also i know the quote might not be representative of the story

WKM - What happened?

I’m going to cover all of this mess in this post. It’s just what I think could be the truly amazing story behind this amazing video series. 

There are LOTS of questions in my own head and I’m gonna try answering (hopefully) most of them! Here we go!


The biggest question raised is, obviously, who killed Markiplier? From what we could gather throughout the series, demons are likely to exist in this scenario.

Even the newspaper gives a hint that the mayor might have been a “demon in disguise”. So there are spiritual, supernatural things happening here. I, for one, can not answer the biggest question out of all, how he died and who he was killed by. I can only make one assumption; here’s my theory.

We know that Mark’s body went missing at some point. Where exactly is never shown or hinted at, but I have a likely theory that Mark himself was the one to hide his own body in form of his spirit. Or just, behind all that was happening in general. However, what we do know is that Mark, I quote (Damien): “(He) trapped us here in this broken shell and we had no way out.” 

It seems established that, during the time we were outside to talk to the gardener, Damien and Celine tried to reach out to Mark(’s ghost), hence she wanted to “talk to the dead”. During that time, Mark took the chance to inhabit Damien’s body and trap him inside his own, dead shell that could not be used anymore. Whilst doing so he either accidentally killed Celine by possessing her first, her not being able to hold the soul inside her body, OR Celine did not die and let Damien inside her body to save him from being thrown into the corpse, which would explain why she was red and blue in the end sequence of Chapter 3. She also appears to be having two pairs of eyes above her head at one point. Possibly a hint that she’s two in one at that point?

Either way, we know that Damien represents BLUE and Celine represents RED thanks to the ending of Chapter 4:

Which is why it could very well be that She kept Damien’s soul inside her body for a short while to save his life. And of course Damien was PISSED after that, betrayed by whom he cared for, who he fought Will for and whom he thought was a good, a childhood friend he could trust. That’s for the angry step towards us, the angry stare. He looks at us, knowingly. He chooses his victim that very moment.

We are told to run. The door closes and Celine does not come out. Her shell possibly broke and both souls were set free without a shell, or she kept it up and waited for the right moment to talk to us. 

The right moment being the time Will shot us.

And here is the thing; We did NOT die. If you listen closely, you can hear a faint heartbeat in the background during this very scene. They both tell you to believe them, tell you stories to make you feel sorry for them. Which, of course, you do. Damien seems pissed and loses his temper once more, like he did with the Colonel before, and shouts angrily that Mark walks around in his body. Which is why I think that part is true. He couldn’t take his anger in. He can’t, he has a low temper, that’s just it.

But Celine reminds him that he “can’t do this right now”. Reminds us to believe them. What you’re told is that Mark trapped both of them inside his old, dead body and that they brought you there so you have a chance to survive. Damien tells you that you can’t survive on your own and Celine says she can bring you back the same way she brought you there. But what Damien says afterwards is the most important clue.

He says: “But you can’t survive on your own. You’re .. dead, after all. (…) I know this all sounds crazy. Honestly, I don’t know what the fuck is going on. But I know that I trust Celine. And if you trust us … let me in. We can fix this.”

Gathered: Damien lies to you after all this time of actually being genuine. He was betrayed by Mark, knows that you trust him, wants revenge and is angry. He lures you into a false sense of security, tells you you can fix this together. He makes you feel like a friend by telling you that he feels the same way about all of this. And then, he mentions that oh so beloved trust of his. That one thing he completely lost thanks to Mark. 

Also important to note; It is ONLY DAMIEN that inhabits your body after all of this. Why is that?
Celine states that she can send “you” back, not “us”. She says “you” have a choice. And Damien ends his sentence with “let me in.” Not let us in.

You trust Damien and he tells you that it will work, he promises.

And it does work! You wake up in your own body, get up, meet the Colonel who is completely out of it by now.

He does not recognize us as a “Dark” or “Damien” because we don’t look like Damien yet and Dark doesn’t exist yet either. Damien, at this point, is inside our body and trying to take over. 

We listen to what Will says and see him, in desperation and utter confusion, try to find his dear friends he lost.

Once he’s away, only THEN do we walk over to the mirror. And here is where it gets interesting.

We take Damien’s cane: Take a look at the hands.

A thin, female and young looking hand (possibly Amy wee i love her), but then something happens.

The hand changes, transforms into a different one. Into a hand similar to Damien’s. Because Damien is inhabiting your body by himself. Celine is likely still in Mark’s body or, as I mentioned earlier, never died to begin with. It’s Damien who was so fed up, he had to use you to get what he wants. And he gets it alright:

A body. A shell to use as a puppet. He transformed your body into a copy of his own. Mark likely still uses actual Damien’s body, but Damien had to make you look like him to finish this with you. 

Then this happens.

And sad music plays in the background all throughout this scene and it broke my heart - but why did it break my heart? Because that right there is a representation of broken trust, my friends. Damien threw us out of the body he stole from us and trapped us either behind our screens or in that mirror (hence the weird noise light inside the crack). He used us. He manipulated us. We were his first victim.

And he feels bad about it at first. Note how Dark’s look changes after he throws us out? Because now we can see what he truly is; a broken man. He had so much trust in Mark, in us. He was a genuine, good and kind hearted man. He neglected his other friends for Mark only to then find himself betrayed by Mark or whatever he had unleashed that day. He is troubled, his emotions are a whirlwind and all the while he has to keep his anger inside. After all, Damien has a short and low temper. Guilty about what happened, he looks up at you.

Reminds himself that he has a goal now; take revenge. Looks at you now with almost disgust to make you feel even worse. This is a reflection of his own emotions that very moment. We are supposed to feel exactly what Damien felt. Betrayal, fear, loneliness. An end. The mirror itself is a genius metaphor for this.

He then leaves us. Clearly guided by rage and hatred and you can FEEL that, I get goosebumps just thinking about this. (@markiplier frickin amazing acting, dude!) Anyway, here he makes up his mind to take back control over what is rightfully his. Mark; his own body.

We are then left in darkness, questioning and clueless, sad and quite literally broken. 

Dark’s origin, ladies and gentlemen.

(just my take on this. It’s probably, like, super wrong lmao also sorry for the long post ilyall)

Adding to canon is not the same thing as destroying canon

At San Diego Comic Con, we learned that Sonequa Martin-Green’s character, Michael Burnham, is Sarek’s adoptive daughter. The second I heard the news, all I could think was, “Let the hate begin.” And boy, did it ever.

I understand the disappointment, particularly with fan fic writers who invested a lot of time and effort into crafting stories that fit neatly into canon. Amazing how one sound bite can bulldoze right through decades of widely accepted fanon, huh?

Keep reading

The 1 Element Your Flawed Character MUST HAVE

If you’re a reader, you’ve probably experienced this before: you pick up a book, it seems pretty interesting, you nonchalantly decide to read it – “whatever, might be good” – and then … 

A paperback explodes life as you know it.  

Encountering a book like this can give life sudden clarity, it can change the way you look at the world, it can help you overcome something and grow, it can give you new purpose, it can inspire you to change your life, it can transform your future. By the time you’ve finished that book, it has become a part of your life – and will probably remain that way forever. (*Holds up my battered copy of Narnia as evidence*)

This magical experience is pretty much the ultimate goal for a reader. But if you’re a reader AND a writer, the fulfilling moment is inevitably marred by one depressing thought:  

“I’ll never write anything that good.”  

To which I say:

I beg to differ, little discouraging voice. With dedication and persistence, anyone can write a story that will be deeply meaningful to a reader. 

The trick? It needs to be deeply meaningful to the writer first. 

If a writer is going to give a reader a life-altering piece of knowledge, that means the writer already has that knowledge to give. We have all experienced things worthy of a story. We are all characters, journeying through arc after arc, becoming better or worse. From living these stories, we learn and see things more clearly, just as protagonists do. Which means we have something to say, something to write about, something to give. 

But to do so, we have to shoot for art.

The word art seems terribly vague, unattainable, and intimidating. But I don’t think it has to be. By “art” I’m going by the definitions given in two of my favorites quotes about writing (writing is art, so these apply): 

“Art is born when the temporary touches the eternal.” – G K  Chesterton


“…It is an art. It is the best of all possible art, a finite picture of the infinite.” – N D Wilson  

Both quotes state the same thing, in different ways. Art is about depicting and communicating something true, something universal, something everlasting about life and humanity, through something tangibly created. A definition which sounds an awful lot like the definition of metaphor: “a thing regarded as representative or symbolic of something else, especially something abstract.” Which sounds a lot like storytelling, because story IS metaphor. It’s life, condensed and magnified, all of its components there for a specific reason – to represent and convey some deeper meaning. So storytelling is naturally suited to being art. Which is good news for writers.

But it can also mean trouble. Storytelling is proven to be one of the most powerful teaching methods there is; a story actually has the power to get into someone’s head and heart and change everything, because to a reader’s mind the events on the page are actually happening. They’re living another life, a life that seeks to prove whatever the author wants to say. So writers have a responsibility to make sure the meaning of their story is true, morally and logically. 


Your main character is flawed, both in ways that only hurt themselves, and in ways that hurt others. These flaws are causing them to ruin their own lives. If they don’t awaken to this unwelcome truth about themselves, they will be lost. What happens to them over the course of the story, as they go after their singular goal, is going to apply pressure to these flaws until someone new – and most of the time, better – is made. The journey will teach them something, and that knowledge will enable them to overcome their weaknesses and forge a better life. 

And I bet you can guess what that story will teach them. That thing that is deeply meaningful for you, so meaningful you want to share it with readers? Yup, that’s what your main character is going to learn.

It’s going to be the SOLUTION to their inner problems. When it comes to characters, the meaning can be wrestled into three parts, adding up into one concise sentence. 

1) To achieve *a better state of being*

2) One must *moral and mental requirement*

3) Or else *the inner stakes*

To see how this works, let’s look at a fairy tale, the most straightforward example of this concept: 

Let’s see Cinderella (the live-action 2015 version). 

The meaning of the movie is summed up in this scene, and the story seeks to prove it throughout: 

“Have courage and be kind… It has power, more than you know. And magic.”

The story revolves around this notion, and everything seeks to represent it and prove it, in true Fairy Tale fashion.  

So in one line, that Ella’s arc proves: To achieve victory over abusers, one must hold onto their courage, kindness, and goodness no matter what – or else succumb and turn into someone like them. 

