arc center

anonymous asked:

Well, it was fun while it lasted. Reylos are 100% convinced again that their ship is totally canon and will just be ~unique~ and ~not like Han and Leia's~. I don't know if they're forcefully deluding themselves or what, but I don't know how they can walk away from anything Rian said in Vanity Fair or on Twitter and still expect the story to revolve around their ship. It's laughable.

tbh at this point all you can do is laugh at the absurdity of it all (and oh how much laughing i have done). he literally said there would not be a romantic arc at the center of the story. for reyIo to even begin to come close to working it would absolutely have to be at the center of the story. because there’s no way you can get those characters from where they left off in tfa to any kind of romance or whatever by the end of the trilogy. like they’ll be lucky if they even end up frenemies by that point.

the only way to work a romance into the sequel trilogy without making it a central plot point is to build on an already established POSITIVE relationship that blossoms into something more without it being a big deal. they could probably work finnrose in, if that’s the direction they want to go, because at least they’re on the same side and don’t completely hate each other.

let’s talk about how amazing Avatar: The Last Airbender is for a second
  • Fantasy world not based on typical medieval Europe
  • Was a children’s show that openly discussed war, death and genocide
  • Had several handicapped characters, one of whom was the show’s most powerful person
  • Every single character was a person of color, drawn to represent Asian and Inuit peoples
  • Had a character story arc centered around both emotional and physical parental abuse, whose arc was about learning that they didn’t need the parent who abused them
  • Absolutely BEAUTIFUL ART STYLE AND DIRECTION
  • Three dimensional writing that rivals even most adult dramas
  • Characters dealt with sexism in society
  • Showed citizens on both sides of the war, including showing how the people in the enemy nation were merely influenced by propaganda and an oppressive regime
  • Had romances that developed overtime and actually talked about the issues of forming a relationship instead of just “and now they’re in love.”
  • Characters died. On a children’s show. Characters who you fucking knew! Who had story arcs and were their friends and were kids like them!
  • When those characters died, they left an impact. It wasn’t ignored after a few episodes, the feelings they had for these characters stayed through the entire show
  • Had environmental messages that weren’t cheesy, and they made you take the destruction of the environment seriously
  • SUPERB world building, fleshing out many cultures and histories that always felt real
  • Had a magic system that never felt like magic. It always felt natural and like a solid part of this world with rules that couldn’t be broken
  • The cute animal sidekicks weren’t just there to sell toys. They were characters who had so much emotion to them and were vital parts of the show’s dynamic. Also, the animals never talked yet somehow still portrayed an insane emotional level that some Disney films only dream of
  • Spawned a sequel series that dealt not only with sexism, but with sexuality, religion, and the benefits and dangers from the rapid progression of technology

The point is, Avatar: The Last Airbender is one of the greatest shows of all time and the proof is right there

3

‘Moonlight’ is the first LGBTQ-themed film to win best picture. That’s a big deal.

Whether or not Moonlight took home the Best Picture trophy Sunday night, it would’ve been a standout film with deep personal, political and cultural resonance. But its win elevates the film to the level of cultural artifact. People will be able to tell from this win what mattered to people in 2016. And this year, black queer lives mattered.

Where mainstream LGBTQ media has offered mostly white representation before, with notable exceptions like Noah’s Arc, Moonlight centers on both unapologetic queerness and blackness. It treats its queer, black and Latino characters with dignity and respect.

In a world that is still striving to understand intersectionality, Moonlight doesn’t compartmentalize Chiron’s blackness and his queerness. It allows him, and other characters, to be radically fully-realized, whole people. And when you create psychologically complex characters full of agency, it allows us to feel that we can be the same. Read more (Opinion)

