat) in fog as well, with mountains off in the distance, blending into a horizon that seems to have no clear beginning or end. Creating a sense of a vast, infinite nature.

The use of The Wanderer/Link is important as “we look to this human presence as a means of determining the general scale of the scene, and more specifically, of relating our physical bodies to the spatial parameters of the painted (game) world. It functions as a placeholder we can imaginatively occupy, allowing us a virtual existence in the landscape, and shaping our lines of sight within a spatial frame.” The figure acts as an avatar for us to import ourselves into the scene, fitting in Friedrich’s painting, and even more so when it comes to Breath of the Wild.

“Although the traveling figures provide a potential location within, and relationship to, these visions of the world, their presence at once encourages and denies our ability to (even imaginatively) embody such a position. The Rückenfigur stands as an embodiment of humanity’s abstraction from the world that paradoxically is encountered as if at a distance from behind this wandering subject: the figure functions as an intervening medium that separates us from a direct experience of the sublimity of the mountainous scene.”

What is interesting about Zelda then, is that because of the very nature of the medium of video games, that human abstraction and intervention only exists in the box art, but in fact, the player is encouraged to directly confront sublimity once they take up the mantle as the player. We can dive right into the mountainous scene and in fact revel in the dynamic sublime of it. However, this may not be a fair way to compare the two pieces, as we should look at them as only pieces of art. I suppose what I can say is that Friedrich’s painting shows us a scene we can never hope to be a part of, whereas BotW shows us a scene we can enter, by way of the digital, and the figure (Link) instead acts as a medium that connects us to a direct experience of sublimity with a mountainous scene (that is, assuming there is some kind of digital sublime…).  

From here, an exploration of the notion of a digital sublime is possible, as ideas of the digital self and digital subjectivity enter the dialogue in media studies, certainly we must reach a point where the notion of the sublime can be experienced in a digital environment. The confrontation with something either beyond compare or with immense power. In the case of BotW, I would certainly say there have been countless moments where I have been awe-struck in a way that other games do not do. Final Fantasy XV has an amazing world to explore, but rarely were there points in the game where I felt myself in the presence of something that was sublime. That’s not to say that feeling didn’t exist, as I think it did, but BotW has an ineffable quality to it that continually creates that feeling for me. From the view at the top of the Dueling Peaks, looking out at the ocean from Hateno, the vastness of the Gerudo Desert… All of these have created in me a feeling that overwhelmed me.

There is also an effort in these kinds of works to depict, through abstraction, a supreme being, or God, that which defies representation. Friedrich would use voids of color without any apparent or logical end. Often, the edge of the canvas would not act as a narrating frame, but more like an arbitrary demarcation of our limited view of the limitless. This is definitely the case with the top part of the image for BotW. Beyond Hyrule Castle and Death Mountain is a horizon that bleeds upwards into the clouds, and from there runs off the edge of the frame. The color palette chosen for this section of the painting is indicative of sunshine, but as there is no discernible source, one might assume this is meant to be a representation of the divine, of The Goddess. The endless horizon, the rays of light, all signs seem to point to this.

“The possibility of religious encounters permeates his [Friedrich’s] entire conception and treatment of nature as a visual abyss, an approach that serves to remind us of the infinite difference separating human consciousness from a divine or sublime presence.”

So any time we encounter nature in this way in BotW, seeing it as a visual abyss of such depth we are overwhelmed by it, we are experiencing the limit of human consciousness and being made aware that there is more beyond that we will never be able to reach, the land where the Goddess resides.

“The meaning we are able to derive from Friedrich’s depictions of nature is in this way not disguised or hidden beneath the surface of the image, simply waiting for us to find it. Instead, it is in large part a reflection of our own interpretations of what we see. Emptiness is not a façade covering hidden meanings but a surface that reflects a hidden God whose invisibility we experience as a representation of the unknowable world.”

When thinking about BotW, what we are talking about is the world presented to us reflects the Goddess, whose presence is everywhere and always, her very invisibility is experienced as a representation of the unknown world, which could very well be the Spirit Realm. As this might be the case, Link is one who can break through this mirror-like sublime encounter and breach the Spirit Realm, taking his place as a hero beyond compare, a sublime subject himself.

There is some interesting speculation on who the Wanderer is in Friedrich’s painting, with some of the mind he was a certain colonel in the Saxon infantry, as he wears the traditional green uniform of the volunteer rangers of the time. As a counter argument, others believe the man is supposed to be unidentifiable, stating that if Friedrich wanted the man to be identified, he could have done so, but he chose to have his Wanderer turn his back to us.  This has been done to universalize the Wanderer, “enabling us to imaginatively occupy his presence… …the Wanderer can be seen as standing in for and describing an absent or hidden subject in whose reflection we experience the modern relation of human to world.”

This plays well into the very essence of video games, in that our protagonist is supposed to be universalized. Although this is the first Zelda game where Link’s name cannot be changed (a knock against his value as fully universal), he still remains silent (HE BETTER AT LEAST), so he continues to act as an avatar by which we can experience the relation of human to world, even if the world is a digital one. We don’t merely get to imaginatively occupy his presence, we physically occupy his presence in the digital space.

Lastly, there is much scholarship with regard to the subject position of the person viewing Friedrich’s painting, and the Wanderer himself. It is thought that the Wanderer is considered a spectator (an inactive viewer), removed even from the mountain vista he is very much a part of. The fact that he can be ‘separate’ from the world is a “celebrated position of the Human” giving him a privileged position to make a judgment on nature.

Now, we the viewer of the painting are then situated even further outside of that, which in turn leads to more intensified internalization. We experience the subjectivity we project onto the subject of the painting who is already a spectator removed from the nature he seems to inhabit.

What might be interesting to posit from this is when it comes to the medium of video games, the modern subject position of being removed from experiencing the real because that real is being mediated by illusory subjectivity which we may be responsible for producing, can be destroyed as we are encouraged to play the game and experience that “real” world for ourselves. So long as one can accept a digital world as a real world, our navigation through it might allow us to experience in a way that is truly sublime, and not mediated to all hell. Does that mean video games represent a postmodern subjectivity? Maybe. But I think that’s enough for now. This has gone on long enough.