Exemplified in her last words to her stepmother, that truly defeat her forevermore:

So! Constructing these sentences can help give our flawed characters a destination to motor towards. Which makes writing their arcs much easier. And maybe we can construct a character arc and story that will become one of those magical reading experiences for a reader. And then, maybe one day, we’ll get letters from our reader, telling us exactly what our stories gave them and how it has saved their life in some small way (or maybe not so small way.) 

If finding a book like this is ultimate goal of a reader, I think getting a letter like that is the ultimate goal for a writer. 

Well, there’s my motivation. Time to go figure out what the heck I want my book to say. 


can we pretend? if only for tonight.

hearts left bleeding, by Coalitiongirl

I’m thinking it’s time to stop being in the silent majority.  Don’t you?

Originally posted by littlefirefly00

Originally posted by stayclassysupernatural

Originally posted by superdeanatural

I don’t know when I became Captain Save-A-Bro, but I know why.  It’s because bullies, online “truth warriors”, conspiracy theorists, anti-blogs and people who irresponsibly spread malicious gossip, misinformation and/or incite witch hunts against ANYONE who doesn’t deserve it and can’t or won’t defend themselves really piss me off.  

And let’s be real, these actors are in a catch-22 with regards to this “joke” issue.  They can’t defend themselves because they’d face even more backlash, and they can’t apologize because you know what?  There’s nothing to apologize for, and it would seem falsely contrite.  But, I’m sure that TPTB will have to insist on a public apology from J2, even if it doesn’t merit one, simply in order to get people to put down their pitchforks.

I happen to love this show, and have a great deal of respect for the people involved in creating it, for a variety of reasons that I’ve already touched on, ad nauseum.  And frankly, I’m irritated because I just wanted to enjoy the goddamn show and its wonderful cast and the hilarious con footage, and leave it at that, because it’s ENTERTAINMENT, people.  So why in the actual fuck am I on here right now, feeling compelled to write this manifesto about a television show??  Why is this a thing? I’m genuinely pissed that this is a thing.  

With everything going on in the world today, Why. Is. This. A. Thing??

I’ve checked out other fan pages (or whatever the hell they’re called), because I have other interests, believe it or not… and I have never seen anything like the bullshit I’ve seen with this fandom.  And the thing is…. the shitposters I see on here don’t represent most of the wonderful people that comprise the SPN Family.  In theory.  

In print, however, it’s a different story, as we’ve seen.

They’re just the loudest.  That’s all.  As the saying goes, the squeaky wheel gets the grease.  And these squeaky assholes are making great strides in tearing apart the core beliefs of this show and it’s fans from the inside out.  Not to mention tearing down the reputations of certain cast members. They seek to be divisive.  And clearly, it’s working.  

We’ve got J2 fans, Jared fans, Jensen fans, Misha fans, Destiel fans, Cockles fans, blah blah blah… as opposed to fans of the show, and apparently they’ve declared allegiance to a character/actor (?), and some of them are, for reasons unbeknownst to most of us, pitting these characters and actors against each other to such a degree, that now we have very real and very dangerous precedents being set with regards to the extremes some of these folks are willing to go to, to tear down whomever is not their fave.  My brain is actually smoking, in an attempt to figure out how these peoples minds work.  

And it’s because they run amok on here and on Twitter virtually unchallenged. We need to Shut.  This.  Shit.  Down, and regain our solidarity, our collective dignity as fans, and ability to challenge injustice when we see it.  

NEWSFLASH ASSHOLES:  I’m a squeaky wheel too.  Welcome to the Thunderdome, bitches.

Most people don’t enjoy conflict.  We don’t want to ruffle feathers, or be seen as a jerk.  We may worry that directly countering a post, tweet or blog that promotes hate against any members of this cast or fellow fans, might open ourselves up to backlash or criticism from the OP’s or their friends.  And these are very valid fears.  Look what they aimed at Shatner, JDM, Jensen and Pellegrino recently for daring to dissent and/or daring to support their friends against this BS.  I get it.  

Heck, even Tumblr says right there in the comment field “say something nice”.  I think most of us see that, and police ourselves even when we’re seething about something.  Because, we should be nice, right?   Will Tumblr kick me out if I’m not?  What’s gonna happen?!!  :D

But they can’t hurt you.  We’re not public figures.  WE also have the benefit of anonymity, it works both ways.  The “safe place” of online discourse doesn’t just apply to them.  No one enjoys internet fights with trolls.  Well….almost no one, ( I have to admit, I don’t necessarily enjoy it, but I do derive some satisfaction from standing up to dickheads.) but we need to start standing up to these people.

I think that love really DOES trump hate.  I believe that.  But sometimes, in order to make that a reality, we’re going to have to step outside our comfort zone and question people who post malicious content about others.  And I think we all know the difference between an opinion we don’t agree with and something that is downright defamatory and/or abusive.  We’re going to have to fight for the things that brought this family together in the first place:




Being brave

Helping those in need

Standing up for what’s right

It’s worth fighting for.  Because staying quiet in the face of hate has never had good long-term results.  And I don’t think I need to give examples for you to understand what I’m getting at.  I think it’s time to start challenging these people directly and supporting each other when we see someone standing up for what’s right and getting roasted by one of these jerks.

I’m not saying be a dick, but if we keep letting these folks run around unchecked and unchallenged, they’re going to continue to exert their influence in destructive ways and will represent the “majority” of fans (as unfortunately quoted in the latest articles about the J2 joke debacle), because WE are remaining the silent majority.

We need to rebuild this community.  And in order to do that, we may need to have uncomfortable discussions with these people.  But knowledge is power.  And at the very least, I think we can start putting real facts out there.  

And I understand being nervous or afraid to challenge someone who’s spreading hate, just know that if you ever need someone to advocate with you or for you when encountering shitty behavior from one of these people (anyone for that matter), I’m here for ya.  You can message me anytime, and I’ll help in any way I can.  I promise that.  However, I want you to start speaking on your own behalf as well, because it’s important.

And to quote an awesome and lovely person that DM’d me:  "Good people will rise i totally believe in that"

You know what?  I do too. And I also believe that this can be a great exercise for flexing our muscles for dealing with real issues.  Bigger issues.  More important issues. Yes, I’m still salty that I had to write this, and every blog post before it.  But it needed to be said.  Good habits start at home though.  So why not start here.  :)

Ok let’s talk about Liam.  You wanna talk about Liam?  I wanna talk about Liam.

He was so on in the interviews from today.  Of course there’s always an element of reading into things with this, but I think he was throwing shade left and right and it was glorious.

1) He wore a bright yellow jacket (Zayn’s color) with a Batman necklace (Batman having been used to represent Zayn in past hints, skip to 6 in the link) on the day two of his interviews came out that mentioned Zayn, one of which was definitely filmed today based on the clothing.  One of his other interviews today was also at Z100.

2) When his Batman necklace came up in discussion, there was a point where he said that “he comes around with me sometimes” and then a part I can’t hear clearly.  Anyway, it might be my imagination, but something about his tone and the emphasis he used makes me think he was talking about Zayn.  He’s never worn that necklace before, so saying “sometimes”  doesn’t quite fit, does it?  That, among other things, just gives me a feeling.

3) Liam replied to @natyamity today on Twitter for the lovely modification of Liam’s new Twitter emoji.  She’s one of the members of TheZiamNews on Twitter.  While him interacting with her isn’t a first, it definitely fits with the Ziam theme today in particular.

4) When Liam was telling the TS story, he mentioned himself being there and Harry and Niall, but then he said, “Where was Louis?” with this playful-but-really-meaningful-in-a-shady-way tone.  I mean, if she’s anywhere nearby, you and I and Liam all know that Louis is going to be as far away as possible.

5) The quote they’re using about the hiatus makes it sound like Liam is uncertain of a reunion, but then in a different interview today he specifically emphasized how it’s a “HIATUS” and tells the interviewers, “it’s not a case of breaking free because it’s a hiatus, just remember”.  Clearly nothing has changed from what the boys originally told us even though the official narrative is trying pretty hard right now to slowly and subtly make fans lose faith.

6) He put 5 colored hearts as emoji on the pic on Instagram.  This one is hard to say for sure, but someone (maybe Liam) chose to specifically put 5 heart emoji on the picture.  I’m saying OT5 since today’s already a shady day.

So yeah, basically, Liam has been glorious in interviews ever since this round of promo started (despite unfortunate official narrative circumstances) and he turned the shade up to high today.  It was awesome.  That is all.

anonymous asked:

My 11th grade english teacher taught us that writers go over their work again and again-- they don't put every bit of symbolism in their first draft, that gets added later. How on earth did Andrew Hussie put so much symbolism in Homestuck when it was updated whenever he finished the next page? He couldn't have thought all this out ahead of time, could he?

Your English teacher was wrong, for starters. The presumption that all writers develop their work the same way is flat-out incorrect. I know writers who can only write with outlines, writers who don’t use outlines at all, writers who believe they’re writing out events that happened in some other place in the multiverse, and writers who strongly attest to just the opposite. 

Depending on who you ask, writing is intellectual or personal or philosophical or spiritual or any combination of the above, and no two people approach it identically. Writing, like all art, is as personal an alchemy as the construction of your own identity. 

So it’s entirely possible Hussie is a writer who could indeed have thought a lot of this out ahead of time. I don’t know the guy and am not in the habit of speculating as to his nature or allowing ideas about what’s “possible” for a writer to influence how I read the text, because usually what people think is “possible” is just a bunch of self-limiting bullshit.

That said, I don’t really know how Hussie wrote the story, beyond a few methods that are beginning to seem self-evident to me. We’re lucky in that one such method is one he’s discussed himself, presented here through @curlicuecal ‘s excellent roundup of Hussie’s quotes on writing:

The takeaway here is that Hussie is a very rules-focused author, who values consistency and strict adherence to the parameters he lays out.
This is specifically about character writing, but Homestuck is a rules-focused narrative in all things, so it’s easy to extrapolate elsewhere:

The Alpha Timeline, Classpects, Roleplay, The Active/Passive Spectrum, Denizen symbolism, Dreamselves–all have corresponding sets of rules, whether they be guides for behaviors, logical consequences to actions taken, or the fundamental structures of the setting itself.

It’s also demonstrably true that Hussie is something of a culture remixer, who will freely adapt entire plotlines from other sources for a particular character’s arc if it’s useful to his goal.  