  • what he says: I'm fine.
  • What he means: haruhi fujioka went and entire anime without ever succumbing the classic female-character-in-anime-traps. her personal arc never centers around the men in her life, but rather on her personal growth. her main flaw isn't that she works too hard, or overshadows the boys, or is bitchy. her main flaw is a disconnection from humanity and her desire to take the world's burdens on her shoulders. her mother's death at a young age left her with the belief that she had to be responsible and strong before all else, leaving her to distance herself from the people she cared about and making her miss out on the fun things about her life (a classic inversion or the western 'you're the man of the house now' trope). in meeting the host club haruhi is placed into a strange and often wonder-land esque world (highlighted more in later episodes) where she learns to connect with others and to let herself enjoy life, while staying responsible. haruhi's studies never suffer and she is never made to feel like she can do anything less then what she set out to do, but she learns to have fun with life to, that she can just be a kid a still work towards all her goals, and in the end chasing after tamaki and telling him she wanted to stay in the host club and that all of them loved doing it, brings her arc full circle, and allows her to choose the friends she's made and show she's learned to care about them, without compelling her to make a choice between them and her career. in many ways the core message of haruhi's story is that it is entirely possible to have everything you want without giving anything or anyone in your life up, and haruhi didn't have to make a choice between her family of choice and the goals she felt she had to fulfill to make her mother proud of her.

I still hate how almost every single clone-centered arc in the clone wars centers around torturing fives like what the fuck did he do to you dave filoni 

Spoilers for Guardians of the Galaxy 2

  • I’ve heard a a lot of people say that GoG 1 is better then GoG 2, and I haven’t watched GoG 1 in a bit, but I have to say GoG 2 is just as good. I did not leave the theater disappointed. 
  • I was originally going to go with a friend who had seen with it before, but wanted to see it again because he was ‘high as fuck’. Friend had to bail so I saw it alone, but I have to say, it must’ve been something to watch while high. 
  • First off, it’s fucking hilarious
    • Rocket and Yondu trying to get Groot to bring them the fin, and him dragging in objects that are obviously not fins, culminating with a severed finger. We do not find out where he gets it. 
    • Groot spends the entire opening dancing around the battle while the team fights a giant space monster.
    • Twice Rocket tries to say something as an aside with a wink (like insulting the high priestess) but winks with the wrong eye, so the person is offended. 
    • Rocket standing in the middle of a Texan stand-off: “Surely there’s a peaceful resolution? Or a violent one where I’m standing over there.”
    • Taserface
    • The High Priestess is walking down a long carpet to meet Yondu. The carpet gets stuck. A couple of beats is spent unsticking it wherein the swelling music stops short and everyone looks uncomfortable. 
  • Gamora in my opinion is a stronger character in this movie. There’s some flirting between here and there with Peter but her arc is mostly centered on her relationship with Nebula.
    • Movie passes the bechdel test at least in first act with conversation between Gamora and Nebula about fruit. Definitely passes in final act where they talk about their relationship.
    • Nebula straight up tries to shoot Gamora with a ship. Gamora straight up shoots Nebula with a minigun. It is brutal and gross. You can see what it must’ve been like when they were children, fighting to survive. It’s not like in GoG where the fight scene is a clean in emotional combat, this is brutal and I L O V E D I T
    • Super pleased with how they developed, addresses how Thanos abused them and how that shaped each of them. Gamora says she’s sorry for not helping Nebula but also admits that she was just trying to survive. 
    • It seems like their shaping Gamora to be ready to trust Peter. They have an argument in the second act but it’s not the pivotal moment for either of their character arcs. Peter doesn’t have to ‘win’ Gamora back, and the third act focuses on Nebula and Gamora. 
  • Drax and Mantis are super cute
    • I thought they were hinting romance in the early part of the movie but no???
    • First off I love Drax’s laugh
    • Second off Mantis is super socially awkward, Drax is slightly less socially awkward. He straight-up calls her ugly and even retches around her but also admits she’s pretty on the ‘inside’. And seems very friendly!
    • I died when they were in the garden. Drax says that this reminds him of when he took his daughter to see some lakes, implying that he sees Mantis as a daughter figure. Then Mantis touches Drax’s shoulder and uses her empathy to feel what he’s feeling. She starts crying. 
    • Dude
  • Speaking of crying. Male emotions treated as legitimate. 
    • So Peter says to Gamora early in the movie that he always wanted to have a Dad, he used to pretend David Hasselhoff was his Dad to compensate. 
      • The entire arc with Peter searching for a father figure is not a punchline. It is serious and heart warming when he gets to play catch with Ego, if a little silly. 
      • Peter has to define to himself the difference between a father, and someone who acts as one. Peter didn’t want a biological father, he was looking for someone to be his parent. Immediately Yondu is brought-up as that figure but he dismisses it, saying that Yondu kept him for selfish reasons.
      • Ego tries to be that ‘father figure’ by acting like it but is actually selfish, whereas Yondu is genuine in his feelings for Peter. 
    • Rocket is called out for acting like an asshole because he’s afraid of being loved and is also shown crying. 
    • Yondu says word for word: “I don’t control my arrow using my head boy, I control it using my heart.” 
      • From the early part of the movie is shown to have a bleeding heart. He wants to be apart of the ravagers as a family, he’s heartbroken over loosing half his crew, and he acts as the Father figure that Peter was looking for.
      • Yondu’s ‘flaw’ is literally being too soft.
      • “I am Groot” “Yeah, he did call you twig.” Kill me.
  • I always said that GoG 1 was trying to be an emotional movie with several tender hearted scenes except all of it’s characters are assholes that ruin them. GoG 2 is an emotional movie that forced it’s assholes to be tender hearted. 
    • It is a little spread out, focusing on individual characters well but the pacing was good, balancing slower scenes with faster scenes. It knew when to tell the joke and when to let the emotions run. I don’t think the narrative was as strong as the first one but the plot isn’t nearly as complicated. I also think Ego could’ve been a little less transparent, it was pretty obvious he was going to end up evil since he was the only possible character that could end up as the villain. Loved Gamora and Nebula, Yondu and Rocket, and Drax and Mantis. 
    • The movie looked great, with a strong soundtrack as usual. 
    • 10/10 would watch again.

