back to history work

anonymous asked:

I feel you on the whole drarry being hard to read lately because of everything happening politically and socially. Like a few years ago, I realized that if I knew Draco in real life I would seriously hate him because of his blood purity shit and everything but I adore him as a fictional character??? I know fantasy doesn't equal reality but that stuff is just way too similar to what's going on lmao every time I read something that glosses over Draco's racism now I can't do it

Yeah, same p much. I would find him really hard to forgive.

On one hand, that’s so much of what can make drarry fic interesting. How on earth can you come back from that? What can one do to earn forgiveness? What would even inspire someone to seek it?  The ethical questions underpinning H/D fic can be extraordinary and rich and amazing. Which in turn can make for amazing, moving, compelling stories.

It’s just that a lot of people ignore them? I think (and some other v wise folks have suggested to me) that that’s worse on tumblr, and I think there’s something to that. The prevelance of aesthetics and fan art and the popularity of fluffy headcanons make it seem at times like everyone’s forgotten where they came from and what their history is about, and how deep and really really justified and well-founded their mutual antipathy was.

Like:

  • Draco tried to kill Harry’s teammate
  • Draco almost accidentally killed Harry’s best friend while trying to intentionally kill Harry’s mentor
  • Draco didn’t intervene in the torture of Harry’s other best friend
  • Draco was a bully and a jerk, and was protected and motivated by his privilege in doing that
  • Draco genuinely believed that Harry and his best friends were inferior on account of their blood status and/or class status
  • Draco faked an injury that almost resulted in the death of one of Harry’s mentors’ pets
  • Draco’s father did something that led to deep psychological trauma for Harry’s best friend’s sister/Harry’s girlfriend
  • Draco’s aunt killed Harry’s godfather
  • Harry put Draco’s father in jail 
  • Harry tried to upset the larger sociopolitical order that assured Draco’s privilege (y’all know how privileged people panic and lash out about that)
  • Draco and Harry were on opposite sides of a war

Those are not things you can gloss over. I know they were children at the time, but still. Those are not things you forget. Those are not things you ignore. Those are not things that two people could fall in love with without addressing. They aren’t.

And yet.

So when people do - which is a lot of the time - I have a lot of trouble reading it too, and it’s become so common that I’m pretty much taking a wholesale break from it. 

(and I don’t know that I can even begin to verbalize how it feels to run across a great larry fictional war AU which, in the notes, lists among its influences “a certain feeling of nostalgia for old school HP fics,” and to realize that, as hard as I’d looked in HP, I can’t find anything new like that there - that other fandoms, with other source material, are doing a better job of this than we are.)

It’s not that I don’t want to read drarry. I do; part of why I’m taking a break is so that it doesn’t start to feel like homework, and I can pick back up, probably with draco tops, with a bit of space and perspective and less frustration.

But for Merlin’s sake, y’all.

Don’t forget who these characters are.

It’s Complicated (Jason Blossom Imagine Jason x Reader- Part 1)

Request: I swear You are the best writer ever. I loved your Jason Blossom imagine, do you think you could write more? It was absolutely beautiful, maybe one where Jason and the reader were the longest lasting couple and this new girl tries to break them up, so they get into a fight but Cheryl fixes them. Thank you so much, I loved your imagine so so much ❤️❤️

Words Count: 1990 (shiiiiiiiiit)

Warnings: None

A/N: Whoever wrote this request, you are adorable and your compliment made me happy, thank you thank you thank you!!!! <3

PART TWO   PART THREE 



Your eyes flutter open to a sunbeam dancing across your face. You groan and turn your ahead away from the light. You feel your body slowly sink back into sleep but your phone dings a happy tune, alerting you of a new message. You roll your body and fumble for your phone on your bedside table. Squinting from the brightness coming off your phone, you open the message. You smile at your phone when you realise it’s from your boyfriend, Jason Blossom. You sit up and read the message.
JJ: Time to wake up, I’ll pick you up today!” You click your phone off and slowly rise from your bed.

You had showered, gotten dress and were currently eating breakfast with your parents. You heard the front door open and saw Jason walk in.  “Good morning Mr and Mrs (Y/L/N), how has your morning been so far?” Jason asks politely. You parents smile at Jason
“Very well Jason and yours?” Your Dad asks.
“As good as a Monday morning can be Sir.” Jason say, he walks up to you and kisses your cheek.
“You ready to go?” He asks, slinging your bag around his shoulder. You nod, kissing your parents on the cheek before heading out the front door with Jason. He chucks your bag in the back seat. “Why hello there beautiful, how are you today?” Cheryl asks from the front seat. You laugh and hug her hello.
“I’m fine, how are you Cheryl?” You ask, pulling away from the red-haired girl. She grimaces and you nod your head, understanding that it was something she didn’t want to talk about. You reach over to open your door but Jason’s hand gets there first, opening it for you. You smile up at him and he smiles back down at you. “Hi you.” He says, cupping your jaw and planting a quick kiss on your lips.
“Hi, how was football practice?” You ask, climbing into the backseat of his red car.
“It was okay, think I might have bent something that is not supposed to bend.” He says, making his way to the front seat. He starts up the car and pulls out into the street. Concern fills your body, showing on your face. Jason notices your face and reaches back to hold your hand.
“Babe, it’s fine. It was kidding.” He says. You raise your eyebrows at him and he laughs. “Mostly.” He corrects. Cheryl looks at her twin and then back to you.
“You two are so cute, I still can’t believe you guys have been dating since you were 13.” She states before turning her attention back to Jason. They talk about homework and what they were doing after school. You close your eyes and lean your head back on the head rest behind you. You feel your body drift off into a light sleep.

