Pll season 1:
Four girls are cyberbullied and deal relationships, grades, and other hardships of being a teenager.
Pll season 5:
Four girls are nearly killed every day and constantly accused of murder. They deal with obstacles like being held captive in a life size doll house by a psycho murderer. Charles is there.
I loved this episode for many reasons— the main ones being
obvious. I loved that Cas was still involved even without screen time. I loved
that Dean and Sam were continuously worried about him, putting his health above
everything else. I loved that Sam and Dean were being open and honest with
each other— being brothers again. I loved that Sam got lucky and that Dean was
wearing a little badge of pride over that fact.
I loved that Dean acknowledged
his own intelligence.
I loved that Baby was referred to as “home” again by Sam,
and I loved that Dean did not outwardly agree— because something inside him knows
that they have an actual home now … something closer to his dream.
I loved all those things so much that it has actually moved
me to tears.
But what I’m loving even more is the fact that the actors
seem to really be loving this season too. Jensen has live tweeted nearly every
episode so far, and it doesn’t seem like he was doing it just to pacify us …
he is really excited about the work he’s involved in. He’s excited to share it
with us— it seems like he truly feels like a part of this family again, and he’s proud of that.
Jared and Misha appear to be on the same page as well, showing excitement and
eagerness for us to watch every new episode that airs— Misha with his little promo videos,
and Jared, with everything he’s been talking about at the recent conventions;
they are all just overly happy about the show and I’m just so relieved to see that again.
was rough, not only for the fandom, but I think, for the actors as well.
Thankfully, it seems like the writers saw that they weren’t listening to the
concerns being voiced, and they’ve since changed their perspective.
I can’t say for sure that the rest of this season will keep
going on like this, but I can certainly tell that everyone directly involved
with “Supernatural” seems to be in much higher spirits about it, and that makes
me very, very optimistic for what lies ahead.
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Furry finishes have their place nearly every F/W, but this season designers added warmth and detail more noticeably with shearling. Whether it’s in the form of a fringe, lining, a main feature or a small detail, a hat, coat, boots, shoes and pretty much anywhere else it will fit and keep you warm.
The cozy fabrication of late continues to go strong this season in natural and neutral hues. Shearling is a bold way to channel your inner cowboy, but can also be high-end with fine tailoring.
Fendi, Lacoste, Louis Vuitton, MSGM, Porsche Design, Pyer Moss, Resurrection, Tim Coppens, Valentino and Vivienne Westwood.
Fans of the Starz drama Outlander won’t soon forget one particularly emotional scene from earlier this past season, when Jamie (Sam Heughan) explains to his wife (Caitriona Balfe) that his pain and suffering from the sexual assault at the sadistic hands of Captain Black Jack Randall (Tobias Menzies) is not close to being over for him.
What’s revolutionary about the Outlander storyline is that the sexual assault victim is male — and also a lead character in a popular television drama. Additionally, the repercussions of the abuse and emotional ramifications are not being resolved in a swift 42 minutes or even a short-term arc — in Outlander’s case, the ramifications are dealt with in nearly every episode, a full season later. Reflecting reality, the pain that the victim experiences is something that doesn’t have an expiration date.
“[Sexual violence] is a crime that affects people of all ages and genders and having male survivors being represented in television is a really promising development,” says Katherine Hull Fliflet, Vice President of Communication of RAINN (Rape, Abuse, Incest National Network). “I think it’s also one that has increased coverage and increased attention for male survivors that we’ve seen on a whole.”
In the end, Fliflet said there is importance in portraying all stories of sexual assault and, in doing so, spreading awareness and giving voice to those who have been silent about what they’ve endured. The fact that male victims are being utilized more in shows like Outlanderand American Crime is a step in the right direction. They are great example for other television writers to demonstrate how to tell a solid story but also portray it realistically — and perhaps provide some solace for those viewers who have shared experiences. “It’s my hope that we’ll continue to see the same level of diversity with male survivors and helping to expand people’s understanding that there’s not just one circumstance in which male survivors are victimized or hurt in that way,” Fliflet says.