Kara’s worried she’s losing Alex to Maggie and she’s trying to cling to her sister a little too tightly. And that’s the only reason. Not the Mon-El thing. There is no Mon-El thing. Please don’t let this turn into a Mon-El thing…

Originally posted by geekylaugifs

Revolutionary Girl Utena: Complete Triggers Guide

 
Revolutionary Girl Utena (Shoujo Kakumei Utena) is a 1997 anime directed by Kunihiko Ikuhara.  Utena Tenjou is an eighth-grade girl who wishes to become a prince, and because of it gets caught up in a strange dueling game played by her fellow middle- and high-schoolers. As Utena fights to protect – and befriend – Anthy Himemiya, her shy classmate but also the mysterious Rose Bride at the center of the duels, the stakes become higher and the game more dangerous. 

Utena is an amazing and very worthwhile anime, but it is also an extremely intense and disturbing one. I love the show, but it is irresponsible to recommend it to people without a warning about the subject matter. I believe Utena has the potential to be be very cathartic and comforting for people, especially wlw, who’ve experienced trauma, but also very dangerous with regard to triggers. I’ve put together this guide so that people curious about the show can be forewarned and watch it in safety, or choose not to if they deem it too disturbing.

Many thanks to the volunteer editors/proofreaders who helped me complete this!

🌹 @sallyjessyrofl​ 🌹 @autisticbutchgabrielle​ 🌹 @meowmagica 🌹 @tartancrusader 🌹 @amphiaria 🌹 @omelasomelette

And to the people who’ve submitted corrections:

@marquisnaberius  🌹 @ lesbeanfrodo

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anonymous asked:

Acchan!!! What do you think about Amon and Touka's talk!?????!!!?

Hey Anon! Ah, well, so many things happened in just one talk somehow but since it’s linked to the rest of the chapter, it’s hard to speak about just that. xD 

I mean, when I initially read the chapter, I hadn’t slept in 24+ hours so in my head that was ‘lmao Amon/Touka + Akira/Kaneki wut” (+ Ayato/Hinami of course) but then I took a short nap before rereading it again and… Amon’s and Touka’s respective feelings are mainly what you conclude on when it comes to this talk (I insist that it doesn’t have to be seen as romantic even if it might be). 