Keep reading

Four things I have to deal with daily as a woman in STEM:

For those of you who don’t know me, I’m halfway through my junior year of double majoring in meteorology and astrophysics, two predominantly male fields. Over the past few weeks I’ve attended the Conference for Undergraduate Women in Physics (CuWiP) and the Women’s march on Washington. These events have not only opened my eyes to realize what I’m really going through as a woman in STEM, they’ve inspired me to start speaking out about my experiences. So, here’s a few things I deal with every day in my fields:

1. Imposter syndrome:  a concept describing high-achieving individuals who are marked by an inability to internalize their accomplishments and a persistent fear of being exposed as a “fraud”.

Everything that happens to go right is by chance. Aced that exam? I got lucky. Answered a question correctly in class? Probably will never happen again. Whenever someone thinks I know what is going on in a class or how to solve a problem I think, “Surely they must be misunderstood. There is no way I know more than them, therefore if I answer their question it will be wrong and hinder them.” So I don’t even try to answer. I just say, “I don’t know” and move on. Every time someone asks to see my homework solutions I hand them over saying, “They’re probably wrong.” I genuinely don’t understand how I’ve gotten this far in my double major, and every time I look back I see a history of pure luck, not hard work. Every time I write an application, all I can think is “They will see through your facade. Your resume is fake. You’re making false claims in your essay. Even if they do accept you, once you start the program they will see right through you and be disappointed. If they accept you, they’ve made a mistake.” These thoughts are constantly swirling through my head, to the point where I’ve lost motivation to pay attention in class, since I shouldn’t be there anyway. I shouldn’t even try on my homework because I’ll always fail in the end. Which brings me to my next hardship:

2. Stereotype threat: “a situational predicament in which people are or feel themselves to be at risk of conforming to stereotypes about their social group. If negative stereotypes are present regarding a specific group, group members are likely to become anxious about their performance, which may hinder their ability to perform at their maximum level.”

This is a new concept to me that really hit home when I heard about it at CuWiP. On countless occasions I’ve avoided joining predominantly male study sessions/homework sessions (even with my closest friends) because I was afraid I would appear stupid and not know anything, which of course must be true because I am a woman. This has most definitely affected my test scores and overall course grades over the past few years.  Going back to focusing in class and working on homework; there are days when I literally can’t hear the professor speaking because my brain repeats on-end “you are a failure”. Whenever I sit down in front of my homework it’s “you don’t know this, you will never know this. Give up now”. Every day my motivation dwindles down a bit further. If so few women have made it this far then it’s only a matter of time before I’m discovered as a fraud and drop out too.

3) Subconsciously sexist friends and classmates.

Most of my friends are male. That’s just how it works when 70-90% of the people in your classes are male. Most of my friends are also sexist. I know they don’t mean it and they certainly don’t notice it, but they treat me drastically different from the rest of the crew. I am left out of personal projects because it’s assumed I wouldn’t be interested in helping out. I’m excluded from group study invitations. I’m ignored in academic conversations and receive surprised expressions when I actually chime in. When I point out concerns for being a woman in STEM all I get in return is silence. Occasionally I’ll even have my questions blatantly ignored. It’s assumed I don’t notice when they only make fun of female tv meteorologists, claiming they don’t know any meteorology and are only hired for their attractive looks and hot bodies when I’ve never heard them make fun of a male tv meteorologist.

4) Being the only woman in the room

I realize this doesn’t seem like it should be a big issue, and it certainly isn’t for some of my fellow women in STEM, but I notice it every damn time. A piece of me falls every damn time. I do not feel safe in a room surrounded by men. Not because I’m afraid of being assaulted or harassed, but because these moments are when the imposter syndrome and stereotype threat run strongest in my already belittled mind. And it happens all. the. time. I’ve stopped hanging out in certain areas, such as the astro lounge, because I know if I go there I will most likely be the only woman. I also know that being in any closed area with a large percentage of men holds a higher chance of hearing a derogatory comment (about women in general), being ignored, and  hearing inappropriate conversations about things such as sexual assault (you know, “locker room talk”).


All of this is only just breaking the surface, but what I’ve learned over the last few weeks is that silence will fix nothing. For the longest time I thought all of these feelings were either normal or just a “me” thing. Attending CuWiP made me realize that no, this is not just me. This is all women, and these are issues that needs to be voiced and fixed. While I’m still afraid of speaking up in person, I’m going to try my best to call people out on their bullshit whenever I can and feel safe to.

People on the internet are wrong and I must correct them!

ALPHYS
N-n-n-not again, sir! I get really bad motion sickness!

GASTER
Give me one good reason why I shouldn’t.

ALPHYS
H-here, see?? Our followers think you look r-r-really nice with glasses! Even if you can see just fine-

GASTER
Round and round you go-!

ALPHYS
AAA NO WAIT-

ALPHYS
H-hey, look! Some of our followers are trying to solve the barrier problem again-!

GASTER
Oh for the LOVE OF-

GASTER
SIGH. That is not how the barrier works!

ALPHYS
(Phew…!)

GASTER
Think back to your history class. What was the very first thing we did when we were sealed in the Underground?

GASTER
The obvious: we tried to get out! Monsters climbed the tunnel to reach the entrance, only to be blocked by the barrier. They beat it until their claws bled. It didn’t do a thing.

GASTER
Drilling, magic, lasers… We tried everything we could think of. Nothing has worked. We’ve been down here for one thousand years - you think we haven’t done all we could to escape?

GASTER
Every monster knows of the magical wall that lies beyond the King’s castle. It’s easy to assume that that wall alone is the barrier. But that is only a part of it. The barrier is not a singular wall: it’s a spell that encompasses the entire mountain.