Sources:

Robert Doran’s book The Theory of the Sublime published in 2015.

Julian Jason Haladyn’s article Friedrich’s Wanderer: Paradox of a Modern Subject  published in the Canadian Art Review in 2016.

Laure Cahen-Maurel’s paper The Simplicity of the Sublime found online at Academia.edu.

Title: The Lang Secret  (Part 2 Lang Love Interest(daughter of Scott Lang! Reader x Peter Parker))

Summary: The reader and Peter are on their way to school when Peter finally proposes the idea of a date before having to hurry off for superhero duties. 

Word Count: 1879

A/N: YAY, PART TWO! I’ve been working on this all weekend, omg. I hope you love it, because I know I do AND I WANT MORE LOL. Let me know if we should go for part 3?? Enjoy!

PART 1

PART 3

PART 4

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anonymous asked:

ok, im an intj-t (1w9, i believe) and this discovery has kind of surprised me, but, ive come to the conclusion that i am an easily angered/annoyed person. incredibly so. i never express it externally, though. do either of you have any ideas/thoughts on how i went years without realizing that im this bitter and why my personality is so easily frustrated by seemingly normal things?

This is a very INTJ thing. INTJs sometimes fool themselves to believe (consciously or not) that they are in perfect control of their emotions because they don’t wear them. 
But the thing is, the fact that you don’t show or recognise something doesn’t make it cease to exist, and swallowing emotions is a very unhealthy thing to do (I feel like such a hypocrite writing this, I can already see INFJ mocking me). 

Tips to deal with emotions in general and anger in particular:

Talk about it. I know, I know, this is probably gonna be the least liked tip, I hope I haven’t scared you off. But if there is someone in your life with whom you feel comfortable enough, you highly respect their opinion and you know they won’t judge you (maybe someone’s popped in your mind), then oblige yourself to open up a little bit from time to time. It will be difficult at first, but it will also be good for you. If you can’t think of anyone in particular, go to the next point. 

Write it down. As much as I might feel like a fool, I try to write whatever is upsetting me so that I can have a break from it. I write in a very unpassionate (I guess rather cold-ish) way, but just because it is the only way I can actually do it. Do whatever feels comfortable, you can even crush and destroy the paper sheet afterwards in case you don’t like the idea of having it there.

Exercise. This is one of my favourite methods. Go for a run, do martial arts, go to a spinning class, boxing… Any kind of healthy way of expressing your anger.
[Edit, this was submitted by an anon]: if there’s a fencing program anywhere nearby, it’s a really great sport for INTJs! It’s definitely rather physical, but it’s also extremely mental and requires a lot of thinking ahead and noticing patterns in your opponent’s attacks (and then adapting to it to get through their defenses). Plus, who doesn’t like the idea of legally being able to stab someone?
 
Bonus: The most INTJ thing ever. 
Try to go beyond those emotions. They didn’t appear out of no-where and I am sure there are solid logical reasons why you constantly feel annoyed and angry. Solve your own puzzle and validate yourself in the process. Are you annoyed because you’re obliged to stand long draining reunions in which you find yourself to be the only reasonable person? That is okay. That doesn’t make you a jerk. You can also play with these ideas, try to look through every one of them and see if it has a rational or irrational cause. Discard the irrationals and try to solve the rational ones. Be fearless and analyse what exactly is causing this. 

I feel you, so deeply.
– INTJ

If I could somehow pay to have one SU headcanon confirmed as canon

it would probably be “Pearl inherited leadership of the Crystal Gems from Rose, and verbally, in explicit terms, abdicated that role to Garnet.”

Here’s why:

1. It puts Garnet’s dynamism in the spotlight and gives her greater leeway to grow. The subtlety of the change Garnet has undergone over seasons 1-3 has drawn both praise and criticism. She’s under intense scrutiny both in-universe and metatextually: as the most stable (due to her essential nature) team member in the wake of Rose’s death, it falls to her to hold the family together as their relationships are rocked by grief and change, and as a Black-coded lesbian-coded character she’s held to so many bullshit double standards that she’s still drawn fandom wank even while providing wise and relatively unwavering support for Steven and the team. Saying that she was never supposed to be the leader doesn’t solve the second thing, but it ramps up the sympathy of the first–it gives the unbiased viewer a huge, concrete reason to say “cut her some slack!,” which means that her character can take more risks, make more mistakes, and be more relatable. It also makes the change she has undergone much more emotionally resonant in retrospect by giving us insight into the pressures placed on her: if Pearl asked her to do this because she knew Garnet would be more stable than herself, then she must remain stable at all costs, or she’s letting down a tremendous leap of faith on the part of someone she in all likelihood once looked up to.

2. It recontextualizes Pearl’s arc to consistently echo the show’s self-loving message. Here’s the thing: when you watch all the eps straight through without hiatuses or fandom discourse in between, it becomes pretty clear that Pearl’s character development is supposed to be more “fall of the team ace” than “purgatory of the team screwup.” But it does demand sympathetic assumption on the part of the viewer–the narrative, by virtue of Steven’s p.o.v., asks us to believe that Pearl’s done things right when it mattered in her life. IF the narrative were to explicitly show us/tell us about her making a responsible, conscious, swallow-pride decision about her own mental health, it would become clear that everything she does after that decision is done in a place of self-awareness and concern for the group. Simply put, it rebukes the notion that Pearl was ever selfish and replaces it with the notion that she was too selfless for too long. The moral of her story becomes an UNFLINCHING “don’t demand perfection from yourself while recovering from trauma, it’ll only bring out the worst in you”–a poignant, truthful, and necessary message. And, as an added bonus, one that could find intense parallels in Garnet’s arc! Which brings me to my next point:

