also this scene is impossible to color and no one can ever tell me different

NCT - cherry bomb theory 🍒

i was trying 2 uncover anything about cherry bomb but kept hitting a dead end??? like rip it was impossible to create a theory ,,, on a pair of cherries ,,,,, & a bomb ,,,,,, UNTIL.

i had to think bigger. u all know exo right? Supposedly they’re aliens with superpowers that come from another planet, ‘Exoplanet’.

Could it be? That after following the huge™ success of exo, SM wanted to further continue this legacy?

i !!! tried to find ANYthing that could link nct + planets. ? it was hard bc we were all SO sure that nct’s concept was all abt dreams & connection, not planets.  after HOURS of going through old nct videos, teaser images & anything ‘out of place’, ….  BHITCJDSG I FOUND THIS

This is a screenshot from The Origin. the 1st teaser video to EVER be released under the name NCT.

dont u find it strange? look at the colour of that giant planet/moon. it’s not red but its not grey, like u’d expect from normal moon colours. instead, its right in the middle, a light pink colour.  

!! !!! !!!!! BHITCHSGKJ  i searched it up on google ?? & SURPRISE SURPRISE


*chenle scream*

“If we could travel to this giant planet, we would see a world still glowing from the heat of its formation with a color reminiscent of a dark cherry blossom, a dull magenta,”

 Michael McElwain (NASA Discovery Team)

cherry blossom planet’ also known as exoplanet GJ 504B is supposedly the youngest & smallest planet discovered around a star that resembles a sun (similar to our solar system.)

The existence of GJ 504B was discovered in 2013.

In the same year, SMROOKIES was also introduced to the public in 2013.


also look @ the name of the exoplanet & see the similarities below

6J 504B

SR 17B

SR 17G

at first , everyone was a little confused w/ the way SM named their rookies (even me) but ?? ?? now its kinda clear ??

i was also !! confused when cherry bomb dropped like it was a bop ? but i didnt kno what i was dancing 2 lmalkfhsdkgh da song made no sense to me & i didn’t kno what the message was behind it.

however one thing i DID kno was that there was a lot of planes and helicopters shown. even the some of the choreography imitated a plane.

the helicopter dropping all the cherry bombs actually had “NCT” labelled on it.

it seems like planes have been hidden from us since the debut of NCT-U.

here is a screenshot of a scene from “Without You” M/V.

look at that poster behind that man. There is an image of a yellow paper plane. there’s also a white toy plane hanging above the poster.

the date “1893″ was framed … why??

during 1893 April 16th, a full solar eclipse took place !! since it was a total eclipse, it covered the earth in total darkness.

do you guys know what a solar saros is?

A Saros is known to be a period of approximately 224 lunar months that can be used to predict eclipses of the sun and moon.

There are many different Saros cycles numbered from cycle 1 all the way to cycle 180 and still counting.

Which Saros cycle did the eclipse of April 1893 belong to?

Saros cycle 127.

?????? and obviously the next unit to debut was ???? NCT 127.

one more creepy ass thing. turns out that if u look at the NCT “Switch” M/V

behind doyoung’s beautiful™ back, is the date April 16 1961.

it was a historical day because at April 16th 1961, Russian cosmonaut Yuri Gagarin became the first man to enter space.

?? LSITEN TO ME . we have two important dates here.

April 16th (1983) - total solar eclipse

April 12th (1961) - first man in space

both of these months are in April.

16 - 12 = 4

4th April was the debut date of NCT’s 1st unit, NCT-U.

…..  ?? ??

o k … anws back to the planes …..

if u also look closely in the “Limitless” M/V , a plain grey helicopter appears for LITERALLY ONE tiny second. 

this is a two second ending shot of the Limitless M/V. i paused every frame and played it in slow motion 2 figure out what the hell it was. don’t u think it looks VERY similar to a window of a plane/helicopter? if u look outside, the sun is rising above the horizon.

i feel like nct 127 are boarded inside. 

in Cherry Bomb, taeyong raps

“No fireman this is fireworks, cherries in the sky high.”

in this single sentence i think taeyong just mentioned every nct 127 era so far.

“no fireman”

“this is fireworks”

“cherries in the sky high”

could it be that nct 127 are being “reborn”? transitioning into a new image? compared to limitless, Cherry Bomb is much brighter and the u kno !!!!!!!!! wow look at us we’re gonna explode and show u all what we’re made of !!! prepare ya asses cos we comin !!!!!!

yes i honestly think that nct 127 got on that plain grey helicopter & … …. travelled somewhere new …. to another fuckgin WORLD  ?? cos

it LITERALLY just looks like the limitless helicopter got an upgrade. i swear its the same one ? ??  

sjsjfjdshkdjgh *that one meme of taeyong lying on the floor*

,,,,, enough abt planes  ,,,,,,

,,,, & helicopters ,,,,,,,

SO IT SEEMS THAT there’s actually a lot !!! of connections with smrookies/nct  + moons, planets etc.

Pre-debut dance video “Super Moon”

Pre-debut doyoung + taeyong singing their own written song “Piece Of Mind”

“The moonlight behind the clouds whisper to me , the hushed calm tells me it’s alright.”

NCT-U “Without You”

Ten’s solo M/V “Dream In A Dream”

NCT/Winwin teaser “7th Sense”

NOT 2 MENTION nct 127′s best song album track “Sun & Moon”

“You and I

You and I

You and I

The two of us just like one

Every night in my dreams

We are connected by you

We look to the same sky

Oh when my moon rises

Your sun rises

Under the same sky”

u know what i think?

this song is a message from nct 127 (planet GJ 504B) to the other ‘undiscovered’ planets/moons. aka the other nct units yet to debut & the hidden members waiting to stand on stage so desperately. they’ve all trained together but due to this unit concept, they rly can’t stand as one one stage just yet.  

this message is especially key in Ten’s “Dream In a Dream” M/V.

look at the primary colours that paint the whole scene.

lucas is surrounded by dark blue & ten has dark pink colours. they’re obviously from different worlds.

the lyrcis in “Sun & Moon”

“We have the same time,

But we’re in different places

This is a twisted fate.”

clearly u can see ?? ten & lucas are separated from each other since they belong in different planets or put to be in different ‘units’.

It then shows imagery of space. Then a scene of ten walking past the shadow of lucas. it indicates that no matter how close they are, fate will always separate them. ? its sad i kno. but they’re truly from different worlds.

Also i need 2 mention that it was actually confirmed that only 1 of 5-6 exoplanets has been directly discovered. we all kno that nct has this “limitless” unit concept. but i do feel like there will at least be about 6-8 major nct units overall ??? does each unit belong to an “exoplanet”? a different moon?

was nct 127 & this “cherry bomb” concept planned all the way back 2 when smrookies were first introduced ??? are the “undiscovered exoplanets” and “hidden moons” future units that have yet to debut?

so this is why our fandom is named “nctzen” like ,,, are we citizens of all these planets ?? how many more are there. … if its truly limitless ,, are we a galaxy ??

u can read my limitless theory & see that ?? wtf lmao it connects to this theory too ??? ?? dreams ? space ? time ?

jsjslgkhsljfhg bhitc im dying its nearly 12am & im sweaty & half dead W HAT IS THE TRUTH D AMN IT

anws thnx for readin !!! i lov yuta 🍒 

gumdrops & lollipops (m)

pairing → Hoseok x Reader (ft. oompa loompa! yoongi & jimin)

☆ genre  →  smut, crack, willy wonka!au
↳  drabble; 2k

→   a visit to jung hoseok’s chocolate factory does not turn out the way you expected it to

a/n → yo, i was finally drunk enough to write this 
i won’t @ her bc she might block me, but jordan is 101% responsible for this. by this i mean the concept, the cute banner, everything. blame her :’‘)

Keep reading

unpluggedfeelings  asked:

okay i just made it to season 8 and my jackie hyde heart is broken... do you have anything to make this season worth it

NOTHING is worth that season, baby. NOTHING. Not even the “humor” because it’s silly and out of character, and more racist and sexist than ever. Really, don’t watch that crap.

If you like to read, here and here are some very good fanfics to heal your heart. And these are my recommendations of HJ fanfic set during and after season 8:

~ During

Made Bare by MistyMountainHop

Summary: A heartbroken Hyde considers his relationship with Jackie kaput. Too bad Jackie sees it differently. She intends to get a proper resolution with him, but breaking through his hostility—and getting past his wife—may well prove impossible.

Commentary: This is my season 8 canon, my favorite fic set during season 8. Really. Not to mention MistyMountainHop is my favorite t70s author ever, she gets the characters in such incredibly deep, it’s just awesome. Her scenes are delicious, her words are how you would made your brain persive color if you couldn’t see them. It’s all feelings and nivnineinfir, it’s beautiful.