GASTER
“Anything can enter. Nothing can leave.”

GASTER

GASTER
But… we must have hope. Above all, the King wants us to have hope. That is why he appointed me as Royal Scientist, after all. 

GASTER
We will be free one day. We will.

2

“You’ve all sacrificed so much to be here, to be a part of this. It’s first ever large-scale colonization mission to come this far into our galaxy. We’re making history. Everyone back on Earth is really grateful for your hard work and courage. I just wanted to say I couldn’t pick a better bunch of jerks to get marooned on a distant planet with.”

Alien: Covenant “The Last Supper”

The Opening VCR of Diamond Edge got my full attention and today’s one of those days when my imagination has the sky as its limit. Here’s my thoughts. (2/2)

P A R T   1

Happy 800 days with Seventeen!


Mingyu and Joshua, who were facing different directions here, are from two different teams; but Mingyu seeing Josh as his reflection through a mirror is like seeing a similarity between the two of them. Like they share the same dreams and goals for the team.

The maknaes of perf team and vocal team. Dino and Seungkwan. I sense something here because Dino was at Seungkwan’s Alone Trailer too, but they weren’t together. But now they met. Is everything really connected omg

I really like what I’ve thought for this part. It’s nice to see Wonwoo, a breathing art and an actual man fully equipped with knowledge, is surrounded by ancient Greek sculptures that symbolizes art and wisdom. Really suits him.

The narration says:

They say a flap of a butterfly’s wing can doom your fate
That the roads sometimes take backward what they had given
But true love never dies
And now you know how the legend of the dead cruiser was born

But what you don’t know
Is there’s a gap between living and dying
Some say they’ve seen the dead cruiser in a flash of lightning around the shadowy curves of the highway
Some say he was just a kid who met his fate in a fiery crash
But anyone fool enough to venture out onto to that treacherous road should know one thing…

but they didn’t mentioned the last line (according to the actual audio they first used), which is:

There’s no turning back.

okay edit: they reuploaded a new vid, wherein they edited out the narration part xD i thought about this whole post having the first vid they uploaded as my reference.

The word diamond was derived from the Greek word adamas, meaning invincible.

Not all people know what you’ve been going through all these years of your career. People could say different things, have different insights about you, but there’s still the common denominator. They all know that the road is indeed treacherous. But you guys are really the men who would never turn back. You are invincible.

Yes, our boys, there’s no turning back now. But don’t worry, carats also have your backs. 2017′s gonna go down in history as Seventeen’s year. Let’s work hard for it.

In case you missed it,,

The question was “What does Rocky do after a shower?” and someone said “Cha Eunwoo” and they read it live outloUD I AM CRYING 

anonymous asked:

I'M CRYING R IGHT NOW I WON'T SPOIL BUT HOW COULD YUI DO THAT? D'''8

Okay, originally I was going to keep this reply spoiler-free, but I screwed up and it’s impossible for me to share my thoughts without spoiling it so MAJOR SPOILERS + ANALYSIS BELOW. READ AT YOUR OWN RISK

Scroll like your life depends on it unless you don’t care!!!

.

I know what you mean. When I watched the video I was surprised that there was not a longer internal monologue nor did I see her sprite’s facial expression show any cringing or signs of inner turmoil that could lead me to believe she was that conflicted over what Ayato asked her to do for him. Especially after the lengths she went for him. But I think by that point, she already saw what happened to the others, and with a certain person involved, that just made the whole situation more complicated and stressful for both of them. Truly, I think it was an act out of love and mercy, because she saw how much he has changed from his usual self after he found out what happened and realized it was too late to make amends with his brothers in that situation. 

But then a thought occurred to me. 

Ayato asked her to do it. He was so anguished, and hurt, and devastated by what happened all because of him, that he couldn’t go on. He had nothing else to give that would set things right. His own family wouldn’t take him back. He has nothing. He is, in every sense of the word, alone. And that is what Reiji wanted him to understand, because that was how his brothers felt thanks to Karl giving Ayato everything. He even thought Yui left him, until he realized that she was fighting for him all along {oh, god, my eyes are getting misty again}. But the question is, if he felt so bad about everything, why didn’t he just do it himself? 

Why ask her to do it?

And then it came to me, the second time I read the summary. This pays a brilliant homage to the prologue of the Dark Fate Drama CD Vol 2, Chapter of the First Quarter, which opens with this:

Laito: “The usual night comes, and the usual boring time flows. Every single day is filled with that repeating pattern.”

Reiji: “We vampires, who live for eternity, always have too much time in our hands. As we lie in the cradle between boredom and idleness, we even lose our sense of time; fervently wishing… for the end to come.”

Shu: “For us who will never die of natural causes, death is the beginning of a celebration. It doesn’t matter who does it, we want someone to kill us. Then set us free from this worthless time that’s been flowing for far too long. That’s what we are wishing for.”

Ayato: “But then we thought about it. If we’re only going to die at someone’s hands, not just anyone would do…”

Rejet, I see what you did there.

He even told her how tired he was, how he was ready for it to end, and she saw how much he was suffering, and how everyone wanted to kill him. If she didn’t do it, they would (and a certain person even said so too). So, she did it out of mercy, is what I strongly believe. :’D DL pulls no punches when it’s advertised as a dark genre. 

Another thing that I want to point out is the similarity and difference between Ayato’s Vampire and Brute ending. Both endings begin with him asking Yui to kill him, but after that, things start to diverge. In Brute, he essentially gave all his power to Yui, entrusting her to deal with the uprising and chaos. While in Vampire, he kept that power with him, and he still had the resolve to set things straight instead of giving up. I believe that was the final ‘test’ that he had to pass. Ayato constantly tries to run from his problems when he can’t handle it by himself. He doesn’t think to ask for help, and he thinks he can do it all. In Brute, he passed off that power, that burden, that responsibility to Yui, while in Vampire, he acknowledges his faults and resolves to do everything right again if he could. It’s a little too ‘Christmas Carol’-ly for me, but given how Ayato is, and how this is a huge step for him, I really like it and I think it’s a good place for him to start.  

