and she has a crush on duncan

There are four kinds of people in the fandom:

Those who believe Rachel is only sexually attracted to herself.
Those who believe she has a huge gay crush on Sarah and would love nothing more than to have really rough sex with her.
Those who believe she is in love with floor-to-ceiling windows and nothing more.
And people like me, who believe that she is sexually attracted to herself, and by extension the other clones, and has a huge gay crush on Sarah, and would like nothing more than to have really rough sex against a floor-to-ceiling window.

Yogscast high school au headcanons

Smith - considered the most attractive but most unreachable member of the gang, definitely a ladies man
Trott - brains of the gang, comes up with the schemes
Ross - the muscle of the cool gang, does what the others say but will feel guilty about anything bad he does
Sips - leader of the cool gang, ruthless, suave, and kind of evil

Kim - the cool mysterious one that no one really knows and everyone is curious about

Lewis - long term friend of Simon, the two are inseparable and Lewis keeps Simon in check
Simon - everybody loves him cause he’s the joker of the class
Hannah - she’s totally badass and people don’t mess with her, but is also super sweet
Duncan - totally has a crush on Kim but she totally doesn’t want a boyfriend
Sjin - he’s totally innocent and sips has an exception for him, he won’t be mean to him

anonymous asked:

was rachel throwing chairs and breaking glasses because she can't have kids? sorry i wasnt paying attention to that part

[heavy breathing] Rachel Duncan in infertility are two of my favourite things when placed together. Oh the conflict! The pain! The thematic ideas of women’s ownership over their bodies! (Something I have already discussed at length here)

Now for the literal view of that scene, which I loved by the way — like, damn, those cuts between Rachel rage and Rachel calm were beautiful. From what I’ve read since the episode aired there are two prevailing theories as to what that actually was. Some people argue that it was a flash forward to later after Ethan was gone from her office when Rachel was finally alone and could let that emotion loose. Others argue that it was a visual representation of Rachel’s internalized battle and that outwardly she never let herself break, but inwardly she was at war.

I’m a big fan of the latter. A big, big fan.

Here’s the thing about Rachel Duncan and autonomy — she needs control in her life. Rachel needs to be the one making the choices and pulling the trigger and dictating what occurs around her, or at least she needs to think she’s in that sort of control. It’s all about power structures and Rachel has developed into the sort of person who must maintain the power. I think this is best demonstrated beautifully when she lets Leekie go at the end of 2x07. That was not necessarily Rachel showing sympathy or an emotional connection — to me, that was Rachel showing that she makes her own decisions, not Marion Bowles. Rachel was essentially flexing her autonomy in the best way she could. Deep down she may have some emotional connection to Leekie, but ultimately I think maintaining her sense of power was even more important. Rachel Duncan is going to do everything she possibly can to avoid being someone else’s pawn. 

Now, with that in mind let’s talk about this scene. It’s so important to note that Ethan tells Rachel that the infertility was on purpose, and that is what appears to break her. Why? Because Rachel Duncan needs control over her life, Rachel Duncan does not need someone dictating from her very conception that she cannot reproduce. That kind of biological manipulation and loss of power — that is the very thing that could break Rachel Duncan. Rachel Duncan is a woman who has devoted much of her time to figuring out why she wasn’t “special” and where they went wrong with the infertility thing. She is simultaneously proven wrong in that the infertility was intentional and reminded of how little control she has over her own body. That she is ultimately still a pawn and any hope she ever develops (because I’m quite sure a younger Rachel Duncan pondered motherhood) will be crushed by her lack of autonomy.

This is exactly the kind of emotion from Rachel Duncan we need – suppressed, burn the world to the ground rage, demonstrated through just a few eye blinks. 

Favorite Scene From Each Episode of Veronica Mars: Day 18: Weapons of Class Destruction, or, Mary Sue’s New View

[Previous installment: Favorite Scene From Each Episode of Veronica Mars: Day 17: Kanes and Abel’s, or, Forgiveness Check]

First things first: Veronica Mars is not a Mary Sue. However, in “Weapons of Class Destruction” she has a slight Mary Sue-ish tinge to her. Despite being a social outcast and pariah at school and in her community at large, she is nonetheless the object of affection for four different males in this episode: Deputy Leo, Logan, Norris Clayton, and, via his Veronica 1.0 doll Meg (poor Meg), Duncan. Even Mac seems to have a bit of a crush on Veronica:

Whatever it takes to excuse a cheesy rhyming title for a post, huh?

The Kiss is perhaps the obvious scene to pick susanmichelin​‘s Favorite Scene From Each Episode game, and why not? It is earned dramatically within the context of the season, set up perfectly within the episode (yet still manages to surprise), and is shot beautifully. The characters’ reactions make sense. I am not good enough at this to add anything interesting about The Kiss at the moment, and people are probably sick of my beating the drum of Veronica and Logan’s two tracks to each other. (Although that does not mean I will not continue that drumming).

Leo’s “cute” conversation with Veronica (from which the screencap that adorns the header of this blog is taken) is worth a mention, but I have already covered Leo. Veronica’s confrontation with Duncan (and his subsequent flight) only really hits home in the next few episodes.