The Right Road Lost by zpplnchick

Summary: After a car accident, Hyde wakes up to a twisted version of reality he comes to find is actual hell and with no memory of how he got there, a hell that Jackie’s been living in for the past few months. Set during Season 8, shortly after “Sweet Lady”.

Commentary: First fic I read from zpplnchick, It’s a great story. I recommend you to read it after you read ‘Made Bare’, because it’s another option of how things can get well resolved.

~ After

Zoso: A Journey to Understanding by zpplnchick

Summary: “You don’t deserve a real tattoo. But if I were to get one, I’d show it to Fez before I’d ever show it to you!” Ironically, that’s pretty much how it happened. One-shot.

Commentary: This fic is lovely and has one of my favorite ideas ever: Jackie getting a tattoo. This fic explores why would she get it. Plus side, it has a happy ending and, Fez and Jackie being good friends.

The Morning After by ShanghaiLily

Summary: (The sequel to my one-shot ‘Resolutions’) What happens the morning after Jackie wakes up in Vegas with a nasty hangover and a wedding ring on her finger that she just can’t manage to take off?

Commentary: One of my favorite fanfics, even when it does has some flaws. Jackie in this fic is very strong and really, after s8? It’s always nice to see Hyde pining a little for her.

** And just because I’m ridiculous, here let me tell you about my fanfic. It’s after season 8.

Heart Like Yours by poetdameron

Summary: Jackie goes home to Point Place for Donna and Eric’s wedding, but an accident and an unexpected experience may show her a reality she never thought was happening around her.

20 Questions by ShanghaiLily

Summary:Just after New Year’s day in 1980, Jackie Burkhart decides to disappear from the basement to save her sanity. When Xmas rolls around and the Formans beg Jackie to attend their party, she ends up involved in an elaborate game of 20 Questions with Hyde that could change both of their lives. T-rated w/ some M chapters. Story is COMPLETE! This one’s for the Zennies who hate Season 8!

Commentary: THIS FIC! It’s really good, I had a lot of fun reading it. It has some M scenes you may not like or, maybe yes. Also, the characterization isn’t always the best, Jackie gets manipulated to forgive Hyde’s shit in such weird way, you must be careful. 

~ In which it never happens

Shade by MistyMountainHop

Summary:Hyde finds himself homeless on a night where Jackie is without parents. The gift he gave her last Christmas draws him to her, but his attachment lingers past that rainy first night, grows through countless experiences, and leads him across state lines. Their relationship is a high-stakes gamble, but Jackie may fold before Hyde can show all his cards.

Commentary: I LOVE THIS FANFIC! It’s kind of my favorite by MMH. This story is just so lovely and the take after season 7 it’s incredible!

Hyde’s Long Way Home by MistyMountainHop

Summary:Hyde goes on a self-destructive bender after finding Jackie with a towel-wrapped Kelso. The day after that, he wakes up … and it’s the same day as before. He’s doomed to live the same day over and over — unless he can figure out a way to live it right.

Commentary: This is one of the motherships when it comes to the HJ fanfics. It’s precious. Every word is a trip you just can’t let go of. You’ll love it, you just have to be patient because booooy, this fic gets dark at times.

Why *Josie And The Pussycats* Is The Best Movie Ever

Once in a generation a film comes along that so encapsulates its era, speaks to its audiences and permeates the collective cultural unconscious that it defies categorization. It is more than a masterpiece or classic, cult or otherwise. It lives beyond the reach of its creators, in the realm not just of art but of beauty itself, that distant dimension Plato spoke of where ideal forms exist. In April of 2001, such a film was released. It was called “Josie And The Pussycats”.

I would conservatively estimate that I have seen JATP between fifteen and twenty times, or, at least once a year since it hit theaters. And to put the following in context, I have also seen your favorite movie, okay? “The Royal Tenenbaums,” “The Wizard of Oz,” “Annie Hall,” “Goodfellas,” “Rashomon*,” “500 Days of Summer,” “Pulp Fiction,” “Schindler’s List,” “Blue Velvet,” “La Dolce Vita”…anything that might reasonably be considered “required viewing,” I have viewed. So when I tell you that JATP is as well-made a film as there is, I don’t mean in comparison to schlocky TV specials. I mean it is flawless like “The Godfather” is flawless. At the very least, it deserves to be ranked alongside “Animal House,” and “Blazing Saddles” as one of the finest comedies ever produced for American audiences.

     Because this is not a widely-held opinion (for reasons I will get into later), I am forced to put my mostly-dormant BFA into practice and analyze JATP in terms of, well, every conceivable metric by which a film might be judged. I did not undertake this quest lightly; it took six whole hours and five long days for, well, read for yourself.

Part One: Craft

(Background: JATP was written and directed by Deborah Kaplan and Harry Elfont, the team behind “Can’t Hardly Wait” (Ms. Elfont later married Breckin Meyer, a point that is not pertinent to this discussion but is nonetheless adorable).)

     There are a number of theories (& books & blogs & podcasts & pricey workshops) that claim to know the secret to a great screenplay, and they all have one thing in common: the hero. Our hero is Josie. Following Josie, we see all the Campbellian elements of a hero’s journey, from the Call To Adventure (@ the Starbucks with Wyatt) to the Abyss (scary clown sequence) to the Atonement (with Mel and Val backstage.) There’s even a Crossing the Threshold/Transformation sequence wherein Josie and her comrades enter the beauty salon Riverdale chicks and exit into a bustling metropolis (“the Unknown”) glam-ified stars. It is at exactly this point that the band’s name changes, setting Josie up as our megalopsychos (thanks, Aristotle).

Despite the lack of sex, death and prophecy, Josie does go through a distinctly Oedipal journey: her desire to learn the truth behind her success leads her to despair (“they’re selling stuff through our music!”). Over the course of the film, Josie grows from yet another spunky girl with dreams of stardom to a true artist who values her integrity above fame. Now, enter the supporting characters…

     Val and Mel truly are “good, solid back-up,” but they also have fully realized personalities (Val is a humanitarian, Mel sings in the shower). Mel is the heart. Val is the head. Josie is the singer. Like the Fellowship or the Power Rangers or the leaders of the Democratic party, the Pussycats are strongest when their individual powers are combined. The implicit message here - that lady friends will save the world - is powerful without being obnoxious, obvious without being cloying. Almost every scene passes the Bechdel test, yet at no point does anyone exclaim, “You can’t do that! You’re just a girl!” followed by the “Yeah? Watch me.” of so many so-called “strong female character” narratives. Even seemingly minor characters (Alan M, Alexander, Alexandra) have integrated story arcs: Alan M learns to speak his mind, Alexandra gets a love interest and Alexander frees himself from the shackles of consumer capitalism. That is so difficult to accomplish, and the film runs less than two hours. Do you hear that, Tarantino? Multiple interwoven storylines in an hour and thirty-nine minutes, including multiple song breaks.

     A hero is only as interesting as her villain, and JATP gives us two for the ages: nefariously insecure Fiona and devious henchman Wyatt. We meet Fiona during a scene of pure exposition to explain the central mystery, but she quickly evolves into a bizarro caricature of a corporate queen. Look at Fiona’s hair, makeup and costume color palette: she’s a funhouse mirror version of Josie. Like Darth Vader, Fiona represents the dark side of the path Josie has chosen to walk. She has what Josie wants (power, fame, position), and wants what Josie has (love, friends, self-esteem). She can’t help but compare herself to Josie (“Ha! I’m three pounds lighter than you!”). The ultimate reveal of her higher plan is both shocking and, in hindsight, satisfying. Who among us hasn’t had a moment of wishing to make themselves so powerful as to defy insecurity, only to find that embracing one’s flaws is the only way to move forward? It’s not out of nowhere; it’s called having a backstory.

     Wyatt, on the other hand, is more like a traitorous Obi-Wan. He’s Gandalf, leading them through new and treacherous territory. He’s the mentor, the goddess, the wizard with the ability to make the impossible possible (his magical amulet: the sound mixer). And then it turns out he’s playing them! Isn’t that better? Isn’t that more fun than another coach figure who, like, dies of a mild cough the day before the big game?

     The difference between a good and great script might lie in the attention paid to truly tiny parts. Ideally, each interaction moves the plot forward or enriches the world of the story. Well, JATP is a great script. DuJour and the fangirls (and boy) in the opening sequence introduce the world of the film before showing us the titular characters, much like the Capulet and Montague servants in the first scene of Shakespeare’s “Romeo and Juliet.” The guy outside the Steve Madden store (“they’re new; they’re orange”) sets the emotional stage for the Pussycats to jump at the chance to sign with Wyatt, believing they are, to the masses, unwanted. The punk girl at the megastore gives voice to the anti-pop eye-rollers in the audience, and her cameo later in the underground brainwash complex is not to be overlooked. The government guy puts a limit on Fiona’s power. After the bowling alley, one might mistake the Pussycats for a beloved local band, but the bully girls show reveal them to be the town joke…which only makes the girls’ return as faux-Pussycats/stalkers all the more of a payoff.