I’m so happy with Rejet because they have basically given me everything I wanted for his LE route. I wanted more back info and history, I wanted to see the two families working together in some way, and most importantly, I wanted to see Ayato grow up and accept that he can’t take on problems by himself and that he needs his brothers’ help. He tackled one of the biggest hurdles which was his high-strung pride and self-centered ego. He has gone from pushing his brothers and Yui away to accepting that he needed their help. He went from flaunting and threatening them with his power to wanting to protect them from his enemies. He’s accepted that he really does care deeply about his brothers (yes, even Reiji. Probably). He’s learned to be less suspicious and accept help from his uncle (lol). And, he’s learning how to use his powers responsibly and wisely, like a good King should.

I’m so damn proud of him :’)

Projecting the Prequels


The primary expression here is puzzlement, some indication that Ethan does not know his own mind and suddenly realizes he does not know his own mind…

-Robert Pippin, Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political Philosophy 

I have some friendships that began online simply because they placed two frames from two different films side by side, or one below the other, with perhaps not even a name or a title, and I liked it. Through 0s and 1s I would see the infinite play of identity and difference. In the context of years of comparing frames to other frames, for the minimal and maximal differences and identities, of finding, in its rub of fragments, new counter-histories, accomplishments, and signs of a future cinema waiting to be plucked out anew, it should have been clear that at one point we would bump into the prequels again, as the prequels, in their form, are the essence of film criticism for those with a tumblr. Bill Krohn commented that Star Wars is nothing but the continual reversal of signs, and what better form than the comparative screen capture to understand this series. Like all comparisons without writing, either you see the connection, you see the lineage or you don’t. If the comparison is trivial, the connection too loose, we may see that we are not in a thinking of montage but simply a sequence of shots. But all the comparisons work in a thinking of montage that turns the images into something both prequel and fraternal. Every true work of art re-invents the tradition it belongs to, opens up what came before it, and is the condition of what is old to persist as still new. A true work turns its predecessors into unexpected prequels.

1.

The transitions between scenes, the different wipes that go diagonally, turn the screen into blinds, into squares, a minute hand on the clock, become more and more pronounced as the prequels succeed one another. Indeed the prequels are a question of transition, of succession of one form of government to another. It becomes most clear in Episode II: Attack Of The Clones, as Neil Bahadur pointed out, the very colour of the political world changes. All I would add is it appears like a diagonal wipe that is often seen across the films, except here there is no wipe at all, the world itself is in transition, no need for the subjective jump of the actualized wipe. 

The lack of the wipe, of the transition, does not mean there is no transition occurring. In fact, the lightsaber duel between Darth Tyranus and Anakin manifests the actuality of transition within the battles themselves: in close-up the lightsabers act like the transitioning wipes, opening or closing down the frame, the blue or the red floating atop the faces, in the heat of battle political realignment can occur. Each attack on the other is a transitional wipe that only returns one to themselves. Even the sound during this sequence emphasizes the moving of the sabers about themselves rather than the actual hitting of two sabers. Via over-anticipation of the coming hit, we touch air, a pure rotation - 

die Zuschauer sich drehen, rotating around itself, like a Kuleshov effect that returns to Darth Vader again and again as he looks at Skywalker, and the Emperor. 

2. 

The decision to kill the Emperor emerges through a Kuleshov effect, or to put it another way, decisions arise through projections, through the coincidence of a blank face estranged from itself. The K-effect exemplifies that one does not know their own mind, but knows this, and perhaps only this opaque blankness. What is precisely blank is that this decision, to save Luke, repeats a decision when he saves Palpatine in Episode III. The first time, he loves Padmé, the second time, his son. In truth the decision is the same each time, it is its own K-effect, whether one is good or one is evil is a pure projection on the same decision. Anakin is the chosen one, as he only chooses the one choice, out of love, twice. The one decision is a clone of the other, a cloning of the chosen one. If to the question rye or wheat, Verdoux says “Yes,” if Anakin is asked, good or evil, he will reply, “Yes.”

Throughout, Anakin always has a Master. He says Obi-Wan is like a father. As Darth Vader, he is almost constantly kneeling. Finally in Episode III, Obi-Wan says: “You were my brother Anakin. I loved you.” Neither Master nor slave, but kin. A figure of equality. Neither the law of the Jedi nor the desire of the Sith, but love. 

Episode III ends in elation as we know what happens in the later episodes. At this mid-point in the story, we are in Anakin’s position: we see the future (which already happened). And what happened? The choice of love, twice. Neither beyond good, nor evil, but the risk of living through both.

He failed where others succeeded, he succeeded where others failed: he took control of the universe. Anakin turns the world into a green screen, destroying and creating the conditions to love unconditionally. 

To choose one, or choose zero, is the question of the digital. The genius of Episode II: Attack of the Clones, a landmark in digital cinema, is that it poses the question of the form of the digital against a critique of democracy. Yes (1), the form of digital offers a true choice, No (0) democracy does not offer true choices. Schelling saw that evil is more directly spiritual than the good in its cold abstract hatred of reality. The unrepentant joys of CGI is evil in this formal sense, and beautiful for the same reason. In showing the rise of evil, we need the digital imagination unfettered by the studio interference, democratic test-screenings, and the care of making a movie ‘for the fans’, the majority. In Les trois désastres, Jean-Luc Godard claimed that digital will be a dictatorship. If celluloid long takes were democratic in its manipulation, then the case is not that of democracy vs. dictatorship, but that dictatorship is the truth of democracy’s purely formal manipulations. The democratization of the digital cinema, in terms of criticism and filmmaking, must be coupled with the digitization of democracy, the shift in making transparent all the points, decisions, zero and one, that show its formal identity to dictatorship. 