So I’d suggest that this hypothesis is somewhat likely:
At least insofar as the Gnostic symbolism that pervades the entire story goes, you’re mixing up cause and effect. 

Hussie didn’t need a second draft to “add” symbols to his story, because Homestuck is built around the symbols in the first place.
It’s worth noting that Homestuck itself puts a massive emphasis on the power of Symbols through the TRAGICALLY overlooked Drunk Rose District section:

So, for example, Hussie didn’t need to know every minute twist and turn of Caliborn’s ridiculous story in order to build him up as a compelling villain–he just needed to start Homestuck’s story with the understanding that it was about being “Trapped” in a flawed world created by a “Yaldabaoth” figure:
a flawed, evil Creator God associated with the Sun. 

This means Hussie could use the symbol of the Sun to stand in as a symbol for Yaldabaoth/the central antagonist, which is precisely what we see him do:

And the details of the antagonist’s nature could be developed and presented later, linking the character to the Symbol explicitly in any number of ways:

Like the red sun being presented later in Caliborn’s artwork, “Homosuck”–represented by his red cheek spiral, no less.

Hussie could also hypothetically build from the symbolism already associated with Yaldabaoth to flesh out the character further. All it would take is some cursory research on, say, Wikipedia or other freely accessible texts like Jung’s 7 Sermons. 

The Demiurge is sometimes described as an Angel, and through association with Samael, specifically an Angel of Death. There we get LE embodying Death to Troll-kind, and Caliborn and Calliope’s Cherubic origins. So on and so forth.

This is the logic that guides my approach in researching everything Homestuck presents, not just Caliborn. The Classpects, the Denizens, particular character beats–everything. So far, I think it’s been pretty fruitful, so I might be onto something with all this.

And doing this kind of freeballing, primarily online research for mythbuilding would also make a lot of sense if Hussie were, for example, writing primarily for an online audience known for researching and analyzing pretty much everything the story presents.

It would in fact be quite efficient to include some references to Wikipedia and then litter the story with thematic and symbolic callouts, letting the fandom pick up the threads and apply them to the plot, which itself would benefit from being able to focus on itself without having to take the time to explain and break down every symbol and reference.

Again it’s worth saying that this is just me guessing based off what I’ve seen in Homestuck itself. I have no idea if Hussie actually approached the story at all like this. I could well be wrong.

But whether or not it’s true in Hussie’s specific case, it’s certainly a way one could plausibly construct a story like Homestuck, if one were inclined to write a very complex story with profound symbology and approached writing as a process of setting and then holding to a series of rules.

So whether or not it’s true here, I think it lends a certain logic to how stories like Homestuck could be written, and that makes it a valuable exercise in critical analysis and in considering how I might like to write things someday, myself. 

Writing works like this is certainly not impossible. 
It just takes a little foresight, persistence and commitment to a certain work style, and good foundational design. 

smallwheatdeity  asked:

yeah no sorry hillary clinton is a murderer and rapist-defender she's not like "literally any other politician" and it's disgusting you would say that lol

That “fact” about Clinton defending a child rapist and laughing about it, came about in May of 2016 this year. It’s a new lie which is part of a carefully orchestrated smear campaign that’s been running against her for the last 20 years because the thought of a woman in power scares certain powerful men shitless.

What is true about it, is that in 1975 Hillary Clinton (then Hillary Rodham) was appointed to represent a man charged with raping a 12-year-old girl. This was her job. And just in case you can’t wrap your head around how being a defense lawyer works then I’m sorry to tell you that lots of lawyers have had to defend people they have found to be monstrous. When people say in movies “you have the right to an attorney” they’re serious, everyone has that right, even child rapists. Hillary took the case reluctantly, which ended in a plea bargain for the defendant. He did not “get away with it”. He actually plead guilty. That’s what plea bargain means.

Hillary Clinton did not volunteer to be the defendant’s lawyer, she did not laugh about the case’s outcome, she did not assert that the complainant “made up the rape story,” she did not claim she knew the defendant to be guilty, and she did not “free” the defendant. Do some basic research before you support such claims. (x)

And just in case you’re too lazy to click the link, here’s a direct quote from Hillary and Gibson, the prosecution lawyer:

[Prosecuting attorney Mahlon Gibson] called me to tell me an indigent prisoner accused of raping a twelve-year-old girl wanted a woman lawyer. [Prosecutor Mahlon] Gibson had recommended that the criminal court judge, Maupin Cummings, appoint me. I told Mahlon I really didn’t feel comfortable taking on such a client, but Mahlon gently reminded me that I couldn’t very well refuse the judge’s request.


Hillary told me she didn’t want to take that case, she made that very clear,” recalls prosecutor Gibson, who phoned her with the judge’s order.

And murder? If we’re talking about the decisions all politicians make, then by that logic you could turn around and say that Obama has murdered 116 innocent civilians because of drone strikes (x), George W Bush murdered over 110,937 civilians in the Iraq war alone. (x) People might well believe Bernie Sanders is the savior we’ve been denied, but you’re dreaming if you think he could have taken the office of the presidency and avoided bloodshed entirely. But since we’re presumably cherry picking about bloodshed on politicians hands, lets talk about The Authorization of Military Force Against Terrorists Act, passed on September 14th 2001. This act is responsible for the United State’s continued engagement in the Middle East over the last 15 years—And Bernie Sanders voted for it. And I love Bernie, I would have voted for him in a heartbeat. But when we’re talking about “murder” on the hands of politicians hands, we cannot cherry pick the facts we want to believe in and ignore the rest.

Hillary Clinton is not a monster. Hillary Clinton does messy jobs no one else is willing to do, and she does them well. But Hillary Clinton is also the person who showed up at Ground Zero following in the wake of 9/11 to witness the carnage for herself. Clinton who did not do it for photo-ops as so many did, and took the time to talk to first responders and to make sure they were getting the resources and help they needed to carry on their work. Clinton who advocated for those same people to receive health care when it was revealed the Bush administration lied about the air around Ground Zero not being toxic to breathe, putting rescuers at further risk. Clinton who stood by people for years and made sure they were doing okay in the aftermath:

Gorman recalls being pleasantly surprised by Clinton’s commitment, both in terms of her mastery of policy detail and on a personal level. “She would call me on my cellphone to ask how I was doing, how my members were doing,” he said. “One time I was pumping gas at a Texaco station, it was Christmas Eve, and she wanted to know how things were going. When a senator calls someone on my level, that’s impressive.” (x)

But we don’t hear so much about that do we? We don’t hear about Hillary who has been campaigning for universal health care since 1993 (x). Hillary who has stood with Planned Parenthood for a long time and who remains their most stalwart advocate (x)

And the reason we don’t hear about them is because Hillary has endured a 20 year smear campaign against her, and this is important, because she is a woman who dares to show ambition (x). So when you believe the things you read without fact checking them, you are giving weight and precedence to even bigger lies which has its roots in female oppression. Which is disgusting.

Do I agree with everything she has ever said and done? No of course not. But on that same level I don’t agree with everything Bernie Sanders has ever said and done either. Do I believe she is the most qualified candidate to be the next President of the United States? Unequivocally.

I’m a foreigner in this country and cannot vote, but morally and with the utmost support for the hope of the betterment of this country #I’m with her.

Clues that Ezra is A.D.

On this post, I’m going to explain to you how I got to the conclusion that Ezra is in fact A.D. and how I think the final reveal will get unraveled. Before reading this, you should go check my theory on Ezra being A.D. and the story behind it.

I began to think that Ezra is A.D. after watching this scene from episode 7x12:

If you look closely behind Alison on the blackboard, you will see that there are two books mentioned with one quote below each of them and as a headline there is “Compare/Contrast”. The books are “Twelfth Night” by William Shakespeare and “Winter’s Tale” by Mark Helprin.

The quote below “Twelfth Night” says “One face, one voice, one habit and two personalities”, while the other one below “Winter’s Tale” says “Though I am not naturally honest, I am sometimes so by chance”.

The story behind the “Twelfth Night” focuses on a woman who lost her twin brother and decided to disguise herself into a man and enters the service of Duke Orsino. In the end, she finds out that her twin brother is alive and the reveal happens during a wedding along with the reveal that she was pretending to be a man.

“Winter’s Tale” is about a man who has a guardian horse and one day he meets a woman and falls in love with her. But he learns that the woman is fatally ill and he loses her.

My first thought when I read the plot of the “Twelfth Night” was that CeCe has a twin brother. In my previous post about Ezra, I said that Ezra and CeCe became friends while he was searching the truth about what happened to Bethany. I will take a huge step here and claim that they are actually siblings.

I believe that Ezra met Bethany through CeCe. Not CeCe through Bethany. Minor change on my last post but I had to mention it.

My theory on Ezra got more heated when I came to the realization that the Liars keep bringing stuff to A.D. at school (read explanation for this in my previous post) and also when I saw this note ending up on Lucas hands along with the comic book that Aria stole:

And then I thought “I was right from the beginning”.

Let me explain. I believe that the man in the book “Winter’s Tale” represents Ezra being in love with Bethany who died. This might also give some light to the theories revolving around Bethany having a deformed face. Cause the girl in the book had a “disease”. The “disease” might also refer to Bethany being mentally ill.

Another reason I believe that this story is about some guy loving Bethany is the character of the horse. We all know Bethany loved horses. Plus, the quote below the book said “Though I am not naturally honest, I am sometimes so BY chance”. Notice the BY there? And if you go back to season 6B and rewatch the moment the girls confronted Ezra about the night CeCe died, he repeated the word “honest” a lot of times.

In order to connect “Twelfth Night” and Winter’s Tale, I had to take as a fact that Ezra is CeCe’s brother. I’m still not sure about that but if you check their ages, they are the same. And the biggest clue I got from the “Twelfth Night” was the fact that the reveal about the twins and the betrayal from the woman who was pretending to be a man, happened during a wedding. The only wedding we know is going to happen on 7x20 is Ezria’s wedding.

Which means that Ezra will be revealed as A.D. and CeCe’s brother and CeCe will confess of not being a transgender and the real Charles might be Ezra. 

I had also discovered that there is a picture of Ezra covered in blood from the 7x20, plus, Aria wears her wedding ring on another photo from the 7x20. So, the wedding did happen. My guess is, the reveal will come after the quote “Until DeAth Do Us PArt”. Thus the title of 7x20. After that someone is going to shoot Ezra.