     While a well-told story can hold an audience’s attention for its duration, we don’t return to films again and again, allowing them into our inner psyches and deeming them “iconic,” unless they also speak to the world around us or within us in some profound way. This is where most people miss the single most obvious thing JATP gets right: it’s a biting satire of consumer culture, American capitalism and even - in fact, especially - of itself. It’s about subliminal messages, but makes its message overt. It’s about corporate branding, and it has the most obvious product placement ever seen on the big screen. It’s an update of a beloved comic book franchise that includes the line “I was in the comic book.” The “profit kills creativity” maxim is brought to vivid - and hilarious - life when Carson Daly tries to kill Mel with a bat after admitting that he is an integral part of a plot to destroy the youth of America through music. If you consider yourself a hardened anti-establishment alt-indie-hippie-vegan free-thinking spirit of the wind, this should be required viewing. It’s subversive. It attacks. It’s edgy, dammit. This is punk rock filmmaking. Andy Warhol would have approved of this movie. It’s an indictment of the monoculture. Just imagine the think pieces this film would spawn if it were released today!

     When Fiona asks why so many musicians die in crashes and overdoses and suicides, she’s setting up the idea that actually they’ve been murdered by their corporate overlords. Ha, ha. But…isn’t she kind of right? Didn’t the pressures of fame kill Kurt Cobain, didn’t the excesses of wealth kill Elvis? We burn up our celebrities not only with our scorn but with our worship, fandom as medicinal poison. And this is before tumblr. And it’s all done so subtly! Wyatt’s code-word for “crach the duJour plane” is “take the Chevy to the levy,” a nonsense line from American Pie…which is a song about musicians dying in a plane crash.

     The exhaustion of fame on hyperdrive. Media saturation as lifestyle. An X-Files-worthy government conspiracy. This movie was a thousand years ahead of its time. So, with all that in mind, can we please agree that, at least on paper, Josie And The Pussycats is a flawless masterpiece? Great.

Part Two: Execution.

     Let’s take a look at what there is to take a look at: cinematography. JATP’s cinematography, from a technical angle, is rather unfussy. There are no walk-and-talks, no winding Scorseseësque dollies through a space or pans across a striking vista. It’s your basic master/two-shot/over-the-shoulder filmmaking. There are fun graphics in the montages, notably the “climbing up the charts” gag, an accurate recreation of the era’s music video aesthetic when necessary, and a few amusing fisheye shots, like seeing the faux-pussycats through the apartment door peephole. The split screens were likely made in the editing room, not in-camera, but still, points for exciting visuals. One must remember that, at the end of the day, form is supposed to support content, not the other way around (some people disagree with me on this. Those people are wrong). The story is a deep dive into the psyche of mainstream America, so the directors chose a mainstream technique.

     Where the visual storytelling becomes crazy subtle is in the set and costume design. Hipsters can harp all they want about how, like, every single frame of Scott Pilgrim has, whoa, a number in it because, like, Edgar Wright is, whoa, a genius, but have you ever bothered to look at the background actors in “Josie And The Pussycats?” An ongoing joke in the film is that the subliminal messages in pop music change the trendy color (“orange is the new pink!”) for the sole purpose of encouraging wasteful shopping. Sure enough, the extras in every mall scene can be seen wearing variations of the same hue. In the bird’s-eye shot of the Riverdale suburb, every single house is the same, down to the make, model and color of the SUV in the driveway. Each Pussycat lives in a penthouse hilariously plastered in the logo of the brand “sponsoring” her (pre-Instagram, can you imagine?). At the Pussycat house, too, there’s an element of self-branding: the walls are speckled with spray-painted leopard spots and almost every home accessory has a cat motif. (There are also a few live kittens roaming around. One assumes they were adopted when the band moved away.) When the members of duJour return in full-body casts, their plaster chests have been sharpie’d with the insignia from the clothes they were wearing in the airplane (which is also, itself, covered in logos). This level of attention to detail makes the film an easter-egg-hunting joy to re-watch and complicates one of the themes: does what you like inside dictate what you put on your outside, or the other way around?

     The Pussycats would be nothing without their music, and the soundtrack is perhaps what elevates the film above other teen fare of the time. (It was certified Gold, by the way.) Every single track is a banger. “3 Small Words” is an angsty chick anthem; “Pretend To Be Nice” sounds like everything else on the turn-of-the-millennium radio, so it’s perfect as the Pussycats’ fictional hit; I dare you not to dance to “Spin Around”; “You Don’t See Me” is serviceable as a love song for Alan M but works even better as an ode to insecurity; “You’re A Star” is the opposite of the previous track, aka character development; “I Wish You Well” dips into riot grrrl territory and scratches my I Miss The Donnas Every Day itch, “Real Wild Child” is a cute cover, as is “Money”; “Shape Shifter” is pretty much the theme of the movie in a single song; “Come On” is, admittedly, the weakest track on the album but the guitar hook is kind of flawless. Onto the DuJour tracks: “DuJour Around The World” manages to use “DuJour” in every line. “Backdoor Lover” is a boyband song about butt sex. I rest my case. Finally, the Josie And The Pussycats theme. A non-ironic update of the original 70s cartoon theme. Why don’t other franchise reboots understand how simple it can be?

     And now we come to the most tired and pathetic complaint that can be lobbied against this or any movie of a similar nature: those girls aren’t really singing or playing their instruments.

     The first thing is fuck you. The second this is yes they are, in the scene, they are playing their instruments and singing, it’s just that the sounds they made weren’t recorded. Very, very few films feature live music. Do you have any idea how shitty the musical acoustics are on a soundstage? Boom mics were designed for dialogue, not electric guitars. So, no, at no point do you hear the vocal or musical stylings of Rachel Leigh Cook…but why should you have to in order to enjoy the songs? Not only would “real” music be antithetical to the giant meta-wink that is the entire film, but also, everything in a movie is a special effect. In a scene where “Josie” would have done her hair and makeup herself that morning, Rachel Leigh Cook didn’t; a professional did. Rachel Leigh Cook didn’t do stunts; a professional did. And no one expected her, though she played Josie, to write songs. Professionals did. Because creating an authentic character is a collaboration between professionals. They hired professional actresses to act the Pussycats and a professional singer to sing for them. And not just any professional singer…Kay Hanley from Letters to Cleo. You get to see a movie starring three starlets and hear Kay Hanley. This is the best of all possible combinations!

     The entire cast is pitch-fucking-perfect. Donald Faison, Seth Green, Alan Cumming, Parker Posey, Missi Pyle…comedy superstars, all of them. Cumming and Posey, especially, are let off their respective chains and are as deliciously insane as I have ever seen them. Tara Reid is so sincere as the all-loving vegetarian airhead Mel. Watch her explain all the things she could do if she could be in multiple places at once. Watch her fall on her ass in the living room. Rachel Leigh Cook, the star-next-door of 1999 thanks to “She’’s All That,” is recognizable enough to be a believable rock star and unknown enough to be a believable loser. She’s spunky and cute and the tiniest bit annoying, so you buy it when she turns into a bitch.

     But by far the MVP (Most Val-uable Pussycat) is Val, aka Rosario Dawson, aka pre-Rent Rosario Dawson, aka pre-skinny Rosario Dawson. She’s deadpan and cool and dorky and totally un-self-conscious in a way you never see in teen movies. Mel and Josie come off like girls. Val is a woman. She’s the moral center of the story and its most reasonable character. She doesn’t get many whacky showcase moments or punchlines. In fact, her main joke is that Wyatt keeps forgetting about her because yeah, isn’t Val a little bit boring? But also…yeah! She’s a rock star and she’s a little bit boring! She’s happy with herself and her decisions. She’s supportive and smart and does volunteer work. She’s just a cool, calm and collected cat. She’s Dave Grohl or Bob Gaudio or everyone in Bon Jovi or no one in Fleetwood Mac.

Then there’s the X-factor, the je news said quoits, the kitty-ness of it all. The monkey. Captain and Tennnille and The Chief. The Charlie’s Angels girls playing the Pussycats in the very movie you’re watching. The quite catchy melody of “Taking My Truck For Granted”. These are things that make the film an absolute joy to watch. They show how much time, care, effort, energy, talent and, yes, love went into making “Josie And The Pussycats.” When you love something that much and work that hard on it, I think the least you can expect is that audiences and critics give it a fair shot before casting an opinion. Unfortunately…

Part Three: Reception

JATP made fifteen million against a twenty-two million budget. It’s not that audiences didn’t like it; they didn’t even see it. Roger Ebert, the most influential critic of his time, basically panned it. And there’s only one reason, I think, why this film has not received the recognition it deserves: the patriarchy.