At the level of the Jedi vs the Sith, in the concrete moment of decision, there is nothing to say that the Jedi are better than the Sith. The Separatists and the Republic are both headed by Palpatine, which is to say, the Republic’s war against the Separatists are an outgrowth of the divisions produced by democracy itself. As a political problem, the solution of more democracy, or in another popular phrase, a real democracy opposed to a fake one, is false and explains nothing. When Lucas claims that the Republic is the Empire, we have a speculative judgment, which is to say, there is only a formal change in the transition. As Palpatine says, its a point of view, and the Jedi and the Sith are alike in almost every way. The glow of the lightsaber on the face of the warrior is an instance of a K-effect with no need for an opposing shot to infuse a blankness with meaning. 

Thus when Anakin makes the choice, the same choice of love, in Episode III and VI, in fact nothing at all is learned. His choice was correct both times. The first choice of love destroys the law of the Jedi, and the second choice of love destroys the desire of the Sith. Love is beyond good or evil and he brings balance by destroying them both.  “You were the chosen one!” Obi-Wan yells, and yet, Anakin was, always will have been, chosen, by his own choosing. The mystery of the prophecy remains a mystery to those who believe it, but not to the one who needs not to learn it. If nothing was learned, what was learned was the nothing of subjectivity, to be nothing but equal to one’s choice.

3.

The logic of the digital continues as when Obi-Wan tells Anakin that only a Sith deals in absolutes, only to later say “Senator Palpatine is evil” to which Anakin replies “In my point of view, the Jedi are evil”. Exhausted, Obi-Wan yells “then you are lost!” Of course many commentators on this and other popular films will claim that the ideology is always inconsistent, and designed that way to attract the largest possible market. However the issue is not inconsistency itself, but which inconsistency? Only the greatest philosophers and artists contradict themselves, since they approach a real point of tension that cannot be easily dissolved into the morality of their time. A true artist will create the precise contours of ideological inconsistency, and situate us at various points of impasse. Any film without this tension is perhaps neutered and of interest only for patting one self on the back for being on the right side of history. Instead, working in these tension spaces, we find that not only is the future open, but so is the past itself. After all, that is the creative struggle in creating a prequel. 

If Lucas’ Star Wars writes the transition of one frame to another, there must be something shared to register the change from one to the other, a part of change that itself does not change. That is, we must assume an invariance that is discovered by the back and forth between one era to another. This is projection. As Daniel Morgan writes that for Godard: 1917 is 1789, and so is 1848, and Weimar in 1945 is Weimar in 1806, and finally Berlin of 1944 is Nosferatu’s village of 1922, as seen by Godard in the 1950s at the Cinémathèque Française. Pedro Costa makes a similar remark when he says “There will be someone from Finland who’ll ask about Fontainhas. Fontainhas is Russia in ‘17, it’s Hollywood in ‘34. It’s not more or less than that.” Neil Bahadur, commenting on Straub-Huillet’s Fortini/Cani: “street scenes take on multiple meanings: 1976 Rome serves both as stand-in for 1940’s Germany, Italy, and France, reminding us how easily citizens accepted fascism […], then also as 1976 Rome in relation to history - […] democratic systems try to design us to ‘forget’ the past, and spaces which haven’t changed at all.” Lucas makes a similar projection. The original Star Wars was inspired by the Vietnam War, and many commentators related Episode II to the Iraq War, Anakin kills the ‘sand people’, and slaughters the men, women and children, “like animals” because “they are animals” (to which Padmé comforts with a link of humanism to the justification of terror: “to be angry is to be human”). Lucas in 2005: “The parallels between what we did in Vietnam and what we’re doing in Iraq now are unbelievable.” To track the invariance of democracy becoming itself, i.e. a dictatorship, the projections of studying history become strikingly compressed into what is called a “[fleecing] and plunder” by Jonathan Rosenbaum: “various planets recycle the stereotypical settings, costumes, hair styles, and accents of Renaissance Venice, Africa, India, China, and the Middle East.” What is a street scene in Straub-Huillet becomes an abstraction of stereotypes of entire planets, and the legend of stereo continues where democracy projects dictatorship. Or to put it like Pedro Costa speaking on Rossellini, the degree of abstraction gets higher and higher as the prequels progress. And what is key here is that we are truly in a deadlock, and its a deadlock that is in our past, a long time ago, in a galaxy far, far away. The relation and reversibility of democracy and dictatorship is a true problem not to be solved simply by choosing one over the other as they are the same. It is democratic to have to choose one or the other, which is to say, it is a false choice, and at the same time, it is a forced choice, dictated to us. Like Stalin speaking on left and right deviations, he claims that they are both worse. Anakin finds that both the Jedi and Sith are both worse, opening the space for another possibility. I don’t see Luke as a Jedi, as both Obi-Wan and Yoda claimed that he must kill/confront Vader to become one, and thus both the legacies of the Sith and Jedi die with Anakin. What we are left with, in the final shot, are a set of different species with the false forced choices of Jedi and Sith no longer operative, just a generic set with in an open space of perhaps new decisions, where even the Jedi who show up as immortal ghosts are ambiguous in their consequences, as it is a desire of the Sith to be immortal. 

4. 