3. It makes room in Pearl and Garnet’s dynamic for them to participate in each other’s healing and find common ground. A vivid reminder that Pearl is in fact the oldest and most experienced of the surviving Crystal Gems removes (for everyone, including Pearl herself) the expectation that Garnet must always, 100% of the time, be the wise and knowing guide for the rest of the team. I’m not saying Garnet shouldn’t be that, just that it shouldn’t be solely her responsibility–and sharing the role makes more space in the narrative for focus on Garnet’s needs. And what are Garnet’s needs? Well, the change she’s undergone so far has centered on her freedom to express herself under pressure, dealing with the anxiety of having to set an example, and the perceived need to prove the worthiness of her marginalized identity. Here’s the thing: Pearl has already gone through that, defying her preassigned role to fight in the war. But from Garnet’s perspective it’s always been a given that she was at Rose’s right hand–she’s probably never really thought about the similarities between their feelings, especially not now with their differences of experience driving such a wedge between them. The conclusion I’m taking this to is this: Garnet could use, and massively deserves, support, guidance, and care from Pearl in particular, and needs to know that SHE IS NOT ALONE. Pearl loves to draw on her rebel roots to build up the team, and has known and trusted Garnet for long enough to open up about her story–being a confidant and mentor to Garnet could be a way for her to get something positive out of her past. Not to mention the fact that A Leader relying on her for support again would help her stop slipping into old ideas of hierarchical valuation.

4. It shows Rose’s good intentions but also her short-sightedness. A confirmed switch in leadership just after Rose’s death reminds the fans of something they very easily forget: Rose had faith in Pearl, and Pearl built her identity on that. Please spare me your edgy theories about how Rose never existed and Pearl just made her up to cope with her loneliness for a second and take that as a given; none of her motivations make sense without that, the alternative is to just accept that Pearl is a badly-written character, which seems unlikely given that she’s one of the central group on a show full of well-written characters. However, the idea Pearl was left in charge in Rose’s absence highlights Rose’s largest character flaw: despite caring about and believing in the people around her, she didn’t understand them particularly well. For all her faith in Pearl’s ability to lead, she didn’t pick up on or take into account her self-doubt or the intensity of her grief. She also didn’t realize Garnet’s incredible potential as a leader, or take into account the team dynamic in her absence. Rose felt that what was so great about earthlings was that they changed; she says in “Greg the Babysitter” that she believes gems don’t change. But the Crystal Gems had changed since she first got to know them and continued to change once she was gone–it was this that escaped her notice.

Which brings me to the final point, and the one I’m going to let linger on you guys:

5. It means the first thing Pearl had to do after saying goodbye to Rose was contest Rose’s decision, possibly for the first time ever, and that has haunted her for the past 14 years.

your personal universe: why maladaptive daydreaming is not a disorder

In this post I will talk about maladaptive daydreaming in autistic people, because I am an autistic person. I will describe my personal experience that is 100% subjective and doesn’t match the experience of every autistic person on Earth. However I am sure that a lot of autistic people will relate to what I have to say. I do not wish to offend anyone with this post and if I will, I am sorry. Now on with the story.

As long as I remember myself, I was always very different. I understood it very early on, back when I didn’t even go to school yet. I knew that I am not like other kids: I speak differently, move differently, and think differently. Back then I didn’t consider it a bad thing, and I had no reason to. Life is simple when you are a kid, it doesn’t hold much challenges.

But it changed drastically as soon as I began middle school. First year of middle school was the first time I realized that I wasn’t just different – I was wrong. Or at least that is what I was forced to believe. From that time, life became a battle. I was bullied by my classmates, misunderstood by my parents and teachers, I struggled, I suffered, and there was nothing I could do about it.

It took me a long time to find out that there wasn’t anything wrong with me after all. I’m just autistic. All my problems and struggles suddenly made sense when I realized that, and I promised myself that I will never ever think of myself as wrong again.

I remember that when I was 14, life was so bad for me, I didn’t want to live. I didn’t actively plan suicide, but I lay in my bed all day, refused to eat and get up, and silently wished that I will just die. The only things that got me through that time were my special interests and… wait for it… maladaptive daydreaming.

What is maladaptive daydreaming?

Keep reading

UPDATED! The 100% Definitive, Empirical, Ruthlessly Objective, I-Will-Brook-No-Dissent Ranking of Every Song from “CRAZY EX-GIRLFRIEND” Season One

Clip and save for your records.

Note: For the purpose of this rigorous scientific analysis, no reprises are included. “Reprises make the data noisy,” as my old Musical Theater Epidemiology Professor used to say. 

Note, the Second: In several cases, both broadcast and explicit versions of these songs exist. You owe it to yourself to get the explicit versions, always.

37. “Women Gotta Stick Together”

Here’s the thing: It’s fine. All these songs are fine. And the fact that they’re all being written, orchestrated, rehearsed, performed and broadcast over the course of a matter of weeks is astonishing. But what hurls a particular song higher up this chart is if it goes somewhere, musically or lyrically, we didn’t expect when it began. That’s the key – a song starts, we recognize its premise, or its style, and we think, “Oh. A Billy Joel bit. Got it. Ok.” If it nails the pastiche, great. But if DOES something with that pastiche, if it includes something that stands out, that feels specific to this show, it flings itself up the rankings. Can be a gem of a line like “NEWSFLASH, FUCKWADS: I’M A GOOD PERSON” or something in the performance, like the perfect trill puts on “It’s a practical proposal!” From verse to verse, it’s gotta MOVE.This song is fine, but every verse iterates what the first verse lays out. We get it.

36. “Having a Few People Over”

Here’s a good place to point out that I’m ranking these as stand-alone songs. As such, this is a dutiful EDM sendup, but it’s the visuals that really sell this thing. Gardner kills it. 

35. “Textmergency/Where is the Rock”

Here’s a song that takes a genre – in this case, metal-as-envisioned-by-kids-who-spent-their-summers-at-theater-camp – and nails the parody, but doesn’t do much else. The performers are charming, but the central joke (fighting over the proper terminology) doesn’t have enough muscle to put the gag over. 

33. “Gettin’ Bi”

Give it this much: it sounds like the Huey Lewis song that would be playing in the scene set in an 80s bar when the producers couldn’t get the rights to “Power of Love.” But that’s just not enough to move it higher up this list.

32. “One Indescribable Instant”

Does what it’s asked to, namely to sound like the Disney love song you half-remember from childhood. But that’s all it does, and as such it lacks the earworm potential so many of this show’s songs possess.