Calm tf down. I’m not accusing Ebert or any critic or any man or any penis of outright misogyny. What I am arguing is that there are many aspects of the movie that prevented it from being seen by male audiences who would otherwise be free to enjoy it, and that it hasn’t taken its place among the greats because of a systematic disregard for the things the film is fundamentally about.

     Take the title, for instance. It has the word PUSSY in it. How many guys, of a Saturday, would feel comfortable rolling up to the box office and asking for tickets to a movie with Pussy in the title and a glitter-covered girl gang on the poster? Most people of ticket-buying age have already been indoctrinated (by the very brain-washing society the movie mocks) that this is a chick flick. Dissuading men from enjoying “feminine” things isn’t reverse-sexism…it’s the patriarchy!, So while of course I am all for female-driven movies making bank on the strength of female purchasing power, the fact remains that it is twice as hard to turn a profit when half the population is getting signals from all sides telling them not to go.

     Beyond the title, the pink-and-purple poster and the lack of “bankable” leads (ie macho action stars or old-man-approved Award Winners), this movie was, frankly, scary to conservative America. Remember, the patriarchy is just another branch of authoritarianism and oppression. The Pussycats are the opposite of oppressed. They don’t exist within the sanctified, codified world of high school (see: the massive success of “Mean Girls” and “Clueless,” or “Legally Blonde” for post-grad institutionalization); they aren’t at a pre-prescribed stage in life as designated by a major milestone (“Bridesmaids”); they aren’t gainfully employed but looking for mates (“13 Going On 30,” “27 Dresses,” “How To Lose A Guy In 10 Days”). Instead, like Romy and Michele (again under appreciated, again starring Alan Cumming…are you sensing a theme?) they are semi-employed and okay with it, chasing their dreams instead of men, existing more in relationship to each other than to any structure from the outside world. They have their own Pussycat society, a society with its own rules and norms and boundaries. This is anathema to the patriarchy. The pussycat house may very well have been a brother for all that it completely rejects the heteronormative standard.

     Groups of liberated females have long struck fear into the heart of the establishment, and so the establishment tries to shut them down. Funny women aren’t supposed to tell you not to buy stuff. They are supposed to shut up and have babies. Well, Josie and Mel and Val are college-aged girls living on their own in a house full of cats, refusing to buy new clothes or listen to bland music, and the movie paints them as powerful, not pitiful. Talk about subverting the dominant paradigm. This movie was the revolution, people, and we fucking missed it!

     The movie was called “ridiculous” because men have always called women ridiculous for wanting the things they can’t have. What it comes down to is if this were a drama about a bunch of boys who liked to sing and play guitar and hated “the man,” and wanted a record contract anyway, Oliver Stone and Cameron Crowe would have been fighting over the chance to direct it and Leonardo DiCaprio would have been growing his hair out to take on the lead. But instead, the movie is - gasp! - a comedy about - omg! - friendship instead of drugs, centered on three - wtf! - cute girls instead of two guys and their shared sex object. Because at the end of the day, the establishment can make peace with men who fight the power with guns or whatever, probably something that the establishment sold them anyways. Not so for ladies.

Now, how am I so sure that the patriarchy is completely to blame? How do I know it wasn’t simply that this happens sometimes with movies, and maybe there were a bunch of other factors I don’t know about? Well, consider the closest thing we have to a “control” movie against which we can test my theory: “Zoolander.”

     Heard of it? It came out the same year as JATP and boasted a roster of comedy’s best. It also has…pretty much the exact same plot as JATP. It’s about an industry that brainwashes its stars to promote and preserve a capitalist way of life. They were made for around the same amount of money, even. Yet “Zoolander” grossed its budget back twice over, is quoted by film fans ad infinitum and, oh yeah, the star-studded sequel just came out. So what did Derek Z have that Josie M didn’t?

     Well, “Zoolander" was about a guy and made by guys. Ben Stiller stared and directed; Scott Rudin produced. Other guys could go to a Ben Stiller/Scott Rudin movie. “Zoolander” was about an adult, and society tells us that their stories are worth telling. Josie and her friends aren’t teenagers, yet JATP consistently pops up on “teen movie” lists, even thought it’s really clever. “Zoolander,” which has demonstrably juvenile humor, is never considered a teen movie, and adults went to it in droves. Again, the deciding factors are sexism and ageism which, yes, is part of patriarchy (establishment = conservatism). The original “Zoolander” trailer features, instead of Josie’s peppy music, a guy getting kicked in the face. And celebrity cameos. And an explosion. So Middle America was like YES PUT IT IN ME IT LOOKS LIKE WHAT I HAVE BEEN TOLD IS FOR ME.

     The other reason I know I’m right is…there is no other possible explanation. “Josie And The Pussycats” is so goddamn good that for it to have done as poorly as it did both commercially and critically, something must have been deeply wrong with the society into which it premiered. Like the work of Jane Austen, JATP was declared “chick stuff” and brushed under the rug, only to be discovered later by a more deserving audience. Well, the time has come. Rent it. Buy it. Watch it. Make like Alexander and hit the streets to spread the gospel of the pussycats.

*I have not seen Rashomon.

my fair ladybug (chapter 1)

chapter title: The Cast List
words: 2.2k
next chapter: 2

a/n: now that the whole thing is up on AO3/FF, I’m posting it all on here! Two posts a day. :)

LADYBUG:    Marinette Dupain-Cheng
CHAT NOIR:  Adrien Agreste

Even though the cast list is fairly long and includes almost everyone in the class, Marinette only focuses in on the two names on the top, and her heart stops for two reasons:

A) Adrien is her co-lead, which means that she might get to kiss him on stage.  
B) Alya is convinced that she is the best person to play the role of Ladybug. When did that happen? How did that happen?

Marinette is not sure what worries her more, and she’s afraid of where this might go, even though the idea of spending hours in rehearsal with her crush is extremely tempting.

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Who’s Afraid of the Big Bad Editing Phase?

“But, First Draft,” Red Writing Hood said, “How many errors you have!”

“All the better to discourage and embarrass you with, my dear!” the Draft cackled, and ate her all up.

It seems to be a pretty common opinion in most of my writing communities that editing stinks and it’s hard and no fun at all, and I’ll admit that I used to feel the same way. I dreaded the idea of picking apart my writing, partially because it was a tedious and boring process, mostly because I feared I’d come across a civilization of errors that had constructed an entire city in my piece and were now living and reproducing within it, forcing me to either give it up completely or toss all my hard work in the bin and start from total scratch.

My opinion has changed in recent years, and at this point I’m fairly certain that I enjoy the editing process more than I actually enjoy the original drafting. Don’t get me wrong, I absolutely love the creation of the characters and concepts and watching them evolve into a story, but there’s something extremely satisfactory of being able to look back at a piece and realizing that I’m able to change it in some way. I attribute the shift in my perspective to a simultaneous shift in my writing style. As I’m exposed to increasingly more styles and approaches to writing, I find new ways of telling stories that I’d previously thought I’d nailed, and my method of self-editing changes to reflect those new styles. I put priority on different aspects of the storytelling, and the words change even if the scene itself remains relatively the same.

For me, editing comes down to recognizing that there are two separate levels to it that must be addressed both individually and together. The story needs to have effective detail and a specific aesthetic to the words and how they sound, but it must also have coherency and consistency within the world and the narrator. In this article, I’ll address the aspects of both macro- and microscopic editing and how to bring them together without making you want to go back to the drawing board.

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🎄A little Christmas fic for the holidays 🎄

Happy holidays! I wasn’t planning on making a holiday themed post but this Wednesday was a slow day at my internship and this one just sort of came out spontaneously. No pairings, just pure fluff.

Quick summary: After begrudgingly agreeing to participate in a secret Santa by the the rest of the band, Murdoc finds himself in a bit of conundrum when he picks the one band member he feels he knows the least about. 

Rating: PG (there’s one instance of cursing)

Word count: about 3,500

This is meant to take place the December before the first album release (so December 2000).

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the lovely bones (m)

⏩ request; “vmin vmin vmin!!!! angsty vmin because i’m a sucker for vmin hehe :~) - s”   

⏩ summary; kim taehyung just wants to remember everything, and yet, when a certain dancer trips him up, he forgets about remembering and focuses more on living

⏩ word count; 10,585

⏩ genre; angst, fluff, smut

⏩ warnings; depression, mentions of self harm, mentions of suicide, death

⏩ pairing; kim taehyung x park jimin

⏩ a/n; tagging some lovelies!! (that somehow want to read my trash writing :’)) @jinthedreamer @inktae (also this is a different format than before, tell me what u think :’))

⏩ read on ao3

Kim Taehyung is sure his slightly stalkerish obsession with the man at the park started way earlier than he’d like to admit. Truthfully, Taehyung remembers the exact moment he laid eyes on the beautiful man that danced with generic white headphones plugged in his ears and a tenacity in his eyes.

