arc center

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

The Tulip in the Swan : Framing a bright emission region this telescopic view looks out along the plane of our Milky Way Galaxy toward the nebula rich constellation Cygnus the Swan. Popularly called the Tulip Nebula, the glowing cloud of interstellar gas and dust is also found in the 1959 catalog by astronomer Stewart Sharpless as Sh2-101. About 8,000 light-years distant and 70 light-years across the complex and beautiful nebula blossoms at the center of the composite image. Red, green, and blue hues map emission from ionized sulfur, hydrogen, and oxygen atoms. Ultraviolet radiation from young, energetic stars at the edge of the Cygnus OB3 association, including O star HDE 227018, ionizes the atoms and powers the visible light emission from the Tulip Nebula. HDE 227018 is the bright star very near the blue arc at the center of the cosmic tulip. via NASA

js
  • 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.

the real question is why is everyone so eager to ship off yurio to the point of which y’all are shipping a 15 year old child with people over 18 

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 

now that the 3rd anniversary has passed here are some stuff i wanna see this next year of su:

  • sugilite
  • requited pearlrose!! rose being conflicted because she’s afraid that pearl’s feelings stem from her status as a pearl…..workin out those feelings. actual Confirmed requited love
  • garnidot fusion. garnidot interactions. i’m dying
  • talking to bismuth. working it out. we need a conversation with her
  • pink diamond shattering flashback please
  • garnet arc that doesn’t center around the fact that she’s a fusion…delve into her repressed emotions and her fear of not being a good successor to rose quartz
  • more of connie’s family
  • connie’s parents going to one of her training sessions omg
  • vidalia 
  • steven showing lapis around beach city. lapis hanging out with any of the other gems

things most of us agree we need to see in season three: -serious, emotional galra Keith where they actually address it with the whole team and don’t just silently accept it, no questions

 -klance. Just klance. 

-lance and his develepment, both the homesickness from season one that was ignored, and the inadequacy that hopefully wasnt solved entirely in the same episode it was introduced. 

 Things they can do in season three:

 -kill three birds with one stone by making an arc centered on Keith’s galra-ness, how that makes the team feel, in specific lance, who will wrestle with a lot of feelings including both homesickness/inadequacy and stuff about Keith, resulting in, at the very least, a lot of meaningful klance development.

I’d say this is my last post but I’m probably lying and someone’s going to say something I want to respond to:

You don’t think it’s just a titch suspicious that Blue Diamond is introduced in an episode that is centrally about fusion- Garnet’s first fusion, and also explaining single-caste fusion to us- and the two Gems in our cast that are or were overtly affiliated with Blue, Sapphire and Lapis, either have fusion as a major part of their character (Garnet) or had a big, prominent arc that heavily centered on fusion (Malachite)?

And Blue’s the only one we’ve seen all this ambiguous extra arm stuff pop up about? All the other Diamonds are left alone?

  • goto and hazama: *hazama´s last thought before dying in space were about goto, goto spent entire night waiting for him to return even tho they had lost him, anime´s entire last arc is centered around their relationship, hazama connects his love for Goto with being his "wife", goto is singled out from his other friends, indicating that their relationship is different from simple friendship he has with MMM and sisterly relationshi with Ishihara, the ending theme is about their relationship etc.*
  • some people: uhm,,,,,, now those are bros if i ever saw ones.... dang... *wipes sweat from forehead* look at the complete lack of gayness and how much bro they are

taylor cuter than u mckessie tag dump ft. ironic quotes from tay herself 

anonymous asked:

Interesting that Erik mentioned France. Edwin Jenner talked about France getting close to the cure back season one.

I think you anons could be onto something. Because it’s very obvious that Beth’s arc will be centered on a cure/immunity (X). TPTB have the actors tweet about episodes and such. It’s not much of a stretch that they would have their actors seed certain storylines through social media. The CDC is also original to the show, much like Beth and Grady. Gimple would be continuing Darabont’s work.

exploring how colors affect each other! 

ft a Tony in the suit :3

(some things: the outline is a dark dark red on the armor and a dark cool brown for the face and hair, the whites of the eyes and the arc reactor’s center are a light blue, the reds and golds and brown are all rlly dark against a white background but look lighter against the blue background)

Hitball Captains

To burn a hound or to shock a crocodile, these are your hitball captains speaking.