31. “I Could if I Wanted To”

This song couldn’t get more 90s if tied a flannel shirt around its waist and hung out in a 7-11 parking lot laughing at every joke that kid Eric from Civics class made, occasionally catching itself staring longingly at his meaty, vascular forearms. (… Um. That … that may be just a me thing.) Fontana sells, it, there’s just not that much to sell.

30. “Dear Joshua Felix Chan”

It’s sweet, it’s well-performed, it makes its case, it doesn’t move.

29. “Sexy French Depression”

You get where this is going in the first verse, but it’s got some balls: “My bed smells like a tampon/I’m in a sexy French depression” is a rhyme they don’t teach you in wherever you go to study making musicals. You know. That FAME high school? That.

28. “Flooded with Justice”

A dutiful Les Miserables take that suffers in comparison to everything around it. It’s funny enough, sure, but there’s nothing here that the Capitol Steps couldn’t do, and this show is so much better than that – more specific, more idiosyncratic. Weirder. 

27. “What’ll it Be”

A great performance, some good lines. (Hands ARE sort of gross.) But maybe because it’s explicitly about a guy wallowing in self-pity, it never permits itself to break out, to leave its starting position.

26. “I Have Friends”

Bouncy, infectious, Up-With-People/Disney-Channel pep. Plus, handclaps. All songs with handclaps are good songs; that’s just science. And listen to the way that dude says “HAY-ULF an EYE-lid!” Genius. But in the end, it’s just too slight to inch any higher up this chart. 

25. “His Status is Preferred”

Champlin nails this torch song, and it’s ability to fit so many disparate references to VIP perks into each line is nothing less than a feat of lyrical Tetris. It does what it does very well, but it does only the one thing.

24. “Oh My God I Think I Like You”

Sweet, adult, and matter-of-factly sexy. There are a lot of other songs like it, and it’s smart enough to know that when that’s the case, one of the tasks before it is to comment on those other songs, to achieve a kind of lyrical sentience – a musical singularity, in a sense. 

23. “I Gave You a UTI”

A slender thread on which to hang a song, perhaps, but it works, because Fontana sells the song’s intricate mix of emotions - the desperation, the self-mocking self-awareness, the pride, the neediness.

22. “Put Yourself First”

As this list makes clear, I’m a sucker for songs that discover what they’re about as they’re being sung, and this is a particularly sharp (and catchy as all hell) example of same. 

21. “Good at Yoga”

As Linda said on the show, this is Bollywood by way of Hollywood. (If she were taking kung fu, would this song feature gongs and “Chopsticks”?) But we are in Rachel’s head, after all, and she doesn’t strike me as someone who’d have a particularly profound knowledge of East Asian history and culture. A catchy song, but low-hanging fruit. (Here’s an example where the explicit version is 10x better.)

20. “Settle for Me”

I know, I know. You love this song. It should be higher! Top five, easy! Look: it’s great. The performance is wonderful. And as I mention above, Bloom’s “It’s a practical proposal!” comes in at JUST the right time, with JUST the right English on it. But once we get the setup, the execution is deft, but on rails.

19. “Cold Showers”

Oh, it’s fun. Sure, it’s fun. But everything about it maps so completely (and deliberately) over the Music Man’s “Trouble” that it has a hard time distinguishing itself. It never manages to step out of that show’s long shadow to let us see it on its own; it’s drafting on the energy of Meredith Wilson’s song, not adding its own. I do like the clever way it occasionally undercuts itself (”I don’t live here”), which re-centers us on Rachel.

18. “I Love My Daughter”

See now, this MOVES. We get it’s gonna be a country pastiche, and Gardner sells it well enough, but then the song permits him some self-awareness. We can HEAR him realizing how skeevy what he’s singing sounds, and doing something about it. 

17. “Boy Band Made Up Of Four Joshes”

When I brought this list into the studio, this song ranked at number 10. But one of the songs from this week’s episode kicked it out. (Ooo! Foreshadowing! Suspense!) Which is a shame, as this song NAILS its Boy-Bandishness. The production is spot-on, the performance is perfect. And this song is pretty goddamn great at capturing where Rachel at this moment – her younger self pines for a boy band, her unconscious adult self for mental health – so we slowly realize, along with her, that her mind has created the perfect fusion of the two.

16. “Heavy Boobs”

Originally slid into this list at number 20. “They each have their own memoir” moved it up 4 slots. Such is the power of “they each have their own memoir.’ Also: if a song’s got one joke, it needs to keep interpolating it, and “Heavy Boobs” does that nicely with the spoken-word break, and its specificity and weirdness (”Paperback copy of Arabian Nights”).

15. “I Give Good Parent”

Cultural appropriation + covered dish reference = genius.

14. “The Villain in my Own Story”

I’ve said above that if a song is simply a parody or pastiche of a particular genre, its not enough for a high ranking on this list. This is an exception: it nails the “Disney villain song” genre – a genre against which, admittedly, I am helpless – but it goes somewhere. It’s another example of a song discovering what it’s about as it’s being sung. Plus, the specificity of “I’m the bitch in the corner of the poster” – and the visual gag that accompanies it (the slicked back hair!) – is hugely smart. 

13 “West Covina”

A perfect encapsulation of the show, and its protagonist’s willfully skewed sense of the world – or at least, of one particular exurb. Celebrates the place by making fun of it. Makes fun of the place by sincerely celebrating it. It’s a tough tone to get right, but this very very does. (This song ranked higher earlier in the season, but we’ve got a hell of a lot more songs now, and the sheer novelty of this one has begun to wear.) (NOTE: I’m not ranking the show’s Theme Song, but if I did, it’d probably share this slot.)

12. “I’m a Good Person”

Well this song just makes your whole damn day better, is what. (Again, get the explicit version. Trust me. Thank me later.) It’s so exuberant, it’s infectious – the Zika of showtunes! Does it move from its starting position? No. Shut up. I’m gonna go listen to it again. 

11. “Dream Ghost”

“You know the trope/In storytelling it’s the norm…”

Ok, it’s a very faithful (possibly legally actionable) Dreamgirls bit, and what have I said about pastiches? 