Self-abolishment would be the true solution, a world without either Sith nor Jedi. The passage of a Tramp to Hynkel to Verdoux, or a child slave to Anakin to Vader, is always a question of ridding the conditions that forces one to choose or exist in such a manner. But to get where we want to go, we need the passage through CGI. JJ Abrams, claimed what was great about the original trilogy is that it felt real. That black and white good and evil distinctions have the air of the real whereas the impasses of democracy/dictatorship appears ‘fake’ should give us a signal to pause. The inability to believe CGI and political imagination is the true failure. As Dan Rubey pointed out in his classic article on Star Wars for Jump Cut:

  • Darth Vader’s use of the Force in the council meeting to control his opponent and Ben Kenobi’s use of the Force to get by the storm troopers;
  • or the “bad” guys’ destruction of Alderaan and the “good” guys’ destruction of the Death Star;
  • or the attack and penetration of Princess Leia’s ship by Darth Vader’s men firing laser guns, and Luke and Han breaking into the control room on the Death Star in the rescue of the princess;
  • or Darth Vader breaking the neck of the technician on Princess Leia’s ship and Ben Kenobi dismembering the alien in the bar scene;
  • or the pursuit of Princess Leia’s ship by the enormous ship of Tarkin and the pursuit of the imperial fighter by the Millennium Falcon; and so on.

…that is, there is no true difference. That the original Star Wars could present these judgments in a register of realism, points to the dead end of realism as a register of thinking the present of choosing good or evil. In realism, there is no difference, and perhaps to see where the line between the two lines up, we need a different form.  



5. 


Beginning with Episode II: Attack of the Clones Lucas placed a primacy on the computer generated imagery, the use of blue and green screen, and the least amount of physical sets possible.  On the first day of shooting, Ian McDiarmid would address crosses and markers while on a podium in an elevated pod. Brian Jay Jones wrote that many of the actors felt anxiety when performing within the blue screen - crucial to note, as it is only anxiety and enthusiasm that do not lie. If anxiety, as relation to the real, appears when actors are surrounded by a blue screen, perhaps the filling of the blue can be called courage. As Slavoj Žižek comments on Leslie Kaplan’s essay-poem L’excès-usine, it’s not only that factory life is alienating as a self-enclosed universe, but the fact that this space is cut off has its own emancipatory actuality.

For what is the prison in THX 1138? In Neil Bahadur’s reading, THX and SEN are placed in prison when logic and emotion are discovered. As punishment, they are in a white space without any orientation. In this space, conventional cutting and framing is manipulating. But perhaps we should instead see that the coherent representation of the space allows for determination and orientation, and it is indeterminacy that is imprisoning. THX and SEN are unfree by fleeing from determination, the prisoners are all the more determined, unable to make a coherent space to track their own movements and exit. As any artist knows, it is the blank canvas that is ultimately imprisoning, and the first act of freedom is making a mark to orient oneself in it. Ultimately THX escapes and sees the sun. Bahadur claims that Lucas retrieves the world back from the deception of images. I would only add that by Monday, June 26, 2000, after seeing the sun, Lucas envelopes himself back in the prison, except this time it is all blue instead of all white. 

For the battle is to be fought here: there are no images, no world to reclaim that would be without mediation. What was a scene of disorientation in THX 1138 becomes the ground of orientation, of infinite possibilities, in the making of Episode II. The only escape from alienation is its redoubling. 

6.

Where Lucas praises the freedoms of Soviet artists as opposed to his own freedoms as an American independent, it must be stressed that Lucas constructed a new alienation, that is, a new freedom: not a State art, but an art without the State, while never not confronting the state of the art. 

After finally escaping the studio Lucas then faced the demands of the People, the mass audience, as an external measure of what he should do; this is one of the most bitter reversal of signs in the history of cinema, the reverse of the State and the Mass. His escape was a victory, but a bitter a victory, as bitter as Darth Vader being born as Padmé dies. I was always struck by the beauty of the moment where Padmé “for reasons we can’t explain, is losing the desire to live,” - naming the children, she willingly dies, for Mother is not the destiny of woman, and children are not reason enough. The sheer heat in which these decisions are made is dizzying - before dying, with knowledge that Anakin has killed younglings, she still tries to restart their love. It is this stuckness to the real by the Skywalker family that forces history into motion. Which is to say no artist will ever escape external obstacles altogether but the problem is how to choose, how to choose our measurement and distance from the obstacle, which itself is a form of sticking to it.  

What is worth sticking to, what is worth keeping? Even in a digital world, hair still moves in the wind, like Griffith’s wind in the trees, a minimal index that these actors are in the world that we see while also pointing elsewhere. Yet we stay here. In fact, it is staying in the present that is Anakin’s most difficult task, for he can see the future. At the close of Revenge of the Sith, we are also tempted to look into the future, since we know how it all ends, what happens in the other films made in the past but presenting a future, and we rush to make connections before they happen. We are, for once, within the subjectivity of Anakin. The temptation of those chosen is to know how things end and act with this knowledge. The bliss of the final iris to space is to know what it is like to be tempted by the truths of the future, and the future of truths – gladly acting according to what will have been, while changing those very coordinates in the same motion. 

The Joy of Books -- an Ichabbie Ficlet

A smutty Ichabbie ficlet for @noisywastelandphilosopher‘s birthday on Sunday! Also for Icahbbie Summer– because I mention summer. Rated E. 


“It was thoughtful of Miss Laura to allow us access to her bookstore after she had to depart for a family emergency,” Crane said, his fingers brushing over the spines of the books on the shelf in front of him. “I really do need to find this bit of information this evening.”

Abbie smiled at him and continued looking at the many assorted books in front of her, some old and worn out and some new with stiff spines. Even with the internet, there were some things Crane preferred to do the old-fashioned way. Looking through books was one of those things.