8tracks/YouTube

Warriors - Imagine Dragons/ The Phoenix - Fall Out Boy/ Beat It - Michael Jackson/ Roar - Treat/ Shut Up! - Simple Plan/ Hammerhead - The Offspring/ I’m a Super Girl - Shonen Knife/ Million Voices - Barlow Girl/ Pushover - Manafest/ (What Doesn’t Kill You) Stronger - Kelly Clarkson/ Confident - Demi Lovato/ Young Volcanoes - Fall Out Boy/ Everybody Wants to Rule the World - Tears for Fears

Special thanks to @allislaughter for helping me with the cover~

You were the love of my long life"
“And you were the love of mine
— 

John Mitchell and Annie Sawyer, Being Human

NOW LET ME TELL YOU WHY THIS QUOTE IS MY FAVOURITE OTP-RELATED DIALOGUE EVER. this is so indicative of both of the characters arcs, both in that season and overall. this is the last thing they say to each other. it’s very characteristic of BH - short phrases that carry this huge emotional weight, choked out through tears i.e ‘but there was this’. it lasts in the mind, or at least this did for me.

You were the love of my long life - Mitchell has lived for over a hundred years, he is old, and he is tired, and he wants the woman he loves to know this if its the last thing he’s going to say to her. And he knew this would be the last time they saw each other going into that room. Because his arc in s3 was centered around Annie - in episode 1 he goes to Purgatory to save her and this is the first time he is charged with his sins by Lia, this is really the moment when the guilt for the boxtunnel twenty and all the blood he has shed hits him - it wasn’t after it happened, it wasn’t in the months afterwards, it was in Purgatory where he has to see it; looking for her. and then after that weight, Annie comes running towards him from the literal light at the end of the tunnel, and as he lifts her up you can feel it all fall away, just for a moment. And although its not something I agree with from a character perspective, he arguably makes her his moral-compass for the season after that. “You make people better” he tells her, and its that man who walks back into the house in 3x08, who has decided that for her, because he wants to be the man she believed he was but he knows what he is, and the potential for darkness that will always be with him. He goes to die as that man, and his love for Annie (and George, who I think was actually the main factor) is a huge part in letting him stay that good man. This is a Mitchell who has lived for a long time and loved many, who wants her to know that she was his heart (even though it doesn’t beat), this is his thank you to her for letting him love her.

You were the love of mine - Annie, oh my Annie. This is from a woman who spent most of s1 pining for her fiance and believing Owen was the love of her life, only to find out he murdered her. this is a woman with trauma concerning love, who was betrayed again and again, (yes, even by Mitchell). But the Annie of S1 didn’t think she could love again, that she was this dead thing; but over the seasons she decides this is her rebirth. Owen was not the love of her life: the Mitchell she first met in s1, the kind man he could be was. But this is also consistent with Annie’s arc that season - she wanted justice, not love. When Mitchell admits what he’s done and even tries the ‘if you loved me, you’d let me get away’ response when she could save him from getting arrested, she is disgusted. she is angry, she calls him out, she demands he be held accountable for what he’s done. And she loved him, she did, the man she thought she knew, but she still holds him accountable - she says she will stay with him throughout his imprisonment, both to remain as this guide to ensure he does no more harm, and because as she said in 3x01, she see’s saving him as the reason she was brought back. because staying with him was a choice as much as letting him get caught was. because at that point, she still believed he could reform, could be the man she loved again. When she says ‘you were the love of mine’, it’s final; its the moment they both feel the inevitable is coming, so they want their last words to be these affirmations that the people they were, the ones who loved each other, we real.

Because two dead people could feel, and could love, and did. Because he could see the ghost in the pink house who thought she had been forgotten, and she saw the man and not the monster. Because that was mercy, for them to have those moments of love.

Plus, take your fave mortal/immortal ship. apply this quote. think about them knowing one of them will die. think about the aged immortal saying ‘the love of my long life’ and the mortal affirming they loved them back. it’s perfect. it’s deft, human dialogue in this abnormal setting, and that style of writing was one of the series greatest strengths.

Poofing Gems and Taking Names: Steven Universe and Breaking Norms of Girlhood

It’s a cartoon about feminine presenting, sexless, queer holographic aliens who are fighting to protect the earth and struggling to come to terms with raising a half-alien half-human hybrid. It should come as no surprise then that Cartoon Network’s Steven Universe manages progressive and inventive bounds in the presentation of young American girlhood. The narrative arc of each episode centers around the meta-human Steven and his participation in the conflict between the alien Gems. But a great deal of the story rests on his relationship with Connie Maheswaran, a local girl in his sea-side hometown of Beach City. Connie is an Indian-American girl from a suburban family, the daughter of Dr. Priyanka Maheswaran and security guard, Doug Maheswaran.