So, that’s all the clues I have so far. I might be wrong in the end but we won’t know it until we finally see it.

Rey of Light

Daisy Ridley talks about being a beacon of inspiration for women, and the not so black-and-white relationships between her character Rey and some key members in Star Wars: The Last Jedi.

— F*** Movie Magazine, Issue 91 - Dec 2017/Jan 2018

[ Note: I only transcribed the interview itself since the intro blurb is mostly a rehash of what we’ve heard of before. By “not so black-and-white relationships” they were merely quoting captainhaddock’s translation of Daisy’s interview with Yahoo Japan from Oct 2017 where she said: 

“What you should pay attention to is that The Last Jedi is putting out the message that things might not always be so clearly black-and-white. The dividing line between good and evil is becoming more and more ambiguous, and you could say that the relationship between Rey and Kylo symbolizes that…” ]


Daisy, how much has your life changed since your big breakthrough in Star Wars: The Force Awakens two years ago?

It’s only changed professionally: I have greater access to roles that I would never have been offered before. After the first Star Wars I didn’t work for a year because I couldn’t find a project with a dynamic female role. So I waited. I’m not interested in playing someone’s girlfriend, the female character whose only purpose is to support the man, unless there is a solid story behind it.

But as far as my private life is concerned, it’s all the same. I live in the same apartment, I have the same friends, and I try to see my family as often as possible. The only difference is that it’s more difficult to do simple things, like getting out for a coffee without being recognised. But please don’t misunderstand me, I’m grateful for the success I have, even though I’ll never be the kind of person who craves celebrity.

Was it easier or harder to play Rey the second time out in The Last Jedi?

It might seem strange to say, but there was more pressure doing this one. I might have felt more comfortable on a big set and accustomed to working with a large crew and so many outstanding actors, but I felt the responsibility that comes with not wanting to let audiences down.

Rey had a big impact on people in The Force Awakens and especially on young women, so I felt the weight of taking the character forward and being very conscious of representing women in a strong and positive way.

Do you still worry about how audiences will react to The Last Jedi now that they are already familiar with your character?

I try not to think too much about expectations or, otherwise, I think it would drive me crazy. The biggest stress for me has been to overcome my nerves because we all want people to respond to the story and like and hopefully audiences will enjoy it.

Keep reading

Star-Crossed (Lotor x reader) Part I.

This is the first chapter, the previous one was just a prologue.
I’d advise you to read the prologue first. (I wish I could give you a link but I don’t know how to do it yet.)

Word Count: 852


“Y/N, I bought something for you at the market.” Said Allura, striding into your room with a gentle smile and a package in her hands.

“Did you bring me books to entertain me, while I am basically locked up here until you might have use of me?” You may have been a bit over-dramatic (but she was already used to this).

“No, not this time. And Y/N/N you are not locked up here. I bought you something better than books. Guess!” She was awfully excited.

“Books and tea and a little pet?” You assumed, not really caring about the content of the box.

Truth be told you were mostly just frustrated by her over-protectiveness.
“Guess again.” You sighed before, guessing that it had something to do with the upcoming ball.

“So it is a dress and a mask then?” Allura nodded before handling you the gift. You opened it and saw a dress in a shade of y/f/c, the matching mask was also in there.

“It looks very beautiful. Thank you.” You smiled a little at her, putting the present aside and hugging her slightly. You were still angry at her antics after all. But you were thankful for her consideration.

She appreciated your gesture though.
“I must go now, Pidge asked for my help with something.” You nodded, bidding her farewell.

After she left. You decided to try the dress on.


The ballroom was almost full when you all arrived. However there was still enough pace to dance.

All the paladins were wearing their lioness’s representative colours and a matching mask which covered most of their faces.

Hunk and Pidge went to take a look at the menu, while Shiro was talking to Keith, and Allura went dancing with Lance.

You stood for a while before joining the swaying crowd.
After some time you got tired of this activity and walked to a side balcony to have some fresh air.

The stars were beautiful this night. There was also a light breeze that made your heated skin cool off a little.

You walked back to the room where, if it was possible more people were dancing and having fun than before.

“Y/N, would you dance with me?” You faced the direction where the voice came from, it was the leader of Voltron himself.

“Of course.” You didn’t know if it was a wise idea to say his name aloud or not so you decided against it.

Dancing with Shiro for a while was enjoyable.

There was a partner switch, which got you in the arms of a blue or purple eyed man.

He held you firmly against him while dancing, not taking his eyes off of you once.

His stare made you blush under your mask and a shiver run down your spine.

“Would that be too self-absorbed of me to snatch you away and ask you to take a stroll with me?” He whispered in your ear, pulling you closer to him than before.

“Not at all my lord.” You answered, trying to figure out why his accent was so familiar, but nothing came to your mind.

He led you away from the crowd, to an entrance which was a way to the gardens.

He held the door open for you. How chivalrous. You noted the way he carried himself, there was no doubt in you that he was of noble blood.

“May I ask which planet are you from?” You bit your lower lip in nervousness.

“My planet was destroyed by our foes.” Well, you were not lying. You calmed yourself down, worrying that he might pester you to tell him the name of your planet.

“I apologise, my lady. It wasn’t my intention to make you feel downhearted.” He put a comforting hand on your shoulder.

“You couldn’t have known. And what about you my lord?” You questioned, looking into his mesmerising eyes again.

“I’ve been sent away from home.” He visibly tensed at the mention of his home.
“Oh, that must have been horrible. I am sorry if I made you uncomfortable.” You patted his hand which still rested on your shoulder.

“It’s alright, dear. Have you got any siblings?” He asked, changing the topic quickly.

Well, there was no use in lying about this one.
“Yes, I have an older sister. How about you?”

He chuckled a little, for an unknown reason. What was so laughable about this question? He was the one who first asked it.

“I’ve only got close friends. My parents are not the best at parenting so it is a blessing that they only had me.”

“Well, at least you get to choose friends which is like a second family.” You mused.

“Would you tell me your name?” You stopped walking after he asked that.
“This is a masquerade if I am not mistaken. And I don’t know your name either.” He had a playful smile on his face.

“That’s absolutely true darling, but we could change that. All you have to do is tell me if-” He got interrupted by a loud explosion coming from behind you.

A/N: How was It? And you might find some Loki quotes through the story, albeit sometimes rewritten or mixed to better fit the book.

I hope I got Lotor’s character right. By the way get ready for Shakespeare quoting in the next chapter or the one after that. :)

moansmisha  asked:

Sometimes it freaks me out how similar Claire Novak’s story is to Dean’s D:

It’s funny, I have just started the 10x09 rewatch I need to do before Wayward Sisters, but I watched it the other day with my mum too just because, and I have been thinking about this a lot. 

my desktop has literally been stuck on this all day while I have a migraine at all the things I wanted to do :P

They give her SO many superficial traits to him - the whole connection to Cas told through familiar lines like about her praying to him every night, or the ketchup conversation, and Cas comparing them directly in 10x10 about both being… gosh what was the phrase? I’ll have to look that up… “one extremely messed up human to another”… I’ve been trying to think about Claire in the bigger picture, and she’s a massive Dean mirror, but her story is different and I actually kinda like what it all built up to really.

She loses her family when she’s much older than Dean - 12 to his 4 - and she doesn’t have a sibling so she has to go it completely alone. She knows the supernatural exists but only angels and demons - she doesn’t really have experience with monsters, just the mytharc, and she’s been *possessed by an angel* so they’re unequivocally real to her. She grows up praying directly to Cas while Dean has had no faith since Mary died. 

Ironically Claire is bound to Cas under the exact same “angels are watching over you” link as Dean, Sam and Jack all share with Cas, but it’s the most fucked up iteration (with Sam somehow passing with flying colours as the LEAST fucked up one in this weird umbrella of humans in Cas’s charge :P) because Cas made a bad promise at the very very beginning of his story - so early on they had to make the episode to go back to it because it was only by late season 4 Cas was officially full time main character enough to warrant a more complicated backstory and knowing how his ~existence~ in a form we could understand anyway began and all. 

Claire has been utterly betrayed by Cas, and he’s her Azazel in a way - another mirror to Dean that a supernatural creature stormed in and destroyed her family. Took her father and killed him, and her mother broke and went on the road and became the Worst Parent and physically AND emotionally abandoned her. But Claire doesn’t kill Cas (because he’s not evil and wants to make amends), and she actually manages to forgive and accept his help, and he helps her resolve her family situation and put her on her new path - the end of 10x20 for Claire is what 2x22 was for Dean, but instead of having killed the thing that destroyed her family, she’s hugged it goodbye and kept the grumpy cat plushie it gave her.

And Dean’s the one who sets her on her path. Because Cas represents the big old mytharc stuff and the damage to her family - he has to reconcile personally. But she grew up in the foster system having human problems and the supernatural was maybe the CAUSE of it all but she was just raw frustrated anger when we first see her again, and she has no way “in” to deal with it… 

(And she should not have started hunting as a 12 year old, with no one overseeing her or anything - I was talking to Mittens about it a while back and yeah tbh if they brought her back as a hunter like a lot of the original spec/desires were, that she’s started hunting angels in the gap while she wasn’t on the show, she was too YOUNG and really around the age the show brought her back is really the start of when she would be old enough for them to justify her doing ANYTHING on her own. She COULD have found a Krissy set up - an older hunter to guide her and others to hunt with, to give her a closer backstory to Dean, but the separation from their world was important to start with, I think, that she had plot reasons from 4x20 why she would have started hunting run of the mill monsters and she was too young, so unless she and Amelia became a power duo of mother and daughter hunters… Yeah :P Not many ways to bring her in except either stuff happening TO her to bring her back or Cas wandering in to catch up on her…) 

But yeah Sam also just helps her in the sense of teaching her credit card fraud and his birthday present coming of age gesture to her was a credit card - independence and still not really HUNTING skills, just “you’re a scrappy youngster who needs help surviving in this world” stuff.

It’s Dean who shows her what it’s like to be a hunter, and how it all works, that you do your homework, and sets her up with the question of do you watch movies I rec you or do you hunt monsters like I do? He is the one who sets her up with the choice to continue being normal and to use her resolution of the family arc as a way to finish her involvement with the supernatural and move on and grow up into whoever she might be, or as just the first step before she starts venting her anger and frustration with the world to kill monsters and save people before they end up a messed up human like her. 