Anyway, I’ll try to avoid rambling but, aside from what I already reblogged on the subject, clearly their talk indicates that we’re hopefully going to have a mini-arc centering around people talking:

  • Amon/Kaneki, which apparently was offscreened (?)
  • Amon/Touka which just happened -> Mado’s death is “solved” from Amon’s point of view
  • Akira/Kaneki which got delayed because Akira has a few understandable issues with her current situation but I think they should talk again later (again they have a deep emotional link + I don’t think Kaneki actually told her that he killed Arima but just that they fought, what’s the point of lying to her about this, especially when she’s not a ghoul?). 
  • Akira/Amon (and maybe Akira/Seidou, if Seidou is anywhere to be found?) -> as Touka urged Amon to do 
  • Akira/Hinami, as Hirako explained.
  • Akira/Touka, because Touka wants to + that’s important for Akira’s character development
  • maybe more Hinami/Ayato talking since Ayato is the one Hinami seeks comfort from for this situation?
  • Kaneki/Hinami and/or Hinami/Touka talking? Hinami doesn’t want to bother Kaneki about Akira because she’s important to him, but she has the right to tell someone besides Ayato about not feeling okay about this situation.
  • Kaneki/Touka at last, but probably once the matter with Akira will be solved (?)

So I’m personally very excited about that “mini-arc” and I hope they all get to talk :D Besides that though…

I’m 2000% proud of Touka at this part, because remember when she actually killed Kureo? Honestly, I knew she’d have to talk about it with Akira one day, but I wasn’t expecting her to want such a talk.

She grew up so much, I’m so proud of her! And also….

Amon had the coolest moment of the whole chapter and I’m proud of him too <3 I’m really glad that the two of them actually met up before this moment and that they manage to have such a good and positive relationship. 

I think that’s about it Anon, but I love the entire chapter actually, so I’m really happy right now! ^_^

I hope it answers your question, have a nice weekend! :D

Reason #”I’ve lost count” why Kagura is best girl

Dear White People: The Series (Review)

in 2014, writer/director Justin Simien exploded into the mainstream with Dear White People. The title alone was enough to send the entertainment industry into a talespin of words like “reverse racism” and “boycott.” Thank God it was good. Not just good, but borderline excellent. Equal parts Spike Lee and Aaron Sorkin; Simien effortlessly balanced the tepid climate of post-Obama’s America with razor-sharp dialogue that rivals the veterans of Hollywood. So when word broke that Simien was developing a show based on the modern day cult classic, many fans and skeptics alone were curious to see the project would join the ranks of other movie-based-shows (Bates Motel, Fargo, etc.)

Needless to say, it’s the best one yet.

Dear White People centers around the life and times of a predominantly white Ivy League university, which is currently under fire for a controversial party that involved its white students in blackface. Leading the crusade is Samantha White, portrayed here by Logan Browning (taking over the role previously depicted by Tessa Thompson),  a fervent freshman who gets her kicks by exposing institutionalized racism on her notorious radio show, which shares the name of the series. In an effort to bring the minorities of the university together, Sam soon learns that not all black people are created equal.

What makes this show so great is that there’s not a black stone that goes unturned. The 10-episode season is split into almost comic book like arcs centering around the Winchester students, such as Sam, Joelle, (Ashley Blaine Featherson,) Sam’s cool-as-hell BFF who keeps her down to earth; Gabe (John Patrick Amedori), the “cool white boy;” and the object of Sam’s affection; Reggie Green (Marque Richardson), Sam’s fellow warrior for wokeness, who has unrequited feelings for his partner in crime; Troy Fairbanks (Brandon Bell,) the golden child of the university who just so happens to be the son of the Dean; Lionel (DeRon Horton), the geeky journalist who gets a front row seat to the madness, all while trying to get closer to his superstar roommate; Coco (Antoinette Robertson,) a driven student who seems to separate herself from the pack at will, and often finds herself at odds with Sam. While Featherson, Bell and Richardson are the only ones to return from the film, the slew of new talent is more than able to hold their own. While there may be plenty of laughs, the show is never quick to remind us that the reality of being a black face in a white place is still a struggle we all deal with. In “Chapter V,” directed by Barry Jenkins (Moonlight), Reggie has an encounter with the police that leaves him shaken to his core, all over the misuse of the dreaded n-word in a Future song. It’s one of the most riveting 30 minutes you’ll see in 2017. Not to say the other nine episodes don’t hold up either. Quite the opposite. Every half hour of Dear White People feels self-contained enough to have its own arc while also maintaining the overall arc of the series.

