Talking with a friend at conbust about how frustrating it is when cars don’t notice motorcycles because they don’t think to notice them, like it doesn’t occur to them to register not-car shaped objects one the road.
Another friend pointed out she’d heard people discussing this issue, saying road games like Punch Buggy have people always subconsciously on the lookout for VW Bugs. So the proposed solution is to teach little kids to punch each other when they see motorcycles instead of Beetles, so they can’t help but look for them for the rest of their lives.
And it’s like, man that’s fukken genius. Go make your kids play Punch-Bikey or whatever you wanna call it.
One step at a time. One hope, then another. Who knows where this road may go? Back to who I was, on to find my future, things my heart still needs to know! Yes, let this be a sign! Let this road be mine! Let it lead me to my past! And bring me home at last!
Ampleforth/Lay Me Low by The Albion Band (this was written in the ‘70s, but The Albion Band, and this album in particular, is made up of a bunch of old Fairport Convention members with vocals from people like Martin Carthy and Maddy Prior of Steeleye Span, and you really don’t get more Traditional English Folk than that)
A sadly beautiful youth
In the repeated time where the end is not visible
In a contingent and completed space
If we have walked together,
and fought together,
we have grown beautifully
in front of a newly opened road,
we swear to bet our all,
and protect the next
one, to find what we lost
one, to fill the empty hearts
one, to find another road to move forward
one, to never throw each other away
we’ll become one like that,
to protect the X Clan
On Fury Road and the value of non-threatening male heroes
So I’ve been re-watching Fury Road and something struck me;
Tom Hardy’s Max is just really non-threatening. Now, that’s weird on a surface level because in story he’s presented as very dangerous. But here’s the thing about the kind of men we’re used to seeing in action movie; They are threatening in their masculinity.
The capitol A Action hero is a fixture in our cultural awareness. Almost without fail this hero is a man (if you have a woman in the role of action hero, it’s almost always proceeded by her gender. She can’t just be the action hero, she is very clearly cast as a FEMALE action hero.) So our male Action hero is a badass. He’s dangerous, he’s brooding, he’s tough as nails. Sometimes he’s sarcastic and witty, sometimes he’s a moody stud. Point is, despite cultural changes that we see with our Action heroes as different pop culture trends change the flavoring, these men are all pretty much cut from the same mold. And here’s the thing about your typical Action hero; They have this underlying current of threatening masculinity. To put it bluntly, your typical Action hero is really all about cock. They’re intimidating to both their male peers and the women who are cast opposite them. They are toxic masculinity distilled onto our screens.
Now, in recent years we’ve been seeing more varity in our Action heroes. More emotion. Of course, there have always been exceptions (Luke Skywalker is one of the most note worthy male heroes to break this mold, and I think it’s worth noting that he’s often called whiny. Hell, when I was a little kid I loved him, but as a young teenager I thought he was lame. Now I realize that this might well have been because he wasn’t acting like your typical male hero. Maybe that scared me on some level) Anyway, let’s get back to Hardy’s Max. In story he starts out as frightening, but he is never threatening in the way of your usual Action hero. He’s feral, dangerous, and unpredictable at the start of our story, but he doesn’t have any of that toxic masculinity. So, we have a mad Max who is dangerous, and seems mad, as it were. But there’s none of that hyper male Action hero posturing.
Hardy’s Max is a flawed man whose past has almost driven him past the point of no return. To the other characters in the movies he initially seems to be feral (they don’t have the benefit of hearing his inner thoughts) Max is a frightening, but he’s not a masculine he-man. In fact, the characters in the movie who fall close to what we’re used to seeing in Action heroes are the warboys and their leader. The culture espoused by Immortan Joe is hyper masculine and toxic. The young men who idolize him seem like extreme versions of what we’re used to with our heroes. They’re brainwashed into a society built on toxic masculinity and objectification, and the heroes of the story are the ones fighting against this idea. Interestingly, Furiosa has a lot of traits of your traditional Action hero, but it’s coupled with compassion and self reflection, not because she’s a woman, but because she’s a person. Like Max, she is fighting to regain her humanity through helping a group of young women fight for their freedom from a world of toxic masculinity.