But. 

Well.

I mean, I’m me, so any song that busts out the word “trope” in its opening verse has got my damn number. The fact that it goes on to be very much about narrative cliches, and their structural function – sign me the hell up. 

Always bugged me that Amber Riley and Ricki Lake got such hype about their appearance as background singers. I mean, sure, it’s a cute stunt, but it’s Michael Hyatt doing the heavy lifting here, and she’s fantastic.

(Also? Not for nothing? “We’re other dream ghosts helping people on this plane” …. OF EXISTENCE GET IT RIGHT I JUST BROKE YOUR BRAIN DIDN’T I)

10. “California Christmastime”

If it did nothing else, the fact that this show gave the world this tune – a Christmas song that invokes melanoma, gonorrhea, porn and the great scourge that is white reggae – is enough to win it the Nobel goddamn Prize. THIS I BELIEVE! (One tiny lyrical nit to pick: “Well there is no easy answer/For our high rates of skin cancer”? Uuuummmm yes there is it’s called SPF look into it.)

9. “Sex With a Stranger”

“Most people don’t know about the window” is when I laughed, aloud, alone in the apartment. Also, the “balls” rap break. (Specifically, the “hou-AWHS/show-AH” bit.) Also, “Thank god, it’s just your penis.” Also, “Don’t steal!” Also, its a sharp and knowing and ruthlessly funny distillation of some dark, dark shit.

8. “Group Hang”

I know, I know. You’re surprised to see it ranked so highly. It’s so slight! It’s just a Shakira bit – half the joke’s the damn braid! I understand. Here’s why you’re wrong.

The song’s driving dilemma gets introduced in the first line (”Cali-Mex Italian, I don’t really know what this food is”) and proceeds to get iterated again (“Salsa burritos taquitos guacamole pizza”) and again (”Spanish Spanish Spanish Spanish Espanol”) and again (”Pickle taco”) and again (”Is it just me? Maybe it’s just me!”), always adding to it, building on it, twisting it. 

Plus, we get to see White Josh, and his arms, sing and … well, “dance.” And we know that dude can sing. And he can DANCE. (Check him out as a hot chorus boy on Broadway!)  More White Josh in Season 2, say I. Dude needs a song. A shirtless song.

7. “The Sexy Gettin’ Ready Song”

Plants itself squarely inside the style its parodying and then – doesn’t merely parody it. Goes somewhere. Says something. Expresses the show’s specific point of view even as its crawling inside your ear to set up housekeeping.

6. “Feelin’ Kinda Naughty”

That baby-voice thing Bloom does at the beginning. The slow build to “wear your skin like a dress” and “baby teeth”. This song should be taught in schools. You know, like that one from Fame.

5. “Face Your Fears”

Champlin: good lord. The melisma. The self-importance. You can hear the “I am about to impart some Whitney-esque wisdom” in the fullness of that voice. Plus, this song is just SUCH A GOOD IDEA. An advice song filled with specific, earnestly proffered but howlingly terrible advice. 

4. “JAP Battle”

A great idea, executed flawlessly. And WOW do you need to hear the explicit version immediately. (That was rhetorical. You do.)

3. “You Stupid Bitch”

Raw and real and funny and kind of terrifying all at once. Plus a key change. I’m not made of stone here, people.

2.  “After Everything I’ve Done for You (That You Didn’t Ask For)”

I say again, Champlin: good LORD. The thing about “Rose’s Turn” (LOOK IT UP YOU GODDAMN INFANTS) is that it’s about a breakdown, so it keeps changing mood and melody something like six times. So does this. In fact it clings so closely to the bones of “Rose’s Turn” that it threatens to disappear under it, the way “Cold Showers” never quite escapes “Trouble.” 

The reason it doesn’t? The reason it’s lodged itself here so near the top of this unbelievably impressive list of songs? Champlin’s performance is its own, singular thing. She elevates this above pastiche and makes this her story, her song, the baring of Paula’s soul. It’s a song that’s not so much delivered as unleashed.

1. “Where’s the Bathroom?”

The Earworm of Earworms. Bow down before it. There is no escape. Y’all about to get klezmerized. The performance just could not be more on point, and the way it builds to that mid-point turn, where the theme from JAWS kicks in so seamlessly: yowza. I love this song so much I’ma boycott cheddar cheese in solidarity.

There you have it. Ranked. Filed. Sealed. Your opinion on some or all of these rankings may differ. Your opinion is wrong.

anonymous asked:

What did you expect from a show where in the first episode the man complains about not getting to fuck her ass

i truly don’t kno anything abt men n their sex habits, but i didn’t expect biphobia from this show. i thought they would show that biphobia exists n then call it out, but they didn’t. in fact, i think they even misrepresent polyamory even tho that’s the very core of the show

anonymous asked:

Hello! Regarding Chapter 4, just before the execution, it struck me as interesting how Ouma had cried and post-execution he continued on with his usual facade. It struck me as something interesting, what do you think about this?

This is a really good question to ask! A lot of people’s uncertainty with how to react to Ouma I think stems because his huge 180 in Chapter 4 roped not only the characters in but also the people playing the game themselves. Considering Ouma calls himself a huge liar at almost every twist and turn, people were very understandably wary to let their guards down around him and trust anything he says, even when he claims that it’s actually the truth this time. And when he pulled the most drastic switch of the entire game and not only begins acting horribly, but also calling both the characters and the players out on believing him, it caused a lot of feelings of hurt and betrayal. Needless to say, this was all intentional, both by Ouma in-game and Kodaka as a writer.

There’s actually a few reasons for the huge dissonance between the way he acted pre- and post-execution in Chapter 4, and they all add to why he’s such a complex and interesting character.

Keep reading

A GLIMPSE INTO THE FUTURE

I watch the episode last night, and now I feel the need to share what I see with you guys. First off all, it doesn’t matter if you like WolfieKansas or not, because A&E did it and there is no coming back. I actually appreciate this new couple and how A&E choose to display their story.