Dear White People runs laps around its predecessor, and it’s a rarity when a movie-based-television show can do that. The actors are top-notch, the dialogue is perfection, and the line between biting satire and social issues is damn near pitch-perfect. Justin Simien created arguably one of the most impressive first seasons of television that the year has seen thus far. In an era where Insecure, Atlanta, and Black-Ish reign supreme, and movies like Moonlight, Fences, Get Out, and Hidden Figures break not only records, but stereotypes of old, Dear White People feels right at home in the modern Black Renaissance. And I feel that we’ve only seen the beginning. 

A+

I might rewrite this to be more concise later but Aradia Megido’s entire character arc was centered around a girl who had been controlled her entire life both by societal standards, other people, and supernatural forces/fate itself, and then was manipulated by said forces into being a harbringer of the end of her world along with her friends, MASSIVELY HARMING HER PERSONALLY AND HER RELATIONSHIPS WITH HER FRIENDS IN THE PROCESS.

But even through this she STILL ends up finding personal agency, being completely solely Herself in control of her own destiny, as well as learning to be kind and turning to a life centered around simply Helping People because she Wants To even when paradox space forgets them.

the fact that she is flanderized so much by the fandom into ‘that creepy girl who wants her friends to die’ or as Sollux’s arm candy (a boy she NEVER WAS IN A CONFIRMED RELATIONSHIP WITH IN THE FIRST PLACE) ESPECIALLY when she’s such a hopeful character is frankly, awful, especially as a character who has been shown to now only want to do good and keep her independence through being alive just Please Let Her Be Herself.

waywardcerberus  asked:

hi I'm looking for a fic I read a reaallyy long time ago: modern au, I think it was on ao3 but I could be wrong; Clarke owns this big house where she takes care of all the delinquents like they're her kids, and jasper is her adopted son, and then there's some issues with the school, and I think bellamy's a teacher or something. does this sound familiar?? I'm sorry this is vague, thanks for your time tho

ARC: Art Rehabilitation Center

Kentin Arc Speculations

I know we’re all hung up on what’s going on with Armin right now, but others are talking and joking about Kentin’s arc and possibly killing him off, and I kinda wanna run with that idea for a moment.
This speculation is in large part for @partijunkie and any Kentin fans.

But I gotta start off first with saying that, no, I’m not killing off Kentin in my speculations. I’m gonna touch on topics that are more personal to myself, and that’s being a Military Brat.

I know one of the go-to’s for Kentin and his family’s military background is that his dad is probably a huge asshole and nearing the same levels as Nathaniel’s dad in how he treats his kid, but I’d like to stomp this theory out real quick before getting into his arc speculations.

Keep reading

anonymous asked:

ey can i ask u about shuichis true personality? im really confused about it

I can certainly try, anon! It’s normal to be confused—ndrv3’s ending allows for a lot of speculation and leeway, and there’s still not a lot we know about most of the characters pre-game. But Saihara’s audition video is perhaps the most startling and drastically different glimpse we get of any of the characters’ pre-game and in-game selves, which is I think exactly why Tsumugi showed it to them during the Chapter 6 trial.

In a way, the reveal about Saihara and even the other characters having potentially signed themselves up for the killing game is even more shocking than the reveal about Hinata being Kamukura in sdr2. Where the latter was a reveal that came as a surprise, certainly, it also made sense given the clues that had been presented up until then, and all the fixation Hinata had with the idea of “talent” and wanting to join Hope’s Peak, to the point where it was understandable once the player realized he had willingly signed up to be experimented on and throw his true self away.

But the Saihara reveal comes as a bigger shock specifically because of the way Tsumugi phrases it. Without context, it certainly looks as if pre-game Saihara, the one who we see in the audition tape, is simply someone who was so into Danganronpa that he was interested in murders, closed-room tricks, etc. that he had almost none of the compassion or empathy for others that in-game Saihara does.

Keep reading

anonymous asked:

Do you still believe Swanfire was always the plan for OUAT - until they changed for the 'hotter' guy for viewership? I always saw the symmetry and beauty of Swanfire as the plan - but of course have started to doubt myself after over a year of CSers and A&E jeering 'NOPE, you're ridiculous'. I don't know at this point if I'm just being stubborn but, given the lazy writing and how they've handled established true loves on the show, maybe they was a plan that actually made sense.