How are LoK's episodes structured differently from A:TLA's?
A:tLA’s own episode structure changes over the course of the series, but I’d say there are a few ways that the two series differ, both overall and at certain points.
A:tLA started out with what almost felt like an action quota – at least during the first season, nearly every episode had at least one “fun” action sequence (which could range from penguin sledding to a more lighthearted fight) and one “serious” action sequence (which was usually a fight with a greater sense of danger). LoK has never really had that; it makes sure to work combat into every episode, but those fights can sometimes be very short and perfunctory (eg. The Guide had Korra spiritbending bats and Unalaq and the Twins bending at a portal), and “fun” action sequences are very rare.
A:tLA also tried to stay very self-contained in terms of its episode structure. The Book 3 finale makes that very easy to see – The Phoenix King and The Old Masters had to be part of the finale in A:tLA because they were designed as direct set up for the last two episodes, but they’re both less finale-like than the pre-finale episodes LoK has done every season and no more direct in terms of set-up than any LoK episode is for the episode after it. A:tLA was written expecting that some of its viewers would see episodes out of order or miss episodes; LoK said “forget that” and made serial watching mandatory (which is probably part of the reason why Nick pushed it online).
A:tLA was a much slower-paced show, too. Since it had half again as many episodes per season and fewer key points to hit, it could give more attention to the quieter sorts of moments that LoK rarely has time for. It also had fewer characters and plots to follow, so its scenes could continue on for much longer periods of time; LoK, in contrast, has a ton of scenes that are around 30 seconds in length, including scenes as important as Lin losing her bending.
Finally, A:tLA had a much lower “stories to tell”/“episodes to tell them in” ratio. An average A:tLA episode focused heavily on one core idea, with a short B-plot thrown in for Zuko once he grew into his antihero role. LoK episodes, in contrast, can be all over the map – think of something like The Ultimatum, where you’ve got Mako and Bolin navigating the chaos in Ba Sing Se, the rescue of their family, the search for Korra, the team’s reunion and the reveal of Zaheer’s ultimatum, the attempt to contact Tenzin, Korra’s Spirit World visit, and Zaheer’s attack on the Northern Air Temple all in one episode.
In general, though, I think the differences can be summed up as such – A:tLA was a largely-episodic action-adventure show with a strong myth arc, whereas LoK is a heavily-serialized, lightning-fast action drama.
I’ve always been a firm supporter of active fandoms and healthy criticism of media you like; one should never blindly accept every part of every medium. We’re all of unique backgrounds and circumstances and tastes and opinions and we deserve to have, express, and discuss them. Now I say this is a top 5 worst Danny Phantom episodes list but obviously they are all from season 3 for good reason - while there are low points in seasons 1 and 2, season 3 does something so consistently wrong with nearly every episode that no season 1 or 2 episode dips so wholly low as to be worse than any season 3 episode. This is not to say there aren’t great s3 episodes - “Claw of the Wild” and “D-Stabilized” are amazing and on-par with all s1 and 2 episodes and are two of my favorites. “Forever Phantom” is a good one and “Boxed up Fury” isn’t too horrible. But, as a collective season, there are more flaws than redeemable elements.
Thus said I would like to preface this countdown with a review of season 3 as a whole. Again, this entire post is my own opinion. If you don’t feel the same way as I do, that is not only okay, but expected! As I said before we’re all of different mindsets. It’s what prompts creative discussion, and that should be encouraged, not vilified, in fandom.
So I’ve seen a pattern here. Every time Bonnie loses her magic it’s normally after a traumatic experience.
Damon has been there to trigger it nearly every time. Since season 1 when he came to town and her powers awakened after coming into contact with him. Also when Kai put him in danger. I wonder how it will be triggered in season 8. Theories anyone?