Originally posted by doafhat

Their social designation as a nuclear, upper-middle class, heteronormative family places daughter Connie in a position where it would be all too easy for the show runners to portray through the lens of American girlhood: Polite, calm, responsible, agreeable, and supportive of the male protagonist. In fact, this is exactly the direction they take her at first. When Connie is first introduced, she is everything that society and her parents tell her to be. She studies hard, plays violin, practices tennis, and defers all authority over her interests and activities to her parents. However, by the outset of the fourth season, it becomes clear that this early depiction was an intentional move by the artists behind Steven Universe to combat these concepts of girlhood. As the events of the show unfold, viewers journey with Connie from sheltered, suburban girlhood to empowered, independent, self-actualization, a journey achieved largely through her increasing responsibility in the Gem war.

In her premiere episode “Bubble Buddies,” Connie is presented as a well-put together young girl, the picture of familial and societal norms, but laments that she is alone in the world. When Steven and Connie find themselves in a near death experience upon their first meeting, she laments, “only my parents will notice because no one else cares about me. I’m gonna disappear without ever making a single friend.” While this declaration provides Steven the chance to offer his own hand in friendship, and provides the crux of the episode, it also marks the beginning of a recurring them in Connie’s life early in the story. The more that she subscribes to the image of girlhood that she’s told to embrace, the lonelier and less powerful she feels.

Originally posted by giffing-connie

This is seen again the episode “Lion 2: The Movie,” where she envies Steven’s rough and tumble outdoor life of adventure. While his exploits are supernatural and alien in nature, it isn’t hard to extend the metaphor to the freedom granted to boys in their playtime. Connie compares her life to Steven saying she is far too boring, and the only thing interesting she gets to do is tennis practice. This single genuine interest turns out to be her entry point into self-actualization, as her top-form tennis strokes translate flawlessly into sword play in the climax of the episode, where-in Steven and Connie must battle a giant robot on the streets of Beach City. Instead of Steven wielding the sword - which materializes out of a lion’s head… you’ve really just got to watch the show for context - Connie takes up the offensive, while Steven uses his protective abilities.

This is actually one of the most significant reversal of roles in the show. Steven, the male protagonist, is imbued with powers that rely on gentleness, empathy, and compassion. He has the ability to heal gems and humans alike - even healing Connie’s poor eyesight - and to defend his loved ones with a magical shield that grows out of his arm. Connie, on the other hand, is talented in the offensive arts. She is a logical thinker and a fierce combatant, the only human who is able to go toe-to-toe with the physically superior Gems. She is far stronger and more agile than Steven, and so is his superior on the field of battle.

Originally posted by connie-of-the-day

This subversion is key to Connie’s empowerment and the destruction of constructed girlhood. By presenting a young girl who embodies the typically masculine coded traits of aggressiveness, physical prowess, and confidence and juxtaposing her with a young boy who embodies more feminine coded traits, Steven Universe seeks to reveal the illusory nature of these gender associations.

The show takes yet another important step in the episode “Sworn to the Sword” where the Gem, Pearl, tutors Connie in the art of swordsmanship. Through her training Connie develops the idea that Steven is somehow more important than herself, declaring, “Your legacy, your destiny. You are everything. And I am nothing. But I can do this for you. I can give you my service.” Steven rejects this notion and declares that they will fight together as equals or they won’t fight at all. In doing so, the show sheds the all to common fictional narrative of the girl whose life and/or destruction exists only as a plot point to complicate the male protagonist’s backstory, as well as the non-fiction narrative of girls being told to devote their lives to their husbands or boyfriends.

Originally posted by rnccree

All this is well and good, but perhaps the most important step in Connie’s journey from boxed in girlhood to self-actualization comes in the episode “Nightmare Hospital.” When Connie’s mother discovers that Connie has a sword in the house, Connie lies and insists that she simply found it. This continues a long streak of lies about her life and personality including Steven’s involvement with the gems, her healed eye-sight, and her sword training. Dr. Maheswaran confiscates the sword and promises punishments. When Steven and Connie follow her to the hospital in order to retrieve the sword, the three of them are attacked by monsters and find themselves trapped. Connie insists repeatedly that she has the abilities to help them out of the situation, but her mother refuses to accept a different narrative about her daughter’s life.

“I know my daughter, I know what she’s doing every second of the day,” she exclaims, “All her activities all her internets. I know she’s definitely not some sword fighting hooligan!” Connie’s response is telling: “You don’t know me at all! You still haven’t even noticed my glasses! They don’t have lenses anymore! I haven’t need actual glasses for almost a year! I’ve been dealing with magic and monsters and things like these since I met Steven. That’s why i need you to believe I know what to do here!”

Originally posted by shibajeanu


While this conversation deals with fighting monsters in the context of the show, it translates well to the conversations that girls must have with their parents, with themselves, and with those who police their behavior. In this moment Connie declares her right to be an individual, defined by the interests, traits, and abilities that she values most, not those that are pressed upon her by parental and societal expectations. Connie is making more than a statement of independence from the constructs of girlhood, she is making a statement of her right to exist.

Originally posted by gordona424