If there is anything Kim Taehyung is good at, it’s remembering, it’s somewhat of a curse, and the flashback become more vivid as long as he has something that triggers the memory. So he takes pictures with the very old, but still functioning, camera always slung around his neck. His colleagues at work always complain that Taehyung constantly gets distracted, wandering around and taking ‘random pictures’ but honestly, it’s the only way he keeps himself grounded. With each sharp click of the shutter, each card stock thick photo that pops out of the front, Taehyung finds himself one step closer to being okay.

So when Taehyung spotted this mysterious, beautiful man in the middle of the large park, ignoring the glances he got from passersby, including Taehyung’s, he couldn’t help himself. His smile shone through the thick white flakes that fell around them. The moment was too perfect, the lighting shining down on the light sheen of perspiration that glided over the man’s perfect features, his black hair that seemed to shimmer blue under the morning sun. Years of snapping photos and analyzing places for the ideal circumstances, and this man seemed to find it perfectly, the perfect situation.

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Abysmal Hatred & My Concerns

While January the 28th may be just like any other day of the year, it also just so happens to be the day that Crunchyroll’s 2016 Anime of the Year award winner is revealed. Now without wasting your time, I’m just to get this out of the way immediately.

Yuri On Ice will win Crunchyroll’s Anime of the Year award.

Not, if. Not, maybe. It will. This is for certain. It is a solid fact and there is no probability about it at all.

Now, I will get to this in a moment, but for now, I just want to get some more important things out of the way first.

So, let’s start, shall we?

Why Yuri On Ice Won Everything It Was Nominated For:

Yuri On Ice won every single category that it was nominated for in Crunchyroll’s 2016 poll by a staggering amount of votes. 

But how?” 

Some people have been asking this for a few weeks, so I thought it was about time for a specific answer.

-Reason One:

The sheer amount of people who voted for Yuri On Ice was unmatched and wouldn’t have rivaled any other show due to its fame.

Since the vote was solely based on popularity, Yuri On Ice won its nominated categories in a landslide. It has also become the most profitable show since SNK, reaching in numbers of about 51,000 copies sold within its first week of sales and then another week later growing to about 63,000 copies total. That’s about 12,000 sales in growth within a week and it’s absolutely amazing.

Now, because of those numbers, this means that a fraction of the viewers would have voted for the show, increasing its chances of winning. Not to mention how much the fandom promoted the poll and told fans to vote, which also boosted the number of individuals voting.

A simple estimation would suggest that around 22,000 - 25,000 people voted for Yuri On Ice in each respective category, while other shows like MOB Psycho and Erased each received around 1,500 - 2,000 votes (granted, this estimation can change greatly depending on the category.) Thus, leading to the show’s domination.

-Reason Two:

Yuri On Ice brought new fans into the anime community. 

A large percentage of the show’s fans were never a part of the anime community to begin with. For many, this was their first anime and it introduced them into a whole new world of TV and entertainment. 

When it came time to vote, these kinds of inexperienced anime fans went and voted for the show that they critically thought was more deserving and picked Yuri On Ice. 

For lack of a better term, it was inexperience paired with personal preference and should not be insulted. They chose to try a new form of entertainment and are still learning about it and they’ll eventually grow into it.

-Reason Three:

The fans just didn’t watch the other shows that Yuri On Ice was nominated against.

2016 was a rather weak year for anime. There obviously were some really good shows this year, such as Erased, MOB Psycho 100, JoJo’s Bizarre Adventure: Diamond is Unbreakable, Yuri On Ice, and a few others. 

Though, it goes without saying, that there were more bad shows than good, and there were also not very many shows coming out in 2016 either. 

Not only that, but many longtime anime fans had begun to distance themselves from anime as a whole and stopped watching it. Yuri On Ice seemed to bring many people back to anime altogether, giving them a new hope for new shows in the future. 

So, when the voting began, these people voted for Yuri On Ice, because they hadn’t bothered to watch any of the other shows that were out at the time.

-Reason Four:

It was really well received, people really, really liked it, and it was actually really good. (This reason doesn’t really need an explanation, so I’ll move on.)

My Opinion on the Awards Outcome:

(This is my own personal opinion and has really nothing to do with my main points. Skip ahead if you don’t want to listen to what I have to say about this.)

-Best Animation:

There’s been a lot of pathetic arguing about this subject and it’s quite sad. 

I absolutely do believe that MOB Psycho 100 definitely had far better animation than any other show out this year. Its style is diverse, experimental, colorful, and incredibly well done. It is an animation masterpiece and it definitely deserved the award in my opinion. 

Though, when I say that MOB has better animation than Yuri On Ice, I don’t mean that Yuri On Ice’s animation is terrible, because it’s not. No, it’s much more complicated than that when you’re looking at the show from a critical standpoint.

In fact, one of Yuri On Ice’s greatest flaws is their inconsistent animation. The show’s animation either looks so beautiful that it takes your breath away while simultaneously bringing you to tears, or it’s so bad that it looks like a drunk five-year-old tried to draw each frame with broken crayons. There really is no in between. 

This may be a bit of an exaggeration for the sake of comedy, but this is basically the best I can describe it without going into a several hundred page analysis and going frame by frame throughout the entire animation process. I have to just keep this nice and simple.

-Most Heart Warming Scene:

I was absolutely torn at this decision. I was at a crossroads. 

 Hinazuki’s first home cooked meal, or The Kiss™. 

On one hand, I had sobbed during that scene in Erased. It was so incredibly sad but heart warning at the same time.

But on the other hand, The Kiss™ was absolutely everything to me. 

And I, being the mature adult I was, threw my chair across the room, punched my arm through my desk, and screaming so loud that I had the police called on me. 

The Kiss™ wasn’t so much heart warming, as it was a threat to my furniture. 

It was more of a shock value, than a heart warming scene. Other scenes from Yuri On Ice that would have been better suited for this category would have been something like The Ring Exchange.

Though, because I was at such an absolute dilemma over this, I just didn’t vote for that one category. I couldn’t choose between the two, and I’m so glad I didn’t, because it would have haunted me for a while.

-Final Thoughts on the Awards:

I personally believe that Yuri On Ice did indeed deserve the other awards it received, such as Best Couple, Best Opening, Best Boy, Etc.

But even if you thought differently than me, even if you think that Yuri On Ice deserved absolutely none of the awards it received whatsoever, then that’s perfectly fine.

My opinion is no greater and no better than that of anyone else’s, but what do I know really.

Yuri On Ice Will Win Crunchyroll’s Anime of the Year Award:

I am only saying this now, a day in advance (depending on what time you read this), because it’s completely obvious that this is the inevitable outcome. It will win Anime of the Year on the 28th and there is absolutely no if about it.

My reasoning behind this is simply because Yuri On Ice has won countless other anime of the year awards already and not just from one place either.

Not only has Yuri On Ice won many, many Anime of the Year awards already, but the number of people who voted for the show is absolutely unbeatable. No show even comes close to those numbers, so mathematically, it’d be practically impossible for anything other than Yuri On Ice to win.

The (ridiculous) people in Crunchyroll’s comments seem to be setting themselves up for disappointment, almost intentionally. And this intentional and impending disappointment, brings us to the most important part of this article.

Abysmal Hatred and Heinous Spite:

This was the whole reason I decided to write this in the first place. I was so overcome with confusion because what I was seeing was so absolutely and totally bizarre.

To explain this simply, an online anime popularity poll result upset some people. They decided to insult people, complain, and succumb to hatred because they refused to accept the results like a group of self-entitled children.

What made this whole situation worse, was the fact that they didn’t keep their hatred contained to just Crunchyroll’s website.

No, they decided to harass individuals on every format, flood comment sections on websites like YouTube, Instagram, and Pixiv, and also Tweet obnoxious insults to Crunchyroll’s Twitter.

Some of the things I’ve seen generally make me concerned or question my existence, but not in a deep and thought provoking way. No, I mean the, “Why do I exist when people can be so dumb that it makes me question whether the word, ‘intelligence’ has ever meant anything at all,” kind of questioning your existence.

I’ve seen some pretty backwards statements before all over the internet, and sometimes in real life too. It obviously wasn’t a surprise to me when I saw hatred overflowing after January the 11th, but I never thought it would be on this kind of level.

There were some people that weren’t just hateful to the fans, the show, and people’s opinions, but they were also being hateful to gay people as well. You just can’t make this up:

People being blatantly homophobic because of an anime popularity poll is just absolutely ridiculous.

One of the most frequent comments I see regarding Yuri On Ice is: “I’m not homophobic, but I didn’t like the gay characters/gay couple.” 