And in 11x12 Jody is sort of that guide as well - her place is to encourage Claire towards a normal life but she also has to deal with Claire wanting to be a hunter and in the end agrees to at least teach her “not to hunt like a dumbass” since she sees Claire is really set on doing this - and in that moment also that she now has a new family to defend and it’s less revenge and more helping people. And since she squared up what could have been a revenge arc she’s all “saving people, hunting things” like Dean represents. 

I think for Claire, Jody is like Bobby - the more experienced, kind hunter who steps into her life to fill an emotional gap her dead/abandoning (and then dead also) parents left. It’s similar to Dean in really broad strokes, but Jody has full responsibility of her and it’s Claire’s choice to leave or make use of Jody’s help, while I think Dean was happy for Bobby’s attention as a kid because in the 7x10 flashbacks we see how good Bobby was to him and we know what Dean’s like, and as adults he’s happy to depend on Bobby all the time and they pretty much end up living at his house from season 5-6 - it seems to be official by at least the midseason of season 6 that Sam and Dean are permanently based there although no one ever says anything about it. They drift TO Bobby and the narrative has to burn it all down to get them out of the house but Claire’s coming to Jody later in life and Jody’s attempts to guide her towards normality and away from monsters mean that she actually represents the opposite of what Bobby generally offered… In 7x10 yeah Bobby one time throws a ball around with Dean because John just wants him to learn to shoot all the time, but taking it as the transition in season 3 to Bobby being a permanent fixture in their lives and giving them the family don’t end in blood speech in 3x16 as the parallel to Claire beating her version of season 1 & 2 in season 10 and moving on to season 3 emotionally, we see Dean (and Sam) latching onto Bobby as the last time we see John passes and he’s now the sole parental figure they have. 

And that leads us to Claire wanting to be a hunter because of admiring what Dean and Jody do. And wanting to save people because she clearly feels strongly about monsters and her own frustration before she had a path, that hunting monsters is a clear *righteous* moral path, is not actually something that Dean was allowed to come to naturally. He was raised as a hunter, and he doesn’t get to choose it as an adult.

No, wait, it’s Sunday night I’m allowed to mention it again because it’s basically next week… I won’t quote the whole massive speech though :P Okay, so Dean never gets a choice to be a hunter when he’s growing up but it’s a lifestyle he was completely raised in. When he CHOOSES to be a hunter is in 2x20 after spending the ENTIRE season resenting John and the job and the burden that was put on him, and it’s uuuutterly depressing but he realises in the djinn dream after spending an entire season wrestling with wanting to just give up and stop hunting and leave the whole thing behind because he’s so tired of it all, that no one else will do it and so he has to - and he hates it but those lives are on him. I actually compared it more to Patience’s decision to leave in 13x09 because she would have the visions whether she became a hunter or not, but staying with her dad pretending to be normal would be like Dean being trapped in the wishverse djinn dream, knowing he had wished himself a happy ending but everyone was dying because he wasn’t out saving them. He had news articles of the deaths, Patience has her visions.

But Claire just sees something she really wants to do - to save people and kill monsters and rid the world of evil, and she makes it as a choice as an adult as her coming of age, based on her experiences of the world, and she has an unburdened FREEDOM to decide to do that, to feel like it is something that is in her nature and the idea of doing it is too compelling to sit quietly and do normal things with her life. Every time she has the choice to do normal things - to enrol in colleges and schools and get on with her life as Jody was hoping for her, she takes cases and hunts things and gets deeper and deeper into learning the job she actually WANTS and possibly NEEDS to do. 

I really love this about Claire - that because we got her innocent of monsters to start with, and that she had multiple chances to get off the ride, she chooses to hunt anyway and there’s low angst about it - she doesn’t have decisions the weight of which Dean did in all those instances, because her life or death revenge story is already wrapped up, peacefully. She just ends up on the road hunting monsters because after seeing this is a life people lead, and despite seeing the toll it’s taken on Dean, she still ends up emulating him. But as the next generation of hunters, who aren’t raised into it against their will, or out of necessity to learn everything about evil forces to hunt down anything in particular. She already dealt with Cas AND saved her mom, AND killed the angel that was responsible for that, and so she’s got an angsty backstory, but that’s not the thing that’s compelling her forwards… There’s no revenge and sacrifice cycle like the Winchesters are in. 

It’s similar to Jody, and the others - they all find out the supernatural exists but of all the Wayward Sisters, Kaia is the only one with UNRESOLVED main arc angst and probably a whooole bunch of misery tied to the Bad Place that they need to help her with/she needs to overcome as her personal arc. All the others have dealt with the stuff that makes up their backstory/introduction to the supernatural in their initial episodes, and are pretty much ready for a fresh start when their story begins :D

Oh gosh I could probably keep talking all night. Hi, I’m really hyped up for Wayward Sisters :P

anonymous asked:

swamp, you know more about orcs than anyone i know. why was garrosh going back to azeroth with thrall even on the table in the first place? like, wasn't the whole point of his nagrand questline us trying to get his confidence back so he could lead the mag'har and then thrall shows up and is like "my orphan now". so who's leading the mag'har now?? do you know how many ogres i killed for that kid, thrall. how many obsidian warbeads i gathered.

(slams hands down on the table) dont even get me fucking STARTED ON THOSE WARBEADS. i traded kandi with ogres for MONTHS to put a smile on garrybear’s face (actually i wanted a fluffy-tailed tallgoat but that’s between me and warden bullrok). 

The details on this are actually somewhat murky. The comics, whose canon is… tenuous at best, name Garrosh as one of Thrall’s advisors, though it is unclear as to what Garrosh is capable of advising. If anything, Garrosh is just a representative of Draenor and therefore an encapsulation of pristine orc culture, untainted by fel. Nazgrel in Hellfire Peninsula outlines this pretty well: 

As you know, the warchief put his power behind this expedition for one reason. This is the world we came from. This is where our roots lie.

This journey means different things to orcs and blood elves. To them it’s a search for the promised land. To us it’s more like returning home. 

Whoever made this axe is familiar with the old ways and we must contact them. This is too important for us to use ordinary tracking methods. (x)

Though a few of his councilors have their doubts, Thrall holds out the hope that we might discover new insights into the history of our people. He believes that somewhere amidst the wreckage of this world, the true tale of the orcish people lies hidden.

I must admit that in my darkest moments… I fear that that tale should remain untold.

The Horde has risked much to venture into Outland—resources, manpower—even the tactical defense of our lands is at stake. Despite all else, Thrall believes in the promise of this ravaged land. There is a strange light in his eyes these days - as if he senses some stirring revelation the rest of us do not.

Still, he is my warchief and my blood-brother. I would follow him through the gates of the abyss itself. (x)

One might say Thrall’s feelings toward Draenor are synonymous with Garrosh himself. He wants so badly to return to the home and culture that he was denied that he believes in fostering its redemption no matter what. Even if that means uprooting an orc away from their native planet.

Not to get too meta on Thrall here, but this is something I hope is one day addressed in terms of Thrall’s story, and also why I find Garrosh (and consequently, Thrall) to be such a fascinating character: Garrosh’s “You made me what I am” is true, to an extent, for both Garrosh and Thrall are obsessed with what it means to be a “true orc”.

Thrall never knew his parents. Thrall never knew an orcish upbringing. He returns to his culture and his people as an outsider, a transplant, and seems to forever feel a cavernous disconnect from being recognized as one of his own kind. Aggra reams him about this and supports his decision to cast aside the mantle of warchief and return to his roots as a shaman; he frees himself from being a figurehead by becoming an individual, an everyday orc. Yet, right on the heels of that, Thrall immediately steps into the role of the Earth Warder himself. Great, now he’s not even a typical shaman—he’s now the World Shaman, literally on par with a dragon aspect. Thrall still hasn’t had a chance to be an orc. Just a regular-ass, living-in-a-spiky-hut, cactus apple surprise-eating orc. He’s too orc to be human, and too human to be orc.

But I digress. Thrall had been warchief all this time and of course was happy with his forged family of collected misfits called the Horde, but he was still an exception. The truest family that Thrall ever had was in Grommash Hellscream. Grom showed Thrall what it truly meant to be an orc and to live as orcs do. Essentially, Thrall had faith that he could live as an orc because Grom showed him how, and Grom beat the avolition of withdrawal in the internment camps because he had faith in Thrall. Thrall looked to Grom like an older brother. They loved one another. One of the first things that Grom tells Thrall, even without knowing him, is “Kagh! Bin mog g'thazag cha!” or, “Run! I will protect you!(P.S. I had to google this phrase because I didn’t remember it exactly but I DID search “kagh bin mog g'thagh cha!”, which is pretty damn close. So I am awarding myself some orc points for that.) And so Thrall, understandably, will always honor Grom’s memory, but has rose-tinted its many blemishes.

Thrall’s desire to rediscover the orcs’ history in Outland/Draenor is personal at best and selfish at worst, and all of the other orcs know it. And Thrall gets his wish, somewhat, in finding that his biological grandmother still lives, and the rest of the orcs get a slice of the pie in gaining access to previously lost aspects of their culture (among other benefits, like the short reunion of the Saurfangs). However, Thrall’s desperation to be for Garrosh what Grom was for him is palpable. He quite literally says, "Your father was a brother to me. I would do anything for you and the Mag’har,“ and this is the basis by which Thrall navigates his entire relationship with Garrosh (and is a huge facet of my fucking oBSESSION with Garrosh). Garrosh has never gotten to be his own person. His entire life is shadowed by his father’s legacy, regardless if good or bad, and he serves only as a cog to carry out others’ expectations of him. (So, naturally, the moment he attains any sort of individual power, he becomes an impulsive tyrant operating under the assumption that someone will stop him eventually. And when no one does and he is enabled further, he spirals downward to his nascent self-destruction. But that’s another very long blog post for another day.)

So, really, “my orphan now” is a fair assessment. Thrall couches his desires to mentor Garrosh in naming him an advisor for an old/traditional perspective (one can assume), and had talked up Grom so much that Garrosh was compelled to follow the footsteps he had previously spurned. One can glean from post-BC evidence that the Mag’har get along fine, as the Greatmother did not pass away, despite her ailing condition, and the player character solved a lot of the issues facing the clan anyway (as Garrosh initially points out in offering the player leadership before Thrall’s arrival). Garrosh’s freedom to leave Garadar is granted by both the player character and, whether deliberately or not, by Thrall.