So, again back to Max himself. As the movie goes on he regains his sense of self. A big theme int he movie is the objectification and commodification of human life. We see this with Immortan Joe’s ‘wives” as well as with the brainwashed warboys and the use living humans as ‘bloodbags’ and ‘milkers’ Max starts the movie literally strapped to the hood of a car as a hood ornament/living blood bag. Max is reluctant to help Furiosa and the ‘wives’ at first, but we see him change in a brief period of time. He regains his humanity through helping others and coming to terms with his own demons. Hardy’s Max is dangerous, but he’s also vulnerable, undeniably so. We see his fear, we see what haunts him, and we see him struggle to survive, and then struggle to come to terms with his past in order to help others have a future. This sets him apart from Mel Gibson’s Max, and in my opinion makes him the better of the two. By the time Max starts really showing his human side, we see a man who is compassionate and half broken, a man who relearns himself by helping others.
Another notable aspect of Max is his relationship with Furiosa. Usually when your typical Action hero is paired with a STRONG INDEPENDENT WOMAN in a movie, there’s this ongoing dynamic of ‘but you’re a girlllllll’ There isn’t respect, because the heroes of the story are acting out the deeply felt internalized misogyny of our own society. They can’t interact as equals because in our cultural minds they are inherently unequal. They are defined by their rigid gender rules, and they act this out like they’re children on a playground crying about cooties. And of course, there’s usually the sexual element, with the heroes constantly griping at/disrespecting one another while it’s played off as repressed attraction all along.Fury Road never once does this. Max and Furiosa are two flawed and broken people trying to survive. There isn’t a split second where Max stops to wonder how a GIRL can be so tough. Once they’re established as allies, they immediately move into a working relationship built on mutual respect and trust. Two scenes come to mind. Firstly, the initial canon chase when Max first shows himself as an ally. There’s one notable moment where Furiosa is standing up out of the roof and Max hands her a gun. That doesn’t seem important, but there’s something about that gesture that’s very c cinematically important. It shows us that they’re a team now, and it shows us that they trust each other. The second notable scene is the “Don’t breathe” moment in the night bog. Max has previously seen that Furiosa is a good shot. He knows that she is the one to trust with this task, so he hands her the gun and lets her use him as a rifle stand. It’s a moment with no dialogue that speaks volumes.
All of this goes to Max as a nonthreatening hero. He never objectifies, disrespects, or distrusts his counterpart. He’s never an alpha male. He’s part of a story that he doesn’t need to dominate with his manly male maleness. Hardy’s Max is a dangerous, vulnerable, and quietly compassionate man who gives respect and trust where it’s due. He has no need to parade and prove his masculinity. In fact, the people doing that are the villains, and isn’t that telling?
Everyone has their own strategy for this one, but it’s also probably the aspect of writing that we ask each other about most of the time: what do you do to figure out your plot? How do you stick to a plot? How do you know where a story is going? How do you stay interested long enough to finish? How do you keep from getting lost? For first time writers, this is particularly daunting, as we tend to think of a book–all 80,000 words or so–as overwhelming and more than we know how to accomplish, as something too big or unattainable.
Some writers sit down with a single idea and go from there, letting the story come as it may and waiting for the ideas to strike as they write. For many writers, this works. For me, it doesn’t.
My process looks a lot more like this:
Wait for an idea to strike (and I mean strike; it has to come to me, haunt me, bug me, until I’m sure I can do nothing but write it)
Plot. Plan out everything. Write it all down, outlining each chapter–what will happen in each and how many there will be.
Step One: There are lots of good ideas out there, and my notebooks are filled with ideas; ideas that occurred to me in the middle of the night, ideas I thought up after witnessing something in a park or listening to a good song. New ideas are exciting and can lead to great things, but I won’t turn any of them into a book until I’m sure the idea won’t go away.
I don’t write it down. That’s the first test; if I haven’t forgotten it the next day, or the next, or the next, then I know it might actually lead somewhere, that it’s not a fleeting idea that will tempt me and then leave me hanging. I let this go on for a month–yes, a whole month–and if at the end of that month, I still can’t let that idea go, if it’s still rolling around in my head, waiting to be explored, then I move onto step two. By then, I know that the idea and me are long-term, that we’re in this for the long run.