Not only is that an incredibly strange thing to say, but that’s akin to saying, “I’m not racist, but I didn’t like the black characters/black couple.” 

If saying the last statement makes you seem racist, then wouldn’t saying something like the statement before it make you sound homophobic as well?

Besides all of this chaos, it got people to start very interesting conversations about how female fans are treated differently than most male fans.

Well, regardless of the blatant homophobia, hatred, and general idiocy that had taken place just a few weeks ago, I’m here to tell you to prepare for more because it’s not going to stop and January the 28th is just going to make it worse.

Future Hatred and Intolerance:

Remember how I said their impending disappointment seems almost intentional?

Have you ever known that something wasn’t going to go your way, but you built it up for yourself anyways, just so you could have an excuse to hate something? Yeah, maybe when you were a child

This is what these people are doing to themselves right now, solely as an excuse to hate the show more than they already do. 

In fact, there will probably be ever more backlash from Yuri On Ice winning Anime of the Year 2016, than from any other award it has won so far

If this happens, then the harassment, homophobic behavior, and hatred for the show and its fanbase will only increase. 

My only goal, as of now, is to let you all know beforehand, so it isn’t much of a shock when it inevitably does happen.

Final Thoughts:

I honestly think that if Yuri On Ice hadn’t won a single award, that this fandom would have accepted the fact and moved on.

I don’t think that the Yuri On Ice fandom would have done anything even remotely similar to what these hateful people did.

Of course, there will always be a handful of rude or immature people, but overall, this fandom is generally well behaved (which is a miracle.)

I’m going to be serious here for a moment and say that I don’t want it to ever get this hateful at any point within the fandom, ever. If this fandom ever becomes this hateful and this toxic at any point in the future, then you will know why I gave up fandom culture for good.

anonymous asked:


holy moly, where do I even begin, anon. WHERE!!! DO I EVEN!!! BEGIN!!! how do I even talk about john silver?! the destroyer of pigs! the Flint-Approved Little Shit™! the smol cunning thief! wrangler of sharks and UNEXPECTED FEELINGS!!! machiavellian baby caterpillar turned Big Bad Butterfly!!! my son who delights me, upsets me, and scares me all at the same exact time!!!


*pulls out a chair* take a seat, my friend. I do not have as much control with words as Long John does himself so, we may be here a while >:) (update: um. I wrote a lot. I wrote like a real lot. a whole lot. forgive me for I have sinned.)

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Who Dat?

Time to admit the sad truth: Moffat’s Doctor Who jumped the shark long ago, probably around the time River Song was revealed to be Melody Pond. Everything since has been a long, slow (though sometimes plummeting) descent into irritating preciousness, tone-deaf emotionalism, and truly idiotic plot-plunging. Culminating in this season and the tragic waste of Peter Capaldi’s potential to become one of the truly legendary Doctors.

It all just makes me ill.

Let’s start with the observation that whatever he may be, Stephan Moffat is not a writer equipped to plumb the depths of human emotion. He’s a talented quipster with a handful of neat plot tricks (ok, one plot trick) and absolutely no sense of how to develop either character or story.

I’ll discuss Moffat’s approach to characterization after I discuss his approach to story.

So, story first: Moffat’s best Doctor Who, “Blink,” is a fun puzzle piece that conceals its lack of dramatic depth with a clever plot twist and a smart horror premise. No characterization, no dramatic arc, no real story progression, just a nice series of scary moments that provide some chills and tension, and an “All You Zombies–” time travel plot gimmick that’s been done before (and is done again and again afterwards by Moffat himself, who apparently thinks all good plot twists should be repeated endlessly). “Silence In The Library” uses a variation of the time travel gimmick from “Blink,” as do most of the episodes featuring River Song, culminating in an entire season based on that same gimmick, inverted and replayed and run backward and forward, ad nauseam. It’s as if Moffat learned one thing about time travel (the Grandfather Paradox) and like the drunk who corners you at a party to elaborate on his insight into some quirk of politics, he will not stop talking about it, sure that he’s on to something Truly Profound And Original. He just won’t shut up. Please, God, make him shut up.

Now, characterization. I put characterization behind story because that’s what Moffat does. If you can call what he does writing characters. Moffat’s “characters” aren’t characters at all, in that they have no core personalities, only a series of quirks and twitches and provisional associations. Quick: who is Amy Pond when she isn’t a companion or Rory’s wife’s/girlfriend? What makes her tick (not just twitch)? What secret talent does she possess? What’s her opinion about football? Does she have a favorite band? A favorite color? Does she like animals? What gets under her skin? Why does she do what she does? Yes, yes, she’s The Girl Who Waited, just like Clara is The Impossible Girl. These are labels, not personalities. They neither identify nor justify character. They’re plot gimmicks, not people.

And the Doctor? Who is The Doctor in Moffat’s view? What really drives him? Curiosity? A deep-held sense of responsibility to look out for naive younger species? A raging self-contempt? What? What ties together the ticks and twitches and quirks and quips and run-on sentences of Moffat’s Doctor, what makes him more than an assemblage of mannerisms– what makes him a bleak and tragic and yet somehow hopeful figure? Anything? Is there anything consistent in Moffat’s version of The Doctor that tracks from the beginning of the Matt Smith era to the present day? Other than a deliberately contradictory series of quirky platitudes and an over-reliance on the insistence that The Doctor cannot be understood by Mere Mortals?

Matt Smith and Karen Gillan and Arthur Darvill had sufficient charisma to obscure Moffat’s weaknesses for most of the fifth series, but even they struggled to give weight to the increasingly light-weight and pointless episodes that culminated in the disastrously confusing sixth series. Once Gillan and Darvill left the scene halfway through the seventh series, Moffat’s inability to create compelling characters or story arcs became painfully obvious with the introduction of Clara Oswald, the aptly-named Impossible Girl. More properly known as Clara Oswald, the Human Plot Device.

I don’t have the time or any interest in discussing the ridiculous second half of Series 7, other than to point out its main plot element (the Doctor needs to be Remembered somehow by the Impossible Girl in order to save him, like the audience at a performance of “Peter Pan” being urged to assert that they do believe in fairies to revive Tinkerbell) is a replay of the close of Series 5 (Amy remembers the Doctor at her wedding, bringing him back to life/reality), which was itself a replay of the close of Series 3 (Martha spreads the story of the Doctor among earth’s millions, and their belief in him revives the Doctor, etc.).

The present series, however, represents a crushingly new low, even for Moffat. Clara Oswald, the Impossible Girl, is now Clara Oswald, the Impossibly Boring Teacher who manages a double life adventuring with a Doctor she apparently doesn’t know and doesn’t particularly like and doesn’t seem to have much fun with, while also pursuing a completely unbelievable and uninteresting “relationship” with a fellow teacher with whom she has absolutely no chemistry, and who is himself a moral, intellectual and emotional cipher. Meanwhile we have Capaldi’s Doctor, who seems to have been plucked from a different decade of television entirely, appearing both clueless and arrogant in a way that makes me yearn desperately for Smith’s wacky quirky physicality. Not that Smith’s Doctor was any more consistent or inherently more interesting than Capaldi’s as written– he was just more fun to watch. The Twelfth Doctor (Thirteenth?) is simultaneously socially dense and intellectually shallow, depending more than ever on Moffat’s Patented Deus Ex Machinations to solve each week’s “puzzle” plot while doing little to further any growing sense of Who this particular Doctor is. Capaldi, a talented actor, is completely wasted by Moffat’s sparse characterization. There is literally no there there.

At this point, I’ve lost all interest in Moffat’s Doctor Who. I watch the episodes with the fascination of a bystander at a spectacular train wreck. I’m saddened by the waste of human potential and astounded by the hubris and stupidity that has brought such a wonderful character and story-universe to such an ugly end. Because I truly think this is the end of Doctor Who for this go-around. Even if the series continues beyond Series 8, if Moffat remains at the helm, it’s got nowhere to go.

I’m hoping that Moffat will leave for Bigger And Better Things, or be kicked out on his ass, whichever comes first. Let the Doctor sit on a shelf for a year or two, then have someone with both talent and a story to tell take him down and dust him off and do something timey-whimmy wibbly-wobbly to make the last few years disappear into an alternate reality. Bring us back to the Who of Series 3, or even 4, or at the least, the Who who wandered alone and grieving through three movies. Then start over.