Thrall and Garrosh’s relationship is heavily codependent. Thrall needs the affirmation in knowing he is paying forward Grom’s tutelage while also getting the validation from a Real True Draenor Orc that he is “orc enough”, and there may even be some desire to “resurrect” Grom vicariously through Garrosh. Despite Geyah’s presence, Grom was Thrall’s only “real family”, and so now Garrosh is all he has. Conversely, Thrall is Garrosh’s only connection to “The Hero Grom Hellscream” and relies on Thrall’s guidance to follow the path that Thrall set for him. Before Thrall, Garrosh was entirely dependent on Geyah. 

Whether Thrall wants to acknowledge it or not, it’s quite apparent that Thrall wanted Garrosh to become his father. As everyone knows, instead of praising Garrosh for his own abilities (AS GEYAH , GARROSH’S SELF-PROCLAIMED “BALANCE” DID, OOOH BITCH DONT GET ME STARTED!!!!), Thrall simply transmuted Garrosh’s extreme resentment toward his father into reverence. Thrall set everything in motion for Garrosh to become Grom, but Garrosh is not Grom. Everyone in Garadar knew this, for better or worse. Geyah knew that Garrosh was strong and wise, but only needed to believe in himself; as Farseer Kurkush observes, that Garrosh had fallen into a depression at all made him markedly different from his father. Ultimately, both Thrall and Garrosh are fixated on Grommash Hellscream’s idealized legacy in order to be “true orcs”, and they rely on one another’s perceived expertise to attempt to attain it. 

Grom is lauded to nigh mythological status among the orcs, going as far as to tell Garrosh in The Shattering that his father never sweat. And instead of seeing this as a slight from the tattoo artist, Garrosh instead thinks ‘wow my father is so great to get tattoos all over his face and not sweat the whole time’. He doesn’t even question it. If the playerbase makes Chuck Norris facts about High Overlord Saurfang, then the orcs of Azeroth must make them about Grom Hellscream. But to the orcs, they truly are facts.

Blizzard’s official wording is that “Thrall convinced Garrosh to join the Horde”, but it could be argued that this is shorthand for “Thrall convinced Garrosh that to be Hellscream was a good thing, and that Grom was a hero that should be aspired to and not feared, and that, by joining the Horde, Garrosh could realize his destiny as a Hellscream and a leader”. Thrall declared Garrosh an advisor, then as Warchief. Thrall leaving to become a shaman among the Mag’har—a true, down-to-earth orc—was passing the baton in his mind: by becoming warchief, Garrosh was taking the next step in his Grommash metamorphosis to emerge a True Orc, just as Thrall would once he became A Real True Orc Shaman. 

But Thrall maintained his true orc surrogate with Aggra whereas Garrosh—without even Varok Saurfang to turn to—was left stranded and orc-less. He had Cairne, he had Vol’jin, but they weren’t orcs, so they didn’t matter. In being deprived of the mutual reliance he developed with Thrall, Garrosh’s personality  returned to being weak and malleable, rendering him not only unfit to lead as he had feared, but self-destructive as well. As he is enabled in his position (Malkorok, Zaela, overwhelming orcish approval) and continually forced to make decisions he is incapable of making and unequipped to deal with, he consults his fantasy of his father’s memory for guidance and validation. And, as it is stated in War Crimes, for all of his beseeching, it obviously never answers.

I’m hoping that if the Mag’har are introduced as a genuine Allied Race instead of just being “brown orcs” among available skin tones that we will get an update on what Garadar, and Draenor as a whole, have been up to since the Burning Crusade. Chances are, if they’re joining the Horde, things must be looking pretty grim on the other side of the portal. Either that, or they’re just the second generation to be left in the dark for a decade about the legacy of Hellscream, ready to follow in the footsteps of a hero… 

Forms of Satanism around the World - Part 2

IV. Polytheistic Satanism

Polytheistic Satanism is exactly what it sounds like—the belief in many gods as opposed to just one god. The most famous polytheistic Satanist organization is the Church of Azazel, which is a New York City–based group open to all Satanists, occultists, and followers of the Left-Hand Path. They revere several distinct deities.

The Church of Azazel focuses on what they call the “rising gods of the modern West“—Satan/Azazel, Lilith, Prometheus, Ishtar, Pan, and Lucifer-of-Sophia. (Sophia was a Gnostic goddess who had many parallels with the story of Lucifer, along with the story of Adam and Eve.) All of these gods have been demonized by Abrahamic religions, yet they represent values and principles that the Church of Azazel strongly identifies with and social trends that are disliked by the religious right. For example, Prometheus represents knowledge and understanding, and Ishtar represents nature and sexuality. Most importantly, Satan is the one who encourages free thinking by challenging and questioning dogma.

The Church of Azazel doesn’t worship any gods in the traditional sense. Rather, they pay reverence and respect toward their gods and often feel drawn to one or more of them. They are also rather agnostic, knowing that the realm of the gods will never be completely knowable to mankind, and therefore follow what is called a here-and-now philosophy. The Church of Azazel does believe that the gods might manifest themselves within human affairs, particularly in social, economic, and religious trends.

V. The Cult Of Cthulu

There is, surprisingly, a small religion that mixes the writings of H.P. Lovecraft with Satanism, black magic, and the Left-Hand Path. This is known as the Cult of Cthulu. Venger Satanis, the cult’s founder, acknowledges that many people don’t accept Lovecraft’s writings as reality, to which he responds: “There is no reality. What the human mind calls reality does not exist.” Satanis claims that everyone is locked inside a paradigm called Generally Accepted Reality, and he has the power to shape his own reality according to his own will.

“Long ago, I chose to believe in Cthulhu, Satan, Nyarlathotep, Yog Sothoth, and the Tsalal,” he writes. “My belief gives these gelatinous, winged, blasphemous, and sickeningly undulant fiends power.”

The Cult of Cthulu claims that the Old Ones resided over the Earth countless ages ago and that they spread their dark, forbidden, and arcane knowledge to humans. The Lesser Gods were chained and whipped, and their spilled blood created the universe. Some of the surviving Lesser Gods managed to break free and banish the Old Ones.

The Cult of Cthulu sees the Old Ones in the same way that many other Satanists see Lucifer, as beings that wished to bring knowledge and free humanity from enslavement. The Cult of Cthulu believes that the vast majority of human beings will live their lives trapped in the Generally Accepted Reality, and their suffering gives energy to the Lesser Gods. The only way to break free is to awaken and achieve True Consciousness. The Greater Reality that lies within each Cthulu Cultist goes by many names—the black flame, the mark of Satan, the gift of Set, or the call of Cthulu.

All evil gods—Cthulu, Satan, Loki, etc.—are thought to be merely extensions of the “formless black essence” that is underneath Generally Accepted Reality. These gods can be thought of as real or symbolic; it doesn’t matter how one chooses to interpret them. They all represent the concept of self-empowerment, the cult’s highest law.

VI. Setians

The Temple of Set was founded by LaVey’s former right-hand man Michael Aquino, who left the Church of Satan after LaVey had started to sell priesthood offices. The idea that LaVey would profit from the Church of Satan caused many members, including high priestess Lilith Sinclair, who eventually became Aquino’s wife, to resign from the church. Aquino and other defectors helped form the Temple of Set, which developed very different philosophies from the Church of Satan.

While LaVeyan Satanists don’t believe in any sort of god or deity, Setians “believe” in a suprapersonal entity known as Set. Set is the Egyptian god of violence and disorder, who eventually became known as the god of darkness and the enemy of all other Egyptian gods. In other words, Set is “the original Satanist: the ‘god’ against all false, man-imagined gods.”

LaVeyan Satanists believe that each member is their own personal god, and they seek to ascend to godhood. The goal of Setians is to achieve xeper, an Egyptian word that roughly means “I have come into being.” Setians believe that each person goes through a divine experience at some point or another and that it is possible to create more divine experiences through self-development, magic, and other means until the Setian finally achieves a level of godhood. This is the ultimate purpose of man.

“You fall in love more than once” - Melissa McCall

I think this quote more than anything represents the pairings that Teen Wolf presents. The characters get together and break up in new configurations all over the place showing us that relationships are temporary, especially during our formative years.

For the purposes of this meta I’m going to ignore the nu!pack and only go with Stiles and Scott’s class and above. I will be getting to Sterek, but first let’s go through the relationships we’ve had so far.

  • Scott/Allison - Scott’s first relationship where he ends up being a bit too controlling in some cases. Allison breaks it off and although there is still attraction between them, she has no intention to get back together with him - even if she had lived.
  • Scott/Kira - Scott gets a bit better, but like with the full story of Allison’s mom’s death, he keeps important information from her about her fox that she deserved to know. Kira leaves to better understand and control her powers.
  • Scott/Malia - Up next
  • Allison/Isaac - Allison’s rebound from Scott. Probably wouldn’t have lasted in the long run, but sadly Allison died.
  • Lydia/Jackson - The power couple with problems and true caring underneath. Jackson left for London.
  • Lydia/One night stands - Lydia owns her sexuality and moves on from Jackson
  • Lydia/Aiden - Although Aiden may have initially been told to use Lydia as leverage against the pack, Lydia turned it around and made Aiden change for the better. Long term prospects probably weren’t great even if Aiden hadn’t died.
  • Danny/His ex from season 2 - Off and on again relationship until Danny starts a steady relationship with Ethan in season 3A
  • Danny/Ethan - Actually a reasonably healthy relationship. Ethan comes clean about werewolves before he leaves but Danny already knew.
  • Jackson/Ethan - Up next? Implied but not solidly confirmed.
  • Sheriff Stilinski/Claudia Stilinski - Rocky from her FTD and cut short by her death
  • Natalie Martin/Mr. Martin - Divorced
  • Sheriff Stilinski/Natalie Martin - One date. Pretty awesome for Linden and Susan to play opposite each other as they are married in real life (1986).
  • Melissa McCall/Rafael McCall - Divorced, although Rafael isn’t as bad as we were initially led to believe.
  • Melissa/Peter- Peter trying to get to Scott
  • Melissa/Chris - Present
  • Chris/Victoria - Her death thanks to anti-werewolf prejudices
  • Peter/Corinne aka The Desert Wolf - WTF Peter, WTF Talia, and WTF Corinne
  • Derek/Paige - Paige died from a failed werewolf bite forced on her by Ennis. She asks Derek to mercy kill her to spare her the pain.
  • Derek/Kate - Kate committed statutory rape at an absolute minimum, murdered Derek’s family, as well as emotionally/physically torturing him later.
  • Derek/Jennifer - Jennifer used power gained from virgin sacrifices to magically seduce and rape Derek
  • Derek/Braeden - Casual relationship that Derek uses to get over what Kate (and potentially Jennifer) did to him, taking back control of his romantic life. Derek implicitly ends the relationship before the final battle at the end of season 4 by rejecting her weapons. Meta - Braeden represents a helpful deity of bardo in a parallel to Jacob’s Ladder. That movie in turn leads to An Occurrence at Owl Creek Bridge and the Sterek dream at the end of season 3B
  • Stiles/Heather - Almost friends with benefits before she was virgin sacrificed
  • Stiles/Caitlin - Kissed in Derek’s loft at a rave where she asked him if he was bi. Her girlfriend Emily was also virgin sacrificed
  • Stiles/Malia - Started as dub con all around given Stiles being possessed/drugged and her not knowing human social norms from being a wild werecoyote. Better consent but not always better communication after thanks to it being a first relationship for both of them. They fell apart but stay on good terms after.
  • Stiles/Lydia - Present

Only 3/25 (4/26 if you count Jackson/Ethan) of those pairings are current (again, ignoring the nu!pack). 22 of them have already ended in some way or another. Given Teen Wolf’s history with canon relationships, what are the chances that all three (or four) remaining ones are going to be endgame vs ended? They might be, but they also might not. We just don’t know at this point.