In each WolfieKansas scenes, all I saw was Swan Queen. I know I’m not the only one in the fandom who have seen parallel between them. The truth is:

WOLFIE KANSAS ARE SWAN QUEEN

The evolution in the relationship is exactly the same as Swan Queen, expect it’s all in one episode. 5 seasons into one episode. I know some of you are going to say: “stop fooling yourself and accept the fact that Swan Queen will never be.” I don’t care! I know what I saw. So if you’re interesting to find out why I see Swan Queen please keep reading.

First of all, Dorothy and Ruby don’t get along, “don’t mix” like Emma would say, because hate is a strong word. Dorothy doesn’t really like Ruby, because she’s the reason Toto ran away. In season 1 and Season 2, Regina and Emma didn’t like each other, they hated one another because of Henry. Regina hated Emma because Henry ran away to be with his birth mother.

So really, it all started like that. Dorothy is actually Regina, Ruby is Emma and Toto is Henry.

If Ruby hadn’t been here, Toto wouldn’t have run away. If Emma didn’t stay in Storybrooke, Henry wouldn’t have turn is back against Regina.
Then Toto disappeared, Dorothy and Ruby work together to find him. Dorothy is still reluctant but, she doesn’t have a choice. They find out, that Zelena has him. So they’re going to face Zelena together. They’re making a plan to defeat her. That’s exactly what happen in Season 3. Henry is being kidnapped at the end of season 2. They go to Neverland. Emma and Regina have to learn to work together in order to free Henry from Pan. They’re making a plan. They used magic together to get to him.

Dorothy calls Ruby “Wolfie”, it’s an affectionate name and she’s the first one to try this out. Regina does the same in some kind of way. In season 4, she calls Emma, Miss Swan, to tease her first, then she uses it to make her understand that she’s angry with her (Season 5). Emma answers with Madam Maire, in 4x13. They flirt in this episode and touch when they defeat the Chernadog. Dorothy too touch Ruby just after their flirt. Season 4 is practically just flirt between the two.

“Do you trust me? Yes.”

How many times Emma asks this to Regina? Too much. But here, it’s Ruby who asks Dorothy; the same way Swan Queen plays it. The longing look, and the “yes” determinates.

Dorothy realizes her feelings for Ruby when she saved her life, showing her true form: the wolf. She sacrifices her human nature to become the beast, the wolf. The parallel here, is not evident, with Swan Queen but it’s right under our nose! End of season 4 episode 23. Regina is in danger, Emma saved her life, taking the darkness, becoming a beast. Rumple was the Dark One before, and the beast. So Emma becoming the Dark One, make her the beast! Not a wolf, Ok. But still a beast. Regina realizes at this moment that she’s in love with Emma, ense 5x12.

“I can’t turn my back on the people I love”.

In order to find Dorothy, Ruby goes to another world with a location spell. Regina wants to find Emma now, and uses her blanket to go to her. It’s a location spell that take them, her, to Camelot. In another world.
The parallel has been switch. At this point, Ruby became Regina and Dorothy became Emma! So till the end of season 4:
Dorothy: Regina   Emma: Ruby

Season 4 sacrifices:
Dorothy: Emma     Ruby: Regina

Emma clings to Hook but Regina puts a lot of distance between her and Robin Hood, because of her realization. Indeed, in the episode, Regina calls Robin by his full name: Robin Hood, which is professional manner. And if we want to dig deeper, when Robin was injured in Camelot, it was Regina’s fault. He would have die because of her. Ruby hate her boyfriend, it was her fault. So really: Regina became Ruby at the end of season 4.

So after Emma’s sacrifice, Regina is Ruby and Dorothy is Emma.

I know Emma not under a sleeping curse, but she’s numb and lost. Her instinct is asleep and she’s still use Dark One method to help Hook.
Ruby doubts she can help Dorothy waking up, she doubts she can save her. Regina is there too at the current time. She supports Emma but she doesn’t know how to free her from this state, this issues. Regina doubts she can free Emma from the darkness. Yeah I still believe she’s under the Dark One curse! A curse can only be broken by True Love Kiss!

I’m letting the parallel aside now and focused on the True Love Kiss. If we look, the TLK symbolize love. It was their first kiss, and also a declaration of love. The same scenario happen for Snowing and Rumbelle.
We knew Ruby has feeling for Dorothy but we didn’t know is they were reciprocated until the kiss. Ruby tries and it works. Plus they didn’t say “I love you”, they talk about Dorothy leaving. Ruby asked why.
Ruby being Regina, I think that what would happen between her and Emma. Ruby didn’t believe in herself and Dorothy feelings the same way, so she searched for others solutions. Someone Dorothy would love as much as Toto, it lead to her aunt. Regina does the same. Emma and Henry already share TLK and apparently, Emma is in love with Hook, so she lets him help Emma because Regina doesn’t believe in herself and she’s sure Emma loves Hook, and not her. She’s backing off.

“I saw the way you worry about her”

Snow knows Ruby is in love with Dorothy, because she sees how Ruby panicked when the options were running out. Snow gives the same look at Regina in 5x01 when she sees her daughter’s blanket. Snow knows Regina is in love with Emma, but she doesn’t push her, because Regina step back when Hook takes the lead. She stays out of the picture when she’s not throwing shades at him.

The fact that TLK always is the first kiss between two characters proves that Outlaw Queen and Captain Swan are not true love. That’s just another evidence seriously. Snowing, Rumbelle and WolfieKansas never say “I love you” before the TLK, it’s the kiss that declares it. Comparing this with C$ and OQ, this two couples already share affective gesture and a lot of disgusting kisses. Emma and Hook said “I love you” an amount of time to convince themselves, and Regina and Robin slept together even if Marian was in danger. No TLK. Normal. They’re just couples.

Emma is in an abusive relationship
Regina is in a rebound one.

The same logic applies with Henry (first kiss) but not in a romantic way of course. Season 1, Emma shows she loves Henry by kissing him on his forehead. TLK. First affective gesture. Season 3, Regina proves she loves Henry by kissing his forehead too, at the same time saying I love you. TLK. First affective gesture.
Regina and Emma need to discover what that mean and that their happy ending is their family. The Swan Mills Family. Regina is aware of her feelings for Emma but tried to keep them at bay, to herself. The looks we seen between Dorothy and Ruby are the same Regina and Emma share.