Regeneration is a wonderful thing.

those OTHER ladies in Love and Rockets: Locas

i’m a lousy critic, insofar as i experience a huge gap between neutral-to-negative reactions, and then way on the other end of the scale, unreasonable fanaticism with a dash of unconditional love for anything and anyone i’m really tickled by. for instance, ever since i first started to see other bloggers talking smack about love & rockets’ hapless male lead ray dominguez, i’ve found myself stifling a shrill cry of HOW CAN U SAY ANYTHING BAD ABOUT JAIME HERNANDEZ OR LOCAS without even reading almost any of the actual criticism.

i guess i feel like it’s so unusual for me to enjoy anything that i don’t really want to dampen the moment by thinking about how my favorite things could be better than good. in this case, though, the dissing of ray helped me admit that there are not one but TWO locas characters–coincidentally, characters that we chiefly see through ray’s eyes–that i could do without, who i feel are not only unpleasant but nearly identical: vivian the frogmouth, and penny century.

it’s very likely that my allergic reaction to these two mammarian megaliths has mainly to do with their physical perfection–somewhat rare from an artist known for aging his characters naturally and including nearly every body type known to man in this lengthy punk rock soap–and the fact that this perfection is supposed to be “cleverly” offset by their “charming” personality flaws. i find that all to be a pretty cheap trick, and i don’t really have room in my brain for extra reasons that people should worship and adore, you know, hot chicks who do whatever they want.

trophy wife and wannabe superheroine penny century has been a mainstay in locas since the beginning, chiefly driving men (well, and most everybody else) to the brink of madness with her one-two punch of having a bitchin’ bod, and bats in her belfry. she seems to be modeled on jayne mansfield’s screen presence: she’s preposterously sexy, often nude or nearly so for no reason, and insuppressibly bubbly–but deep down, she’s hobbled by her own traumas and craving for love. it’s true that, in the latter years, jaime cooked up a terrific flashback to penny’s fraught juvenile delinquency, picturing her as a scary and not especially bright bully whose dreams of having super powers were symptomatic of the grim poverty and boredom from which she suffered in her daily life. i like angry chola penny a lot, but this glimpse of her past is just a blip on the radar amid a vast collection of scenes of her gyrating across the page in lingerie (or not) accompanied by lengthy, lusty paeans to her by erstwhile lover and obvious hernandez stand-in ray dominguez. call me crazy, but the idea that men ruin their lives over big titties doesn’t seem that radical, and i find the perpetuation of the sirenic “crazy girl” archetype pretty irritating. in a comic rife with startlingly realistic and relatable characters, do we really NEED this bullshit straight dude fantasy?

but then again, who am i to say that the penny century character is nothing but fantastical bullshit. i certainly believe that everything that can happen, has happened, and there’s no reason why there couldn’t be women in the world who are born with incredible bodies, and suffer enough to have depth of soul. (i mean…i LOVE certifiable genius jayne mansfield) i guess it’s just that penny in particular, and viv the frogmouth, don’t especially convince me to take interest. viv is yet another perfectly shaped nutcase who ray takes up with while he’s waiting silently for the real star of the comic, frumpy old maggie, to come back to him. unlike golden girl penny, viv is a snarling, psychotic stripper cursed with a vulgar croak and haunted by her mob relations. however, much LIKE penny, the frogmouth seems to inspire first unbearable lust, then rage, then love and compassion in men around her–or at least ray. she’s intolerable for obvious reasons, and somehow, impossible to say no to, and nearly everyone seems to feel sorry for the doomed creature at the end of the day. even though they’re from opposite sides of the tracks, viv and penny tell the same old story, complete with noirish asides from ray about how character X is infuriating yet impossible to give up. moreover, if you take away the differences in hair color and most used facial expressions, i usually feel like the two women are drawn in exactly the same way, which is the norm for superhero comics i avoid, and disappointing from jaime hernandez.

i’m trying to remain aware of the possibility that i’m just a bitter old cunt, and i react poorly any time i’m asked to sympathize with women who appear to represent the straight male ideal. it’s also possible that i’m suffering from something SLIGHTLY more complex, and rather the opposite: that in spite of the fact that penny and viv are my least favorite characters, i’m unable to believe that while ray is carousing with these überwomen, all he can think of is regular ol’ maggie. it’s hard for me to accept the premise that maggie wouldn’t have been permanently friendzoned in the face of ray’s other sexual options (and i’m not even mentioning the third, danita, who is a totally different type of character, though with nearly the same exact proportions. sad face). i obviously don’t know if i want more political correctness from jaime, to have him stop churning out these spank bank characters, or if i’d rather have him give in completely to the idea that no natural-looking woman would have a chance with a guy like ray in the scenarios depicted. i guess i just don’t know what i want. how stereotypically feminine of me.

PS for no reason, i look almost exactly like this.

Tear You Apart: Chapter 6

Listen to When We Were on Fire while reading.

“Drifting apart, getting harder to hold you. Days getting dark and the nights are growing cold. Are we burning out?… Take me back to where it was before when we were on fire.

by: @joshhutchersn & @jenniferandjoshua

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The Curious Case of Frozen
by Jansen Musico

Frozen (2013)
D: Jennifer Lee, Chris Buck
S: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana

WARNING: Spoilers ahead.

Much has already been said about Frozen, which, to this day, is still generating one form of discourse or another. For an animated Disney film, this is no peculiar feat. These films have always relished in the residual buzz emanating from Disney’s golden age. But to brush off the company’s continuing success as an effect of nostalgia would be unfair. These recent years have given us some noteworthy films in like The Princess and the Frog, Wreck It Ralph, and Tangled—each lauded for their attempts to push boundaries of Disney storytelling. Frozen seeks to do the same. Though it makes heavy use of traditional Disney elements, there is a novelty in it that not only captures its audience’s attention but also, in some ways, moves them to exchange and dissect ideas.

The kinds of discussions Frozen generates are interesting. Like any film, Frozen can be processed differently by different people. No matter the filmmaker’s intention, how a film is understood, felt, and experienced will always be subject to the varying tastes and biases of its viewers. As cultural theorist Stuart Hall puts it, the encoded message and the decoded message will not always be the same. Since Frozen is a film that’s so rich in encoded ideas, the decoded ones come in vast numbers and in varying degrees of deviation. Put it simply, the film is polarizing. Though generally loved, Frozen is both praised and booed, but not for the same reasons.

Origins and Color

A lot of the flak Frozen’s been receiving is not for the film’s story or form, but for its characters’ skin tones. The portrayal of race has always been a controversial issue, not only for Disney but Hollywood as a whole. There isn’t much cultural representation in mainstream American film, and if there were, most often than not, people of color are misrepresented.

The backlash came even before the film hit theaters. The promotional images of pale-skinned characters caused several raised eyebrows. For the unaware, Frozen is based on the Danish tale “The Snow Queen” by Hans Christian Andersen (one of my favorite stories as a kid), and is set in Norway. Much of the clamor arose when it was pointed out that the pale characters were a misrepresentation of the Sami, the indigenous people of Norway, who were not intrinsically white. This is where the period of the narrative should be considered. “The Snow Queen” was set in the late 1800s. By this time, Norway would have already been a melting pot of cultures and genes from Europe and North America. Given Europe’s history with indigenous people, the Sami were most likely displaced, and pale skin would have been a norm.

But then again, Disney has never really been known to be faithful to its source material. Its portfolio of animated films is proof of how much Disney likes to deviate. If they were set on having a Sami Disney princess, they would have done it, but they didn’t. Instead, they gave us their first two Scandinavian Disney heroines. A quick review of the old princesses tells me this: Aurora, Belle, and Cinderella are French, Snow White and Rapunzel are German, Jasmine’s Arabian, Mulan’s Chinese, Pocahontas’s Powhatan Pamunkey, Merida’s Scottish, Tiana’s American, and Ariel’s related to tuna. This means that though Elsa and Anna may not have darker skin, they still represent a culture different from those of the current roster of Disney heroines.

Though it would have been nice to see more diversity in color, it would be wrong to belabor Frozen for not adhering to the standards of all its viewers. To please everyone would be impossible. In the words of postmodern critic Craig Owens, “No one narrative can possibly account for all aspects of human experience.” This doesn’t mean to say that all sentiments about race are invalid. But it also shouldn’t be the sole barometer that Frozen is measured against.

As stated earlier, Disney took liberties in retelling “The Snow Queen,” drastic liberties, in fact. Disney has this habit of plucking out recognizable elements from stories and reworking them to make the end result more savory (read: kid-friendly.) In Frozen, they borrowed “The Snow Queen’s” titular queen, the troll, the snow, and the frozen metaphor and did away with everything else. Even though “The Snow Queen,” in its original form, is strong enough to withstand a full-length treatment, Disney has its reasons behind their alterations. And lucky for them, Jennifer Lee, screenwriter of Wreck-It Ralph, was tasked to make these changes. She, together with other story developers, and songwriter Robert Lopez, were able to infuse a spoonful of sugar into this revamped hard-hitting feminist tale.