For Derek and Stiles, the longer Jeff keeps them from being a couple the less we need to worry about him breaking them up. If he had gotten them together sooner and kept them together he’d have to make a special exception instead of treating them exactly the same as all the other relationships listed above.

The best-case scenario would be showing Stiles and Derek entering into a relationship (or implying it) towards the end of the last episode. This way Jeff knows he isn’t bound by treating them the same as the other couples and knows he can’t upset fans from doing something wrong with their relationship after they get together. Instead it would be completely up to fans to decide what their relationship would be like after the show.

Another possibility is to end the series with everyone single and let all fans determine which pairings they want to take place post-canon. This lets shippers avoid angering other shippers over breaking up a couple that was endgame in canon.

I do think that what Teen Wolf does is show multiple possible pairings to choose from so we can pick the ones we want to explore. If we find one (or more!) that strikes our fancy but don’t like how the show did it we’re more than welcome to diverge from canon to explore our ideal versions of that relationship. After all, that’s part of the whole point of fanfiction - exploring all the “what if’s” that we come up with.

ACOWAR, Mor’s Sexuality, and Representation

warning: this post is pretty positive but since I know some people have been upset over the discussion of Mor’s sexuality I just want anyone reading to know that this isn’t an entirely positive post. 

So I’d first like to start off by saying that representation is NOT one size fits all. What I feel represents me, as a bisexul woman, well, does not necessarily represent all bisexuals. There is no monolith for bi experience. We do not all feel the same way about things, and so similarly, we are not all going to feel the same way about Morrigan. And that’s okay. It’s inescapable. Especially given that this is Sarah’s first prominent LGBT+ character and she is new to writing their story arcs. 

That being said, I really, truly connected to parts of what Mor said during her coming out scene. How she feels…is part of how I feel currently. And…I haven’t gotten that in a book before. So before anyone comes at me telling me that SJM fucked this all up entirely, note that this is a story that I have really connected with. And that is what representation is all about. I know a few other bi girls who feel similarly. But I know there are also bi girls who don’t feel represented by Mor’s story. And that’s okay. My blog is a safe space for ALL of your Mor is bi feels, good or bad. 

But notice that I refer to her as bisexual. I’m going to keep doing so. The fandom seems confused on how to label her sexuality, but it’s concerning to me that we can have a character who has expressed sexual attraction to both men and women and followed through on it be labeled as a lesbian? I mean not that that label is bad or anything, just that irl bisexuals are always being told they must like one more than the other. By straight people and the gay community. Like lets not marginalize bi girls for legitimately enjoying sex with both genders. And just because Mor “prefers female” does not mean she isn’t bi. Yes, in some instances she did sleep with males in order to appear straight. But she also says, flat out, that she enjoys sex with both males and females. So yes, part of this does have to do with compulsory heterosexuality, something I’ve certainly felt before, but it also has to do with Mor just…liking sex with both genders. And let’s not erase that aspect of her queer identity. 

I’ll say that a large part of why I feel represented by Mor is that SJM gets the whole “blurred lines” aspect of bisexuality (at least in my experience) completely correct. The feeling of being unsure, the feeling of not knowing what you prefer sexually and romantically, of feeling like you have to present one way in order to be validated by a particular community…those are all things I have experienced. They are real parts of the bisexual experience. Mor preferring women romantically but still finding pleasure in men, it’s completely realistic. And rarely do I see that represented in bisexual stories. Many bi characters are presented as half and half. And that’s…not how it works friends. So Maas got that aspect of Mor’s story completely correct. 

(side note: please please don’t use my connection to Mor’s story as a way to scream that SJM GOT IT RIGHT because there are still some legitimate issues here and not everyone in the LGBT+ community thinks she got it right and my opinion does not represent everyone’s opinion.)

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Request: ‘Hey could I make a request with Reid where the reader has loads of tattoos and piercings and Reid is like really interested in them?? thank you ❤️’

omg wow a fic every other day? yes. that is right. holagubler has got their shit together. get ready for fic-bruary. but going to spain (granada??) next week so pls forgive if I miss a day or two. does anyone live in spain? let me know. podemos hablar espanol.

‘Baby girl, we didn’t know you had TATTOOS!’ laughed Morgan, as you stripped off into your bikini. It was summer, so the team decided to take a trip to the beach on their day off. Since you were new to the BAU, they had not yet seen your fairly colorful and decorated body.

‘What can I say Morgan? I’m full of surprises.’ You said, with a wink. As you turned to see Spencer Reid gawking at your body.

‘Damn girl, you look hot!’ Prentiss shouted from where she and JJ were paddling in the sea with Henry, and you blew a kiss back to her.

‘Are you okay, Reid?’ You grinned, turning your attention back to the flustered genius. You laid down to him, and he tried to remove his eyes from your body, but seemingly failed.

‘What are the stories behind them?’ He asked, his eyes still fixed on the large piece on your thigh.

‘They all have very personal meanings to me.’ You replied, while smoothing in sun lotion over your body.

‘You can tell me, Y/N.’ Spencer whispered, his eyes now locked into yours.

You leant in, towards his ear. ‘Take me to dinner and I might tell you.’ You whispered, as you heard a gulp from the BAU’s resident genius.

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anonymous asked:

Your recent post got me thinking: Could you do excerpts or a summary over "O-Gin" and what exactly does "O-Gin?"

I would be happy to add more information about “O-Gin” for you. I uploaded a scan of the story here if you want to read it. And here is a link to the original post if anyone needs it. It has some information about the story’s background. And I split my explanation into three parts for this: 1) Akutagawa and Christianity, 2) The story of O-Gin, and 3) Analysis of the origin of Gin in Bungou Stray Dogs.

It’s a little long, so I posted it under the cut.

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anonymous asked:

What does GRRM mean with this: "Q:[Will Sandor and Sansa meet?] A: Why, the Hound is dead, and Sansa may be dead as well. There's only Alayne Stone". Because what he says doesn't add up in the actual text from AFFC. In the Alayne chapters 'Alayne' still has a lot of 'Sansa thoughts'. I don't see any indication that Sansa is 'dead' no more than that Arya is 'dead'. I know The Hound isn't dead either, but he is supposed to be but his comments about Sansa/ Alayne confuse me a bit.

Don’t we all want to know what that means exactly!  It’s a very cheeky answer that GRRM is want to give when he wants to skirt around spoiling something yet to unfold.  Very observant reading by the way.  More under the cut because this will be long.

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The Wizarding World and General Fandom Rant

I hope this comes out as eloquently as I’ve been thinking it up in my head, but I I fear I’ve already failed with my first sentence. My fury at the respect given to The Wizarding World fandom and the works it’s grown from has reached a fever pitch, and what I’m angry about is multi-faceted and quite complex, so please bear with me while I try to explain it in some reasonably sane way.

I’ve realized that, to be honest, a lot of people do not respect the Harry Potter stories and the world it created. They don’t. And among a very large size of the population, that ignorance and that disrespect is promoted. Forgive me for being over-dramatic, but the stories are patronized and trivialized to an astonishingly laughable and horribly shocking extent, you’d almost think it was vendetta-ized, and it partially is. My irritation and my seeming irrationality comes from the fact that (with full respect to other fandoms,) The Wizarding World is the last fandom/extended universe to deserve this kind of treatment. 

I hate the fact that I even have to argue a point that I think is proved by The Wizarding World IP already: That this franchise is astonishingly mature for a four quadrant piece of branded, commercial fantasy entertainment. It’s overall very stylistically dark and gritty, thematically heavy, disturbing, and complex, contextually violent and shocking, and, in a narrative sense, extremely ambitious and groundbreaking. It takes risks where other IP’s don’t. It’s a coming of age epic that translates and segues into a global conflict/drama, that manages to hang onto personal and intimate storytelling, rather than blow every plot element out of proportion with ridiculously cosmic effects and plot elements a la Star Wars, or Marvel, allowing the content to be moving, upsetting, affecting, and deeply life-changing. It is, despite so many people’s insulting trivializations, a modern classic, in my opinion. From every facet you look at it, its hardly indistinguishable from adult fantasy, and that’s because Rowling created it for adults as much as she did a younger audience of teenagers or even tweens. No one is saying its the best intellectual property ever to grace this earth, but it is supremely intellectual and truthful and important for modern IP, and that, to me, is obvious. From an aesthetic and stylistic standpoint to a deeper thematic one.

Yet so many people, including those within the fandom, I will add, seem to never want to represent it as this, or give it any of the credit they would give any other film or book forg maintaining even a quarter of the gravitas Harry Potter has. In the case of Harry Potter and J.K. Rowling’s Wizarding World, no one ever addresses anything meaningful within the series. It’s always torn down, placed on a lower shelf, and even actively pushed aside by people hoping to exclude and already biblically popular story from the cultural consciousness.