I have hope! I know that A&E didn’t parallel Wolfie Kansas with Swan Queen for nothing. The GA needs to understand that a True Love Kiss can be share between two women or two men, by the LGBT community too.

LOVE IS A PART OF ALL HAPPINESS

That’s what Emma said to Regna, that’s what we saw in Sunday’s episode. A&E make the first step with Wolfie and Kansas, opening the eyes of the GA, showing that Swan Queen is existing since the beginning. This episode is a glimpse into the future for Emma and Regina.

So hang here Swen, soon will be our turn. Emma and Regina are just not ready to try yet. They need to understand that their son, they’re a unit, a family.

Together.

The very fact that Emma and Regina didn’t know about the TLK between Ruby and Dorothy is a clue. Henry wrote it and seems happy, even wondering. Wondering if one day, he would write this for this moms. David smiles and flip the page, choosing to show Emma is mother with his brother, because he senses Emma is not ready to admit it. He told Hook he came to the Underworld for Emma, not for him. He just follow the process of his daughter. We all saw how Regina and Charming, or with Snow, how they accept her, defend her. They don’t ac the same way with Hook. They don’t trust him.

Having Emma and Regina helping Ruby find her true love is a way to say, they’re on this path together. They are building their love, it just take a lot of time for them and mistakes and hurt. Emma came from the real world and Regina opens herself to it. She let go of her fairytale character. She was the Evil Queen. Now she’s just Regina.

The best relationship are rooted in friendship

I’ve seen a few character defense posts circulating, which while are important as well, I wanted to touch on the issues arising on the topic beyond just Magnus and Alec’s relationship because the attitude arising from these comments is indicative of a pervasive and hugely problematic line of thought that runs throughout any fandom that has minorities in the cast. And frankly, runs throughout a lot of Western thought as a whole.

Throwing this long-ass thing under a cut.

Keep reading

anonymous asked:

Not that I'm a non-believer, but when someone asks you a question like "does he like me", how do you know how to answer that? Are you really psychic? Do you know exactly who and what they're talking about? Or is it just a random intuition that tells you yes or no?

You must be new and that is fine. I know the answer to that question because I know your energy and the intent of the question itself. Therefore I know whom has asked and whom they are referring too. Everything in this reality leaves an energy signature. Your name is merely the title of your signature. Based off this signature I then trace the outcome of the event point. Once I’ve obtained the outcome I relay the message back to the asker. How do I know? Sight. I can see the event or feel if I choose. Now a good seeker (what spirits will do as well) is able to find the probable outcome and relay that Intel. There are many outcomes but only one will collapse in that persons reality. Your job is to give the asker the outcome that is most probable to collapse. Is this possible? Certainly. This action doesn’t violate any principle in physics. Actually what I’m doing is very allowed according to entanglement. All of these actions are provoking the uncertainty principle which could in fact allow for such an exchange of information to occur. I am not your average psychic. I’m only here because there are many people whom aren’t knowledgeable about what they practice. Which then sows the seeds of further ignorance. If you really want to know why time trusted (if the readings don’t convince you) I predicted the existence of the cosmic microwave background (before it was investigated)

I even used my fingerprints to show that I understand.  If this isn’t scary enough, my abilities have actually been put to the test scientifically. I have an interesting ability called Retropsychickinesis  what is this? Basically the ability to see and even manipulate an event in the future from the present. An experiment was done via computer. The computer generates 512 0′s and 512 1′s. Basically you should ALWAYS get 512/512. As it would be impossible for there to be anything else–seeing as the numbers are a FIXED automated sequence. This means it will always be 512/512. If that number is off by 1 meaning 511/1024 (should be 512), something strange has occurred. You can say a glitch (like most would say) but understand the higher the number (deviation) the lower the chance of a glitch. This means a deviation of 5 is rather impossible to be a glitch and even more so if you previously stated you’re creating more 1′s than 0′s. Now let’s look at my score

41 more 1′s than zeros. Which means this score is even extremely rare amongst the many powerful psychic’s in this plane of existence. Nothing is random, everything is chosen and yet everything is random. It all depends upon your frame of reference. I tell you all of this to not overload you, but to catch you up. This is the reason why people tend to listen when I speak. My approach to spirituality is different than most. I approach things scientifically and then convey my message to my audience. This is done to strengthen your spiritual and natural mind. I don’t want people to mindlessly follow me. I want to teach people that will learn so they may teach others. 

Character Details: Ronald’s Watch

While on Campania, we get a close up look at Ronald’s watch.

It’s an interesting timepiece as it’s not only anachronistic, but this is a very expensive watch. Unless Shinigami are paid very well for their work, it would be difficult for him to even afford such a watch. Since we see it so closely, it seems it might be important to his character. So what could this watch say about him?

First off, this watch if very trendy, so it shows that Ronald is fashionable and concerned with his appearance. He’s not just with the times; he’s ahead of them. He also likes to be noticed as this watch is sure to drawn attention.

Secondly it is, as I said, anachronistic. This could be another hint that the entire shinigami realm is with it’s watches, lawn mowers, and chainsaws. Perhaps their entire realm is outside of time, or maybe it has to do with Ronald himself.

Next, it’s an expensive watch and it’s hard to see how Ronald might be able to afford it. This might mean that he was always someone who attempted to live beyond his means or that he might have been someone who didn’t have to be concerned with the price of things. It might also mean that he’s the type to spend his money on something frivolous while having to do without essentials. 

Lastly, it shows that Ronald is very focused on time - more so than someone like Grell. In fact, while Grell might talk about things taking too long or having to cancel an appointment, she doesn’t talk much about time itself. William complains about overtime, but just mutters honestly and does it anyway. Ronald is very concerned with getting things done on time. He does his job well, but he’d really prefer to avoid overtime. He might view his existence like a punishment, and he’s like a prisoner just counting down the days. He simply might be more aware of the passage of time.

Thoughts?

A ‘Eulogy’

I don’t have the proper words to express what I’m feeling at the moment, but I’m damn well gonna try anyway because I need to get some stuff out of my system. How hard can it be?