Keep reading

anonymous asked:

The problem with having a magical summer romance at eighteen was that it was impossible not to hold it up as the standard against which all future men should be judged. Over the years it had become a running joke with her friends - “Kristoff would never treat me like this.” “Kristoff would never do that.” Part of her had almost forgotten that he was a real person, a grown man out in the world living his life.

But of all the places she’d expected to run into him now she was back in town, in a suit interviewing for the systems analyst position was not one of them. She’d sneaked a look at his CV once she was back at her desk; he’d gone back to college, his work history since then was exemplary. He’d done well for himself, and that made her happy. That was how she explained her happiness, anyway.

Kristoff would never have cheated on her, though. He would never have slept with her then stopped answering her texts, or so she told herself. He would certainly have never broken up with her at the sight of a positive pregnancy test. Maybe she needed him, as that fantasy of the perfect man, while all the others let her down.

He probably had all sorts of bad qualities and annoying habits that just hadn’t had time to make themselves known. Anna herself felt like a completely different person to the girl she’d been then, carefree and young and falling in love for the first time. She had Harry now, anyway. He was the most important thing.

____________
😱😱😱😱 omgggggomgomgomg 🙏🏻🙏🏻🙏🏻

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HISTORY CHALLENGE V2 *RETURN TRAILER*

Yes! You heard it right! History Challenge V2 is officially back in the works. Strongly inspired by the lovely @sandy-sims and her awesome Badlands Trailer, I decided to make a promotional video for the return of my challenge. I worked really hard on this so I hope you all enjoy!


🔥Stay tuned for the return of the Desertas 🔥

READ THE STORY FROM THE BEGINNING HERE

(I do not own any of the video content. All credit belongs to the original creators)

Update

A’ight everyone. I’m going to be super busy for the rest of the month because of my official move, a vacation in Philadelphia, a convention, and then winding down after so much back to back stuff. I won’t be settled again until August 1st so I’ll probably only be posting sparsely if at all and it will probably mostly be reblogs until then. But, yeah, just a head’s up.

I’ll probably post some pictures from my vacation if I remember to take them.

Fairy Tail : Stone Age Reaction/Rant

let’s start off with explaining why it’s not ok to release a shitty Omake( or anything similar) and excuse it by saying “ it’s not part of the story”

first of all, this is from Mashima himself, what he does to his characters, whether they are inside or outside the main story, WILL leave an impact ( negative or positive ) on the fans 

second of all, you are a writer, you want to be a great part of history, so when people go back and read your works they get inspired, how will people feel looking back to this Omake? should be your concern 

last of all, have respect for your characters and audience for God’s sake, don’t lower your character to selling object and don’t make your fans feel like they’re mindless toys who accept anything given to them as long as you provide them with “ship moments” or “sexy moments” and anything similar

in other words, I will make a full rant on this without limiting myself by saying “it’s just an Omake”

note : translation is from @/mynameista2 ! thank you, please check them out from here : http://mynameista2.tumblr.com/post/145944872106/fairy-tail-stone-age-translation 

first, let’s analyze the chapter’s cover

the biggest section is given to Erza, and by the look of it, she is the villain 

the second largest section is given to Gray and Gajeel, which indicates that they are either with the villain or that they are friends with the main protagonist in this Omake ( which is the case )

the two characters with full body art are Natsu and Lucy, Natsu is shown wearing clothes very similar to the clothes he wears usually, Lucy is wearing an even skimpier clothes than what she usually wears, Natsu has a pose indicating that he is a hunter and has his usual personality, Lucy has a very sexual pose showing as much as possible, her facial expression gives us a hint that she would be a damsel in distress or in trouble.

Natsu is shown having the same pose that he had on the cover, which makes me more worried about Lucy

Gajeel is here, which makes it very obvious that he didn’t die, it’s only a matter of time until he comes back to life with the most BS explanation 

a guy walking into a girl in a shower/lake wooooow so original !! I can’t wait to see more originality 

I guess Mashima has been studying boobs anatomy from Dead or Alive very well

oh Goodie ! a first person view ? Mashima really wants those horny teenagers to project themselves here…. BTW this looks rapey

boobs are not jelly

So apparently, Men and women never met, which is a bit stupid ? then how did they reproduce ?  and how come they never met ? they basically are near each other ? and why do they worship their testicles ? why ?  wut ?

so what happened ? they waited for her to dress or what ?

Mashima must really respect Lucy as a character

Keep an eye on freed and Alzack, I’ll mention them later

the respect is blinding my fragile eyes 

yes, because all men are horny fucks

yes keep hammering this “ joke “

this is too OOC for Laxus 

why didn’t Gajeel and Gray get a boner ? Yet they get it later with Juvia and Levy ? THEY KNOW NONE OF THE GIRLS SO WHOM IT IS SHOULD NOT MATTER

so the girls arrive, you see Bisca ? that’s the last of her

Wendy is the only good thing about this Omake

a Gaj//evy moment

how did the spears not melt ?

and  how did that not drown the girls as well ? wasn’t levy next to Gajeel ???

So you came wearing an armor, just to take it off when you start to battle ?????????????????????????????????????????????????????????????????????????????

Gaj//evy again

*sigh* wtf is this pose ? and is Juvia’s underwear ripped ? or is it just my imagination ?

anyways this is Gru//via 

and ? Elfman and Mira ? why wasn’t it Evergreen ? I guess their ship isn’t popular enough same goes with Alzack and Bisca

amazing perspective shot ! it shows us a lot of her personality 

is this suppose to be charming ?