Of more interest is the somewhat anvilicious parallel between Norris and Logan. Both have pasts as bullies and jerks, but Veronica has seen a different side of Norris when he stood up for her once when she was being shunned but, given the length of her hair in the flashback, apparently before the events of Shelly Pomeroy’s party and Veronica’s reincarnation as an angel of vengeance. And, of course, Logan also comes to her rescue (not really, but that’s an important topic for another day). Pete’s vicious and meticulously-planned vengeance on Norris (for something truly horrible) is obviously meant as a contrast with Veronica’s own dealings with Logan, her own personal bully. Finally, we have Veronica’s almost completely self-centered interaction with Wallace as Keith and Alicia start dating.

All of that and more is worth discussion, but what strikes my fancy today is the scene in which we first meet Ms. Stafford, a.k.a. Chasing Amy lady, having taken over the journalism class for the long-missing (and pregnant) Mallory Dent. More precisely, I want to address Veronica’s perspective on Logan and Duncan in this scene.

Fans of the show understandably obsess over what Veronica, Duncan, Logan (and Lilly) were like in happier times. The problem is that we have no direct access to that time – everything is filtered through memories (mostly Veronica’s) which are selective and less-than-reliable.

This scene, however, seems to give us something like a view of the past. We see Duncan coming in cheerfully and shoulder-bumping with Logan (maybe the last moment of their relatively untainted friendship in the series). Duncan is filling the role The Good Boy and Good Student of Veronica’s past memories of Prince Charming, and makes an intriguing suggestion for a story. Veronica is impressed.

Logan also fits Veronica’s previously seen memories of him, constantly clowning and making jokes as Veronica and the rest of the class laugh along.

One thing Veronica Mars does so well is getting viewers to share Veronica’s perspective. This is especially true with respect to the audience’s changing perspective on Logan as the season progresses, even though Veronica and the audience do not have the same information at the same time (e.g., Logan being abused). While, as usual, we do not get Veronica’s direct thoughts or feelings about Logan in particular, this scene’s placement of Veronica in (mostly) the position of a passive observer (as is the audience)  of Duncan and Logan in action in their “usual” roles also reveals her changed perspective while encouraging the viewer to take on that same perspective.

The scene opens with a voiceover that itself points to Veronica’s altered standpoint as Duncan walks into the classroom:

“Dear Seventeen Magazine. How can I tell if the super cute boy in my class likes me?  No. Scratch that. Dear Seventeen. How can I tell if the super cute boy in my class killed his own sister?”

This is all about Duncan on the surface, but it is tempting to hear it, on the heels of the her recent encounters with Logan, as two separate thoughts about two separate boys: the boy who might “like” her is about her erstwhile tormentor in juxtaposition with her concern about Duncan potentially murdering Lilly (concern spurred on by Logan’s report of Duncan’s attack on Jake).

That is at most a hint of Veronica’s new view, though. The boys’ words and actions seem to be in line with how Veronica saw them prior to Lilly’s murder. Veronica’s face and thoughts, aside from her opening voiceover, give no indication of the change. But in this case, the implicit identity of the the audience’s perspective with Veronica’s allows the careful viewer to grasp how that perspective has changed even without her having to give us an explicit indication.

Duncan’s suggestion (shot down by Ms. Stafford, who does not think the parents would like it, ironic given how things turn out for her in the rest of the episode), “How about something on oxycontin replacing ecstasy as the drug of choice for high school students?” is a pretty good one, and Veronica seems to approve. Yet his delivery is also annoying (I will refrain from putting this on Teddy Dunn, although that might be fair). He is modelling the Good Boy behavior a bit too much, it is grating, much like the way he spoke to Veronica while setting up the Eighties Dance in Ruskie Business. “You never know.”

Then we come to Logan. Veronica laughs along with his joking, playing her part as the audience, just as she remembers herself watching him goof around with Lilly and Duncan (and filming him in the “Wrath of Con” flashback) in flashbacks. But the viewer sees something else, something that Veronica cannot be missing even as she gives the obligatory smile-and-chuckle. Logan’s jokes are not that funny. They are non-stop and forced. His pep squad/cheerleader imitation is cute and campy, but it is over-the-top. In Veronica’s flashbacks, Logan’s goofiness is just who he is: the cheerful, besotted class clown loving life.

Veronica had probably seen this sort of side-by-side thing with Duncan and Logan many times before in happier days. But what she has learned over the course of the season leading up to this gives her a new standpoint to reevaluate both her present experience and her past memories. Dohring gets this across marvelously not only with the forced nature of the humor, but with the downcast eyes Logan thinks no one notices. The viewer now sees what Veronica does (beneath her going-along-with-it veneer): Logan’s clowning is compensatory; it is a mask he dons to hide his wounds.

Veronica is often a privileged observer of the people and events around her. Yet that privilege is only relative to her location in the narrative at any one time, and her perspective is constantly being altered and corrected. In some cases, the alteration is more obvious than others. The subtlety with which her perception of Logan changes allows events such as The Kiss to seem both surprising and inevitable, and is thus an essential part of Veronica Mars’ beauty.


I’d like to think that there’s a little love triangle going on here in my sketchbook. My sister named the guy on top “Duncan Farlobe” and the girls have yet to be named— but we’ll call the girl in braids “Red” and the girl with the red puffy jacket “Gina” for now. Long story short,  Duncan has a crush on Gina and Red has a crush on Duncan and Gina doesn’t even care about boys and love and stuff. She just likes snowball fights and finger painting (yes, finger painting. Even though she’s like 11 years old and too old for such things in her mother’s opinion).