It’s been nearly 7 years since I discovered my love for Top Gear, and I can pinpoint it exactly, but I won’t bore you with that story again. At that time those three idiots and their ridiculous antics pulled me out of hole in which I’d found myself buried in - a place where it felt like life would never be good again. Who knew that three middle aged men falling over could have such a profound impact on someone’s psyche? 

Since then Top Gear has had such a massive impact on my life, and I’ve followed it religiously - as may be quite visible from the fact that I run, and have run this blog since the beginning quite a few years ago.
There’s nothing like the excitement of watching a brand new Top Gear episode - the rush never gets old. Any fan will know this. 

I am not ashamed to say that when I was lucky enough to experience seeing two of the boys do Top Gear Live back in 2011, I teared up. Seeing someone who has had - and continues to have - such a massive influence on your life is quite indescribable and very emotional. 

It seems, though, that this is the end. At least as we know it. 

There is, of course, massive speculation going on at the moment as to what will happen now; will they go to another channel? Will the other two continue with a new host? Etc., etc. 

Here’s what I personally think will happen: I don’t believe that they will continue to do “Top Gear” (in a different version since the BBC own the rights to that particular name) on another channel. I honestly believe that this will be, for them, the end of the road of that particular endeavor. It would be too difficult to try and start up a ‘new type’ of show somewhere else, after having done 22 series of this one. Neither do I believe that James or Richard wishes to continue on the show without Jeremy. This is something I believed even before James stated that they were ‘a package’. These men have spend 12-13 years working together so closely, that there is no way they were going to just ‘abandon’ one and keep going as a twosome with a new third wheel. 

My hope - and I do believe it is a slightly unbelievably optimistic and unrealistic one - is that the three of them will maybe do something like, I don’t know, funny documentaries or whatever together. They could find something to do as ‘a package’, because, in my mind, that’s what they always will be. Realistically I’m pretty sure that they are just going to do their own things, and just see each other in their spare time. 

At this point I am just sat with a very hollow feeling, something I know that many other people are too, so I can’t imagine what it must feel like being any of the three boys at this moment. 

Despite all the sadness it is important that we at this point remember that we have been lucky enough to be granted nearly 22 Series of the best TV show that has ever existed. That is an exceedingly large number of series, and for that I am eternally grateful. I cannot put into words how saddened I am by the fact that the end has come about so abruptly, and that we will never get to have a proper goodbye. We knew the end was coming eventually - the last couple of years it’s been stressful with every new series, fearing that it would be the last - and now we have reached the end, far too prematurely. 

I would just like to thank Richard, James & Jeremy for their endless hours of entertainment, and for always being able to put a smile on my face even in the darkest of times. I know that they will never read this, but it is still something that I wish to express, and I hope they know how many people in the world that feel the same way that I do. 

Forever and always, ‘Ambitious, but Rubbish’, 

TopGearAddiction xxx

anonymous asked:

A scenario where Levi's SO fangirls over some radome celebrity dude. (maybe some jealousy? IDK hahahaha)

not sure if this matters or anything, but the celebrity is male in this particular scenario, just because those were the pronouns used.

“Ah, he’s such a pretty man.” ____ sighed to no one in particular, not noticing Levi walking into the room. He looked at them with a deadpan expression, knowing exactly who they were talking about. Some new heartthrob celebrity that had been all the talk had stolen the hearts of many, including Levi’s partner.

The man usually had very good patience, especially when it came to his lover’s interests. It was in his best interest that they were happy, so he usually didn’t question the things they were into. In fact, when they first showed him the countless pictures of the celebrity, he couldn’t have cared less. It made them happy, so what?

But no, it was like that guy was the bane of his existence. Levi didn’t really understand how his partner could get so immersed in a person they had only seen through a screen.

He’d caught them ogling at him many times, and whenever they smiled at their phone it was a telltale sign that they had once again seen something to do with the beautiful man. “Him again, huh?” Levi sighed, sitting on the opposite end of their shared couch.

___ jumped a bit at his sudden appearance, feeling their body temperature rise at the small sequence of events. “Y-yeah! I was just watching some clips from a charity concert he did recently.” Even though Levi had never personally expressed his distaste to the celebrity to them, they found it quite apparent that he didn’t enjoy their… extreme interest in him.

Their beloved nodded curtly, eyes focused on the television they had been ignoring due to their interest in their phone. It was turned onto a popular news and pop culture network, something Levi didn’t particularly enjoy.

He reached for the remote, getting ready to turn the channel when a certain man popped up on the screen. Without looking at them, he could hear ___’s slight gasp before feeling their gaze on him, silently praying that he wouldn’t change the channel. Grinding his teeth together, he set the remote down, slightly glaring at the young man who had taken over not only his partner’s life, but his own TV.

“How does it feel knowing you’ve stolen everyone’s heart?” The interviewer asked, a fake smile plastered on her face. The man laughed before leaning into the microphone someone held toward him. “Ah, I wouldn’t go that far!” He laughed, eyes crinkling upward due to how big he had been smiling.

“Oh, but all the jealous boyfriends and girlfriends would!” She teased him. He looked slightly uncomfortable, as is all of the threatening messages he had received from jealous couples had appeared before his eyes at once.

Levi felt himself slowly loosening the grasp of his cool. The small interview had set him off, and his partner could tell, almost as if he emitted a dangerous aura. “Please don’t be jealous, hon. I love you and only you.” ___ pouted, crawling over to his part of the couch. He glared at them, bothered by the fact that they assumed that he was jealous even though he knew he was.

“Don’t look at me like that.” They sighed. “Sorry I can’t smile like your charming heartthrob.” He shot back, one eyebrow raising upward in a silent challenge for them to counter back.

Oh, and they did counter back. In their own way of course. ___ lunged forward to kiss his lips, not clinking teeth by some miracle. Levi didn’t refuse, but he did tease them a bit, because he felt like keeping some integrity. When they pulled back both of them were slightly shorter of breath.

“I’m glad you don’t smile like some generic pop star. Surprisingly, your resting bitch face is a lot sexier.”