Natsu checking out Lucy’s personality 

speaking of Lucy’s personality, what was her personality in this chapter ? oh yeah weak, sad and bland the only thing Mashima focused on is how sexy she is 

and then this happened, BTW if you didn’t notice Mashima seems to be inspired by Prison School when making this.. especially this scene 

I also went ahead and checked if he ever posted anything from prison school in his twitter, he did

wow getting inspired by prison school and dead or alive Xtreme, definitely makes good material

anyways Natsu and ONLY Natsu’s dragon balls scared the girls away leaving Lucy behind

Natsu then owns Lucy like some kind of animal 

again with the first person view, gotta make sure those otakus enjoy the self-insertion 

BTW how did Freed get defeated ? isn’t he into men ? I guess it doesn’t matter

cause “Love” is a romantic thing that only happens between men and women who are sexy 

worst Omake yet, it’s nothing but gross porn and harassment and stupid morals 

this Omake is TRASH and by trash I mean trash is actually better than this Omake, at least trash doesn’t disrespect anyone 

this Omake gets

PornHub/100000000000000000000000

-Mod Turtle

Lab Partners (Edmund x Reader)

Anon said: AHHH your imagines are adorable. Can I have one where you and Edmund are classmates in college, and kept getting paired up for group projects. And you two are at the library working on it last minute, and it’s late and the library is empty, and he keeps sending pick up lines cuz he’s so sleep deprived, and you find it funny and some point you kiss him and he’s shocked. And you thought you ruined everything but he admits that he liked you since the first day? Sorry for being so detailed

I was sitting at one of the long tables in the library waiting for Edmund to arrive before continuing the work on our Political Science project. We were nearly done; all that was left was to organize our survey results into a powerpoint. The class itself was fascinating, but I had a feeling that our professor paired us together on purpose. Edmund and I have been partners on every project this semester. Not that I’m complaining, though, he works hard and he is just as much of a perfectionist as I am.

“Sorry I’m a little late, (Y/N). You wouldn’t believe what I had to go through to get these.” Edmund plopped into the chair next to me and handed me a cup of coffee. “A house blend coffee with an ungodly amount of sugar is hard to come across at ten thirty at night.”

“Don’t you think it’s a little sad that you have my coffee order memorized?” I asked him even though I knew he liked his coffee with one sugar and two creams.

“We’re together so much I don’t know how I wouldn’t.” He sighed, cracked his knuckles, and handed me some sheets to input in our spreadsheet.

If Edmund drinks too much coffee it’s noticeable. He was on his third cup when I saw his foot jumping up and down.

“Hey, (Y/N),” he leaned back in his car so far I was afraid he would fall.

“Yeah Ed?” I responded without looking over.

“If you were a fruit, you’d be a fineapple.” I couldn’t help but to laugh at what I thought was the worst pick up line in history.

“Get back to work, we’re almost done.”

Not a lot of progress had been made when Edmund took another break. It was clear he was getting worn down even after all the caffeine.

“I’m not sure which quidditch team you play for, but I bet you’re a keeper.” He was grinning when I looked over at him.

“Just work, Pevensie,” I shook my head and fought back a smile. Turning back to my computer, I heard him laugh.

“Hey girl, are you my appendix? ‘Cause I want to take you out-” I cut him off by kissing him quickly. Having a huge crush on my project partner made it difficult to work, but he had brought that on himself. The goal was simply to get him to be quiet, and had I thought about it longer I might not have done it.

“Let’s get this project done,” I said when I pulled back. Edmund looked completely stunned and sat frozen in his chair. Slowly, he came back into reality.

“I knew you liked me,” he stated smugly. Suddenly I had no witty comebacks or jokes, and I was left stuttering. “Did you know you’re the only reason I didn’t drop the class?” he asked.

“Seriously?”

“Yeah, seriously. I was gonna drop it the first day, but you sat down next to me. Girls from my hometown aren’t nearly as beautiful or as nice as you are (Y/N). I wanted to get to know you.” Edmund smiled from ear to ear. I shook my head and laughed.

“We should get coffee sometime when we don’t have a huge deadline hanging over our heads.”

In the end we got an A on the project and our professor told us that he was impressed at how well we worked together. We set a date to get coffee on a weekend we were both in town, and I saw my name in his phone was changed to “appendix.” Edmund Pevensie is unbelievable.


A/N I’m very sorry this took me as long as it did! I have one or two more imagines I want to finish from a long time ago before I work on newer things :)

6

A whole week of Hamilton-inspired lunches. Giant thanks to @linmanuel for writing the thing that’s been stuck in my head for months. It’s an inspiring piece of work and has gotten me back into Revolutionary War history for the first time since college.

The tag for my Hamilton food can be found here. More information about each individual lunch can be found at:

The House That Dippy Built

Carnegie Museum of Natural History under construction. 

Once back in Pittsburgh, scientists worked to free the fossils from the rock and reconstruct Dippy’s skeleton.

In 1901, paleontologists realized they had discovered a new species of dinosaur and named it Diplodocus carnegii to recognize Carnegie’s support.

At the time of Dippy’s discovery, there was simply no room for a huge dinosaur at Carnegie’s institution. Carnegie was not deterred. A new wing that featured Dippy as its centerpiece was added.

Dippy settled into his permanent home in 1907 as the first dinosaur in the new Dinosaur Hall. By the time the museum’s expansion was finished, the people of Pittsburgh called the museum “The House That Dippy Built.”

Scientists preparing Dippy’s bones. 

Dippy on display in Dinosaur Hall.


This is the second in a three-part blog series about Diplodocus carnegii, aka Dippy. We are celebrating all things Dippy as we launch our new logo featuring his silhouette. Share your own Dippy photos and stories using #newdippylogo.