What I mean by this is as follows:

1) What is Harry Potter known for?: Think about it. What is the first thing that someone who doesn’t have a very good knowledge of The Wizarding World going to associate with the series? If my time spent outside the fandom is any indication (lol, I live here,) it’s all irrelevancies. Ignorant journalists forced to publish and editorial on the Potter fandom use universally known photos from irrelevant scenes of a fresh faced, geeky looking Harry James Potter from film 1 because that’s the only face of the story they’re familiar with. Often, it seems oddly intentional. Journalists often seem to write about Potter with as patronizing a tone as possible. Repeatedly associating the fandom and the story with geeky, awkward first film promotional photos and rare cartoons of Harry from some once-published 2014 commonwealth re-release or that old Goblet of Fire cover is an easy way to undermine the strength of the story, and it’s not something you see done to any other property.

But also, what do people talk about when Harry Potter comes up? People might bring up the melodramatic “Luke, I am your father” quote from Star Wars, “You Shall Not Pass,” from Lord of The Rings or the heart-ripping scene from Indiana Jones, but with Harry Potter, people only seem to be able to mumble out a screed of irrelevancies, typically consisting of “10 points to Gryffindor, Bertie Bott’s Beans, and Quidditch,”…that’s shameful. Here’s a list of things that are hardly associated with the Wizarding World brand despite the fact that they extend far beyond a few symbols of innocence/world building details from the first book:

The Death Eaters, The Order of the Phoenix, Dumbledore’s Army, The unforgivable curses, The Philosophers stone, The Chamber of Secrets, Sirius Black and the Marauders, the Sacred Twenty Eight and the House of Black, Draco Malfoy and the Malfoy Family, Peter Pettigrew and his betrayals, Lily and James’ Heartbreaking romance, The First and Second Wizarding Wars, The Goblet of Fire, The Triwizard Tournament, and the Rebirth of Voldemort, The Battle of the Astronomy Tower, Department of Mysteries, the Seven Potters, and Hogwarts, Gringott’s Wizarding Bank, Diagon Alley and Hogsmeade, The Dark Mark, Albus Dumbledore’s tragic past, Lord Voldemort and his entire back story, Dolores Umbridge and the corrupt ministry of magic, Horcruxes, divination, prophecies, and seers, Sybill Trelawney, Cho Chang, Lavender Brown, the Patil twins, the Weasley twins, Delphi Diggory, Bellatrix Lestrange, Azkaban, the entire extended story on Pottermore and the International Confederation of Wizards and Regulus Black, wandlore, MACUSA, the Deathly Hallows, Leta Lestrange, Credence Barebone, and the entire events of Fantastic Beasts and Cursed Child, Obscurials, Grindelwald, Dumbledore’s sexuality, love potions, combat spells and wizarding academics and ministry departments, and international wizarding communities and dementors, inferi, and on and on and on…

Why do you never hear of these things when you ask someone to discuss Harry Potter? Why do I have to read editorials about how quaint Harry Potter is because it imbues magic with “eating jellybeans?” Because it would totally blow the patronization attempt out of the water if they were to focus on anything remotely plot related. Instead, we live in a world where even members of the fandom have joked themselves into thinking that the only things about these stories that matter are Hogwart’s houses, fucking magic candy only ever mentioned once, and a niffler that appears for 1/16th of the scenes in Fantastic Beasts. Can we grow up and talk about plot and character shit, you know, the stuff that actually matter? Thanks.

This leads me to my second point:

2) Blatant patronization. Infantilization. Treating the franchise as diminutively as possible, handling it like a crayola turd just dropped from a 3 year olds asshole. I can’t honestly believe I’ve had to sit through article after article of journalists and even fandom members who contribute Potter’s success to “eating jellybeans,” “being more innocuous than Bambie,” “lighter than the Chronicle’s of Narnia,” “similar to Percy Jackson and Savvy,” called “G-rated wizardry,” have tv shows and books and films be termed “a grown up Harry Potter,”…its just extraordinarily insulting to me, especially there’s no coherent argument I can give. It’s hard to be able to think coherently when you’ve just read an editorial on how “squeaky clean, harmless, and unchallenging,” all the Wizarding World films are when they rated Mrs Peregrine’s Home for Peculiar Children appropriate only for 15+ year olds and called the Star Wars franchise a “sci-fi epic for mature adults.” My brains reacts to it as if I’ve just heard someone compare Game of Thrones to Spongebob. It’s just horribly incongruent to everything this series has come to be known for.

These are some of the more extreme examples, but too often I’ve seen members of fandom who still treat it diminutively. “The childish stuff is what Harry Potter is about,” and, when confronted with the dark realities of Merope Gaunt’s treatment of Riddle and Severus Snape’s murder, “yea, but I just forget about that dark stuff because it’s a childrens book.”

Jesus Christ, lets set something straight:

Allow me to drop some facts on these commenters for a hot second. The majority of the audience, as researched by a number of publishers, lies within the 15-30 year old age range. In terms of marketing, there are no toys, very little kids clothing, comparatively few young skewing published editions globally, little to no instances of kid-marketed visual media. live entertainment, fandom experiences instances of retail…It’s all adult retail, items sold through Pottermore, and Hot Topic, The Noble Collection, Primark, Interior Design, Elope, Hot Rags, The WB Shop, Universal Orlando, Spencers, BMW, King Ice, Carat Jewelers, Hallmark…. It’s mainly marketed to a mature audience. So patronizing treatment on this front is unwarranted. 

The second part of this is content. The questionable content is never indulgent. But it is often shocking, horrific, tragic, occasionally graphic, bloody, mild to moderately gory, disturbing, thematically resonant, and intentionally creepy to say the least, and there’s increasingly no magical veneer to hide beneath. The setting is more or less realistically painted and the altercations are personal, the emotions real, the characters realistic…most of the films are rated PG-13, a number of the films nearly R, and restrictively rated in regions from Australia to Eastern Europe, to Asia, to the UK and Ireland and Latin America…

This is all extremely important. Its extremely important that we recognize potter for these things. Conflict is only dramatically effective if it contains the strength and potency to make it so, and by, excusing it away, calling it safe and clean where it isn’t, you’re effectively neutering it for no other reason than to give someone a false impression. 

It isn’t for kids. That’s not saying they can’t and don’t read it, or an audience of children has never been sought after or even directly marketed to. But look at Star Wars: Marketing through Disney Channel cartoons, Toys R Us, Sippy Cups, The Disney Store, and look at DC and Marvel doing the same thing. Look at all of those brands doing the “fast and funny action spectacle” films to please as wide an audience as possible. It takes, in essence, no creative risks, and yet it feels as if these franchises get lauded for, again, having only a quarter of the gravitas the Wizarding World has. 

Recognizing these stories for being unique in the sense that they are mature and they are challenging is exactly what’s appropriate for Rowling’s storytelling. Percy Jackson, often finding itself at the base of comparisons for the Harry Potter series, clearly skews younger than it. With short books, slang-y writing, an over-abundance of sophomoric humor, clean conflict, and chapter titles like “I Scoop Poop,” I’m equal parts bemused and frustrated that comparisons are made. At the same token, Chronicles of Narnia is an extremely lighthearted, short, simple, puritanical story of adventure and fantasy. Potter isn’t. It’s contemporary, edgy (in the non-eye-roll-worthy sense of the word,) inventive, sophisticated, and energetic, but slow, complex, extremely adult in sensibility, aesthetic, tone, and writing. Star Wars, while immersive, preoccupies itself with far more childish oddities and humorous diversions than Potter does and maintains an extremely irreverent and light tone throughout, Marvel is similar but even more conveyor-made, and Lord of the Rings, for all the intellectuals who champion its brilliance (and it is brilliant) and superiority over Potter fail to realize the importance of maintaining recognizable thematics, mature conflict, and emotion within a story. 

And this is beneficial to those younger children that do read the stories. You are, by suggesting the Potter stories are merely escapist inconsequential fantasy for childish types, telling a lie, and you are also insulting their intelligence. What type of judgment are you making about an adult or a child’s character when you suggest, however innocently, that their favorite stories are nothing but irreverence, that they’re clean, and dispute any kind of attempt to get you to see that they are thematically relevant and important! Harry Potter and Jo’s Wizarding World is so deeply and emotionally attached to our society for a reason. let’s treat it accordingly. These stories are bold, and groundbreaking, and thrillingly dark and heartbreaking, and WE LOVE THEM FOR THAT.

That’s not to say we can’t ever mention irrelevancies. But to caricaturize the Potter stories with them like we have is shameful and disappointing. And the oft-repeated argument is “kids books are still important.” Yes you’re right. They are. But not in the way I’m discussing. Not in the way Potter is. Harry Potter does not fit in such a young-skewing, streamlined, narrow category:

The story includes thematics pertaining to murder, betrayal, torture, war, depression, abuse, tragedy, love and hatred, spirituality and the nature of life and death, sadomasochism, genocide, totalitarianism, corruption, blood purity and inbreeding, corruption, lust and desire, fascism and naziism, vengeance, gray morality, even rape and manipulation and grooming and forced murder and torture…Keep making comparisons to the 100+ year old “Grimm’s Fairy Tales” and likening it to just another kids book all you want, but it will never fit that mold, and I think we need to treat the series like it’s worthy of the majority adult audience and marketing scheme that it already has and has had for years.

That’s my issue: where is the proof that it’s “for kids”?! There is none! I find it strange that people will praise The Hunger Games, an increasingly vapid and typical dystopia for being “mature and sophisticated” or even Rogue One and Civil War for being “very adult and heartbreaking,” but then turn around to The Wizarding World, a universe that has about 5x the sophistication, and repeat the tired “Grimm’s fairytales did it first argument. Im sick of it.

This whole rant came about because I saw so many reviewers admonishing Fantastic Beasts for being dark, and thematically resonant, and too political, either openly shaming that side of the story, or pretending like it didn’t even exist. Every time Potter film is released, there’s someone somewhere writing a review admonishing the “horrendously dark tone” at the expense of “kid-skewing charm” or some other stupid shit. I just don’t know where to end this.

The Wizarding World is, evidently, the ballsiest, most truthful, most ambitious and dark and heartbreaking and resonant four quadrant piece of branded entertainment out there. It’s every bit as important and as grim and truthful as any fantasy ever has been. 

Can we start treating it like it is? Please?

(pardon the typos. Absolutely no time to edit this. Just embrace the general message. Hope it flows well enough.)