Sisters Before Misters

Ever since Snow White’s debut in 1937, Disney has been on a mission to fine-tune their depiction of women to suit the times. The early days of Disney introduced the damsels in distress as delicate ill-fated women in need of a prince to find their happy ever afters. These women are treated as the objects of princely affection (whose stories are purely dependent on their external circumstances) rather than the subjects driving their own fortunes. The Disney renaissance of the 90s and its succeeding years saw these women trade in their passive selves for more active roles, ladies taking up the reins of their lives, pursuing their dreams, and making a positive difference: Tiana rescues her prince and builds her own business; Mulan breaks gender stereotypes and saves her country; and Merida and her mother Elinor save each other and abolish arranged marriage in the process. The latest in that growing list are sisters Elsa and Anna.

In Frozen, the two are introduced as kids. A sprightly Anna wakes her older sister in the middle of the night so they can play. An ensuing accident leads to a sequence establishing the relationship between the ladies and the rules governing Elsa’s choices throughout the film. From here on, Elsa’s struggle begins. With her ability to conjure ice, she’s automatically placed on the seat of power. Not only does she have this uncanny ability, she is also set to rule the kingdom of Arendelle. (This, in itself, is a step forward for Disney. Elsa is a queen, not a princess with a prerequisite prince to rule.) An older Elsa is governed by fear, not really of the harm that may befall her, but by the harm she can inflict on others. Her solitary confinement is her choice. It is an act of selflessness made to look selfish because of outside biases and preconceived notions of her.

On the other hand, Anna, having her childhood memories distorted, is unaware of her sister’s plight. As a result of her being sheltered and alone, she longs for affection, both her sister’s and of a man’s. Though portrayed innocent, her actions are brash and selfish. Anna is concerned of her own happiness. She sees herself as a victim of her sister’s supposed self-centeredness. It takes another accident during Elsa’s coronation to alter these sisters’ characters.

Elsa heads to the mountains to relinquish her royal responsibilities—as signified by the removal of her cape and crown. Her “Let It Go” is not only a celebration of her freedom from fear, it’s also the swan song of her old self, a momentary manifestation of self-regard, a shedding of old skin. Ironically, Elsa does not physically shed all of her old clothes when she transitions into her own woman. Instead, she covers herself up with fresh garments, a new skin.

Anna also makes her way up the mountains to rectify her sister’s mistakes. Cold and alone, she spots a trading post where she meets an iceman named Kristoff. Lacking in knowledge of the mountains, she commandeers Kristoff’s services as a guide. This, by no means, demonstrates Anna’s weakness. Her banter and adventure with Kristoff (notably the sled and giant snowman sequences) validate her status as a woman with her own mind and set of skills. Her moment of selflessness arises during the penultimate point of the film, when she offers up herself to save Elsa from certain death.

This expression of selflessness sets Frozen apart from its contemporaries. Anna, cursed with a frozen heart, needs an act of true love to survive. Normally, in Disney mythology, a curse would be broken with a true love’s kiss. Surely Snow White, Aurora, and Tiana are fully aware of its mechanics. But in this case, Anna needed no man to liberate herself and save her sister. Her self-sacrifice was the key to her own salvation. Sure, Merida, too, needed no man to lift the curse off her family, but unlike Anna, Merida didn’t have the option of kissing two men vying for her heart. (And no, Merida’s suitors do not count.) Anna ultimately chose her sister over a man.


Lee is a brilliant writer, seasoning the narrative with subtle details that make for poignant contrasts. In the scene where Anna is left to freeze to death in a locked room, Olaf, the animated snowman, comes to her rescue and starts a fire. Mid-dialogue, he begins melting and says, “Some people are worth melting for.” It’s a tender moment. Olaf, enlightened about his fate, would much rather stay with Anna to keep her warm. Minutes later, it’s Anna who freezes to death to save her sister.

The addition of Lopez’s songs adds another imperative layer to Frozen’s already plush narrative. It is evident that Lopez—whose works had catapulted shows like Avenue Q and The Book of Mormon into Broadway and beyond—would treat Frozen as if it were a stage musical. He opens strong with “Frozen Heart,” an anthem for the icemen who regard the ice as if it were human, personifying it with adjectives that bear more meaning as the film progresses. Not only does the song describe the setting of the story, it also foreshadows the succeeding events.

Lopez follows this up with “Do You Want to Build a Snowman,” a demonstration of his ability to stir emotions. Layered over a montage of passing time, the song’s lines, as if a series of switches, interchangeably and fluidly turn on feelings of joy, awe, and sadness. His wit is on full display in “In Summer,” perfectly performed by Mormon’s Josh Gad. Olaf’s naiveté coupled with playful rhymes and a clever pregnant pause make for a very funny break in the film.

But Lopez’s moment of pure genius comes in the form of Disney’s most nonthreatening villain song to date, “Love is an Open Door.” Compared to its predecessors, which are outright exhibitions of vanity and dominance, this duet shared by Anna and Hans is understated. Since the song brims with Anna’s optimism and earnestness, its true connotations are effectively veiled. When Hans sings “I’ve been searching my whole life to find my own place,” it’s a forewarning of his true intentions of usurping the Arendelle throne. He repeats this when he an Anna exchange lines. He sings, “But with you I found my place.” Anna alternately sings, “But with you I see your face,” denoting that her judgment is clouded by his looks. Later on, it’s revealed that Hans had been deceiving Anna all along.

Another song worthy of mention is “Fixer Upper.” At first pass, it comes off as filler, as if its sole purpose is to give the trolls some activity before news of Anna’s fatal ailment is broken. The stone creatures take time showing off Kristoff, poring over each of his imperfections and good qualities for Anna to consume. Feminist texts have long pointed out how women are objectified by film and how they are demoted to an image for man’s consumption. For Kristoff, a man, to become subject to the viewer’s gaze, it’s innovative. Sure, Anna, too, is briefly placed under scrutiny during the song, but the criticisms of her are neither about her looks nor traits but rather the fact that she’s already engaged.

With everything going on in a film like Frozen, it is easy for anyone to gloss over its hidden merits or, inversely, obsess about the trivial. Regardless, the amount of discourse it has spawned since its release in November last year confirms Disney’s continuing influence. With its treatment of characters like Anna and Elsa, the company is showing signs of progression. Disney is willing to grow with its audience. But of course, this will be tested over time.


Whew! Okay. Sorry for the delay; I’ve just got home because all the trains are running late–some kind of signal outage at Baker Street.

So. Hamlet. HAMLET. (I’m tempted to quote Geoffrey Tennant here, but I won’t.) If you have yet to see Benedict Cumberbatch at the Barbican but plan to and don’t want any spoilers, I strongly advise you stop reading now, not because I’m going to tell you that pretty much everyone dies (sorry, the play was written 400 years ago, get over it), but because I’m going to talk about stagecraft and special effects and so on.

Without  further ado: 

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you take my hand and drag me headfirst, fearless

(a little wedding/beach fluff) <3
edit- oh and this is what I picture Killy wearing

There’s a light breeze coming off from the ocean when Emma first steps out onto the beach, quickly discarding her shoes at the end of the pathway and letting her toes sink into the sand.  She almost feels giddy, all dressed up in a red, knee length dress and hair in perfect ringlets but now, barefoot on the beach. Weddings aren’t really her thing, and nobody noticed her leave the party, anyway.

“You do realize that the party is back that way, don’t you, love?”

Except Killian.

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Walking Wounded: Part Three (TMNT 2k12)

Summary: Everyone heals differently. 

Note: This is the second major arc in the GaVG ‘verse, after “SlantSlipSlope”. In the internal chronology, it takes place about two weeks after “Interlude: Homecoming” and “Their Hungry Thirsty Roots”.

Many, many thanks to the lovely hotmilkytea for dealing with my freak-outs and my “can you read this thing please”-s. <3

Part One | Part Two | Part Three | Part Four | Part Five

TMNT fic masterpost


One of the hidden benefits to having so much headspace was that no matter how full his mind seemed, Donnie always had a few dark corners left to himself. It’s nearly impossible for him to stop thinking, and even though the voice fills him to brimming with sweet, tar-black laughter, he can still reason. 

He can still plan. 

So when the beasts throw him against the wall, their mouths hot on his legs, Donnie still manages to keep hold of his bo. Even after he staggers and falls to his back, striking his head against the floor, he doesn’t let go. He nearly greys out, his vision going white and wavering, and he can only scream breathlessly when he feels sharp-clawed paws pinning down his legs. 

His scream turns into a howl when the first teeth bury themselves in his thigh. It hurts, and even the pressure of the voice and the laughter can’t block out the pain; it feels like hot wires are being shoved into his muscles and twisted. Nothing has ever hurt like this. Not having the wasp venom in his bloodstream, not nearly losing the tips of his fingers to acid, not Slash grabbing his arm and wrenching it back with a smile. This pain drenches him, sticky and heavy, oil just waiting for the flame. 

Donnie tries to breathe, but the voice’s weight clamps down around his throat and squeezes. 

His grip on his bo is weakening. 

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