Let’s discuss this for a moment, because you’re right–A&E are trying their damndest to say that Captain Swan was always the intention.  Which makes sense when you think about it from their perspective–every writer wants to make you believe they had everything planned from the getgo–that they are just that good.  A&E are no exception.  

But let’s consider the first season’s central characters.  Emma Swan, Henry Mills, Rumplestiltskin, Regina, Prince Charming, and Snow White.  We had episodes that centered on other characters, but the core characters were the above listed.  Each had their own specific plot that intertwined towards the show’s theme.

Emma Swan:  Emma’s intersected with a lot of characters but overall, she was driven by her relationship with Henry.  Throughout the course of the season, we see Emma Swan’s hard exterior melt as she lets Henry into her life and comes to love him.  When we’re introduced to her, we as the audience learn that she is the only daughter of Snow White and Prince Charming, the product of true love.  We learn that only she can break the curse cast by Regina and created by Rumplestiltsklin.  We also learn that Emma is tough, hardened by a rough life, wounded from her parents abandoning her–and later, from a betrayal by Henry’s father.  Her comment “His father was no hero” in “True North” indicates to the audience that she was hurt very badly by this man.  We also see that from the pilot episode, Emma is driven by a desire to find her family.  “Finding people is what I do.”

Henry Mills:  Henry’s journey through the first season was driven by his ardent desire to break the town’s curse and find his true family.  This is not a slam against adoptive parents–however, Regina’s behavior towards Henry in the first season was abusive.  Gaslighting him and isolating him from the people he loves is not motherly love.  (Which is probably why Lana requested the relationship between her and Henry change in season two)  In any case–breaking the curse and finding his family is Henry’s motivation in season one.

Rumplestiltskin:  In season one, Rumplestiltskin/Mr. Gold is an enigmatic character whose motivations are unclear.  In the beginning, we know he created the curse, but we don’t know why.  As the season progresses, we learn how he became the Dark One–out of a desire to protect his young son.  Even further down the road, we see Rumplestiltskin struggle with his power and protecting his son, culminating in the eventual separation–Rumplestiltskin abandons his son.  While Snow and Charming abandoned their daughter for “the greater good”, to save everyone, Rumplestiltskin abandoned his son out of fear of losing his power.  His regret is immediate and he spends the rest of his life creating a plan to reunite with his son.  Thus the curse was created.  To find Baelfire.  To find Neal.  To find his family.

Prince Charming & Snow White:  Charming/David and Snow/Mary Margaret’s main arcs centered around them finding each other–in both the Enchanted Forest and in Storybrooke.  From their bumpy first meeting to falling in love, to the various obstacles that separated them…to David’s amnesia, to his cursed self being married to Kathryn, to Mary Margaret being publicly shamed by the town as a homewrecker.  While their reunion is about restoring romantic love, they’re still family to each other, and their arc is about finding their family in each other.

Regina:  Regina’s primary motivation in season one is thwarting Emma and protecting her curse–which can essentially be read as keeping her family together.  This is of course out of a selfish desire to keep Henry to herself, but nevertheless, considering Regina’s immediate family is A.) Dead because of her and B.) Murdered her true love out of a desire to better her daughter’s standing and is therefore trapped in another world, it makes sense that Regina wants to keep the only person she loves close to her.

So you tell me.  As Emma’s eventual love interest, who makes more sense?  Which seems more planned?  A character who is the son of Rumplestiltskin, fitting in with the “finding your family” theme, a character who is the father of Henry, also fitting in with the “finding your family”, a character who directly contributes to Emma’s issues with vulnerability, a character who was also abandoned just like her, a character whose own abandonment cultivates a desire to be the best father he can be, a complicated character who fears magic and doesn’t forgive his father right away–just as Emma didn’t forgive Snow and Charming right away, a character whose entire concept was the catalyst for creating the curse in the first place…

Or a Jack Sparrow ripoff from Neverland who has literally no connections to anyone in the first season lead characters except Rumplestiltskin, was never foreshadowed in season one, and has had spotty sloppy character development with literally no leadup or buildup.  

You tell me.