Step Two: I plot. I plot everything.
I start with the main arc: where do I want the story to start, and where do I want it to finish. In my most recent story, for example, I knew that I wanted the main character to begin cynical of love and relationships, and I wanted the story to end with him opening his heart to the possibility (even if he wasn’t yet in a relationship–that bit I’d find out later). I knew I wanted the three strangers at the beginning of the story to be best friends by the end. I knew they’d all start with some trauma, and I wanted them all to successfully be on the path to recovery and healing by the end.
Then I looked to time: I believe it’s important to know just how much ground, chronologically speaking, a book is going to cover. I needed to know how long my characters would have to experience the emotional growth mentioned above (the less time, the more the plot would have to directly affect them, the more intense that plot would need to be). I gave them the summer. Just three months to learn and get to know each other, which meant every day was going to count, and I wasn’t going to be writing a lot of moments skipping ahead in time. (If the story was to last five years, for example, I’d have a lot more room to build these relationships, and so things could unfold more subtly and with large chunks of time between.)
Then I look to characters: I write down all the main and minor characters (naming them is a good first step, though this can change later) and I write down both their emotional state when the story starts and what they’re actively doing with their lives, and their emotional state when the story ends and where they’re at/going with their lives then.
As you’ll see, there’s a pattern here: I figure out point A and point B. Then I make a list of little things I want to happen, different scenes that have begun to play out in my head, interactions I want the characters to have, pitstops no the way from A to B. And slowly, I build the story around them. I begin to figure out how we get there, which road the story is going to take, and little by little, the story comes together until I have an outline that looks a bit like this:
Chapter One: Opens in [setting]. Character A talks to Character B about [topic] They meet Character C. Ends with Character A realizing [topic].
And so on, until we get to the last chapter. In a way, this outline becomes a script, my go-to plan.
Do I always stick to the script? No. But when I begin to write, I keep that list pulled up beside my new blank word document, and I read it from time to time. Sometimes, once I get writing, once I begin to know the characters a bit more, and once the story finds a voice of its own, I go off script, and the story takes me places I wouldn’t have expected. But I always make sure I refer back, make sure that one way or another, I come back to to road map. It’s okay to take a pitstop on the path, to go off on a tangent, but the plot map allows me to find my way back to what’s relevant, to what I know has to happen to get from A to B.
For any writers out there who worry about making their stories big enough, who have trouble thinking of side plots, this is also a good way to map that out and see where your story has room to grow and what it can encapsulate. It lets you see just how big the story will become and if it belongs in novel format or if, perhaps, the idea is better suited for a short story.
To all the writers out there: how do you plot? Are you a planner or a wing-it sort of writer, or is there some way to write in between? Feel free to comment her or message with your go-to tips!
I typically don’t upload two images in one day but I’ll make an exception this time ‘cause I really like how this one came out. Finally a look of all of the youngsters that’s on the road trip with the Mane 6. This one is a direct follow-up to the previous one:
After lunch the gang decides to do a bit of shopping around before hitting the road again. But before they fully leave the diner, the CMC and Spike ask Pinkie Pie to take a picture of them with the caricatured statue of the legendary Hollywood actress, Marealyn Monroan. Instead of the usual photo though, the kids decide to get… creative. They’re superstars! Definitely a keeper. c:
Got a short written snippet for the image? Just let me know! C:
Other than that, I hope you guys enjoy the image! ^.^
The Great Mall adventure -Bruce Wayne/Batfamily x Reader
Love the mall idea :-), and because I thought it might be redundant to write another story about shopping things, I joined two requests together, the mall thing, and @dannysanime‘s request. Again, I feel like it’s “meh”, like I could write better…it’s really one of those months you know, Hope you guys will still like it :
-Dick, I swear to the gods, if you do not make up your mind right now, we’re leaving you here. You’ll have to sleep in beds from Ikea, and rely on people’s charity to eat every day. We’ll come visit you sometimes though.
Your husband laughed at your words, but immediately glared at some paparazzi taking pictures from a corner. Those people always thought they were so damn sneaky, while flashing you right in the face with their cameras. Idiots. Under the famous “bat-glare” (or “Wayne-glare” for that matter), the two paparazzis slowly backed away, but Bruce knew they’d come back.