Ok but honestly I’m so thankful for Natalie??? Because it seems like nearly every season the most beautiful women in the cast go “I can’t work with girls, they’re too catty and they get jealous of my looks, I’m a guys girl,” and all that shit and I was afraid of Natalie doing that when I first saw her but she’s so??? Perfect??? Natalie is all I have ever wanted she’s so beautiful and strong
No “rebellious conduct” warning when Risa Aoyanagi was targeted with a Dominator by an Enforcer.
Mizue Shisui literally rebelling against the society and aiding a criminal while keeping her job as an Inspector.
No Inspector ever shooting an Enforcer with dangerous Crime Coeffecient of 769 in the past.
Ministry of Economy somehow thinking of an alternative, even more invasive and potentially abusable surveillance system without the project simply failing due to worsening Psycho-Passes of people involved. At that point, Sibyl was an established ultimate judge for almost 10 years.
Unscannable Kamui being employed in several workplaces as falsified identities of deceased children, despite every job requiring Sibyl’s aptitude assessment.
Same unscannable Kamui somehow having almost impossible expertise in any area possible, despite lack of any real education.
Kamui preparing a plan to confront Sibyl System and judge it despite having no way of knowing its true form beforehand.
Misako Togane becoming part of the system when Sakuya was 10, being the reason why his Crime Coefficient rose… and then Misako Togane being still alive and active as a doctor during Kamui’s plane crash, which was 15 years later.
Aiming at an individual brain somehow showing whole system’s collective Psycho-Pass.
Akane using a Dominator right after learning that her rights as Inspector have just been rescinded.
Unnatural Crime Coefficient spikes inconsistent with first season’s standards.
Nearly every single move of MWPSP or Sibyl System seems to be according to Kamui’s plan, being something he predicted and prepared for or even something outright benefiting him, taking it to the absurd levels.
Other Divisions are treated like redshirts - they are literally there just for Kamui to kill them. Compared to the meaningful deaths of the only two Enforcers to die in the first season, it speaks of Ubukata’s attempts to desperately outdo the series’s original villain - with quantity over quality, no less.
Division 1 aside from Akane, Mika and Togane have no meaningful impact on the plot - not only that, they are actually not included at all in most deductions and investigations.
Almost complete lack of character development - aside from Akane, Mika and Togane, everyone is kind of just there and Akane herself went from an experienced, veteran Inspector, to a cold action figure nearly devoid of personality
Lack of reasoning - while the show tries to pretend it while talking about Sibyl or Kamui, there are no criminal deductions - the answers are simply spelled out at the right time.
To put it bluntly - asspulls. Assault Dominator was present in the story as a plot device merely in order to have a character shot, similarly to this season’s Crime Coefficients. Original season also suggested nothing about Sibyl having any evil conspiracies, which were forcibly inserted into the setting in S2.
No diversity - the first season explored the setting, featuring personal conversations between characters. The only example of this is Ginoza talking with Aoyanagi… right before Aoyanagi is killed.
The season carries absolutely no meaning, aside from the attempts to judge Sibyl.
So there’s a lot of anti comments going around (again) about how Swan Queen shippers should stop complaining and be happy about whatever throw away LGBT couple is coming up. And I will even momentarily set aside the argument that side characters are not remotely satisfactory as representation as I ask these people: Let’s say Neal came back. Somehow, he’s back. Emma realizes she’s always loved him and leaves Hook. Should CSers not be upset? I mean, they still have Regina and Robin, or Rumple and Belle, why isn’t that good enough!? Do you see how stupid that argument is? Because one has nothing to do with the other! And then there is there the fact that not every LGBT viewer ships every LGBT ship. Just like not every straight person ships every heterosexual ship. Shocking, I know. And if you really, truly think that a tossed together same sex pairing is anywhere on par to a couple that has seasons worth of interaction in nearly every episode (I’m not even talking swan queen… I’m talking the canon couples that are in our faces every damn day) then you are literally just ignorant. Like, if you can’t pull your head out of your ass to actually consider what you’re talking about, maybe you just shouldn’t be talking about it at all.