-But moooom ! How can I choose so fast ? I don’t know if I like the blue suit or the black suit, or the white and black, or the…
-So fast ? We’ve been here for three hours Dick !
-Mom, buying a suit is serious business, you can’t expect me to choose one in less than…five hours !
-Let’s just buy them all then ! So we’re finally done with it. I’m hungry. You know I get mean when I’m hungry boy. Especially in my current condition !!
Bruce smiled at you, and wrapped an arm around your waist, his free hand resting lightly on your swollen belly, and laid a kiss on your forehead. You calmed down a bit, but your other sons looked at Dick, a slight panic in their eyes. You were kinda mean when hungry normally, but now that you were pregnant and had to eat for two…they weren’t up for your constant sarcasms right now. Your oldest kid got the message, taking all of the suits he pre-selected in his arms. He stopped in front of his father, and Bruce slipped his debit card in his mouth (since his arms were full you know).
-Heeeere we go, now come on every body, let’s go let’s go let’s go !
Life is complex. Each one of us must make his own path through life. There are no self-help manuals, no formulas, no easy answers. The right road for one is the wrong road for another…The journey of life is not brightly lit, and it has no road signs. It is a rocky path through the wilderness.
Complex, Brave, Vulnerable, Strong, Compassionate, Sensitive, Loving and Fierce.
Let us be all this and more and never apologise for standing tall.
May we take strength from each other and continue to support one another along this road to equality.
It’s okay to be unsure about your orientation.
It’s okay to try out different labels before you find one that fits.
It’s okay to change your label down the road if you decide another one fits you better.
It’s okay to be confused about your feelings.
It’s okay, and you’re valid.
ok but rich girl’s parents are out of town and instead of throwing a party she orders a pizza and gets ready to spend the night alone stuffing her face… while she’s waiting for her food to arrive, weird news reports start popping up about people eating people/crazy attacks in her city. the pizza guy shows up and rings her doorbell furiously begging for her to let him in because a walker is after him. they end up staying together partly because he’s terrified to go back out there and partly because she doesn’t want to be alone. they end up sticking together and bonding in the big mansion as the world falls apart around them, but then they’re forced to go out on the road and protect themselves/one another because they’ve started to really care about one another and !!!!!
- The Grand Budapest Hotel (one of my absolute favs)
- The Revenant (how could i not mention this)
- Mad Max: Fury Road (absolute must)
- Logan (another one of my absolute favs)
- Guardians of the Galaxy Vol. 2 (tbh the most beautiful film)
Hi, I like this blog, but this is the first time that I will make a question, Have there been controversies based on the topic of TF? I would like to know.
As in, real-life, in-the-news, making-headlines controversies? There’ve been some, but generally not ones that have become primary franchise talking points or series-hobbling black marks.
The first major example of such a thing that comes to mind is the reaction to Skids and Mudflap in Revenge of the Fallen, who were derided as racist caricatures. It didn’t become known until after the film was finished and released, though, so nothing really happened regarding it beside a lot of disparaging commentary, but it probably factored strongly into not bringing the pair back for Dark of the Moon.
Power Core Combiners Off-Road is another one - he was originally going to be named “Spastic,” which doesn’t mean much to Americans, but in the United Kingdom, is an extraordinarily offensive word used to refer to disabled people. This grabbed some column inches in the UK, even making the country’s equivalent of the “late night monologues”:
and his name was, quite rightly, changed with all due haste. Cause, y’know, yikes.
But controversies of the Midwestern-pearl-clutching, wont-somebody-think-of-the-children, Beauty-and-the-Beast-has-a-gay-character-in-it variety? Outside of some warranted commentary about the suitability of the live-action films for kids, that’s not been a thing. Personally, I’m just waiting for One Million Moms to hear about More than Meets the Eye…
1. How do they react to being told they are being too touchy in public?
2. What would they get one another for their 1 year anniversary?
3. How do they calm one another down?
4. Who gives the other a massage?
5. Do they get told they look good together by other people?
6. What do they do when people try to come in between them?
7. What is something that they always help one another with?
8. Who decides what music they play on a road trip?
9. How would they react if they had to go on a plane?
10. Who is the bubbly one?