brilliantly written and acted

I’m getting sick of the misogyny towards Miranda Barlow. I’ve read from several people on here that claim that Miranda made her own choices and thus she was killed. They make it sound so simple, like Black Sails 2.09 was brilliantly written and well acted but it was also utterly devastating. The fact of the matter is that Miranda Barlow didn’t just simply make a choice and was killed for it.

For years, Miranda held the weight of the world on her shoulders and cared deeply for James and Thomas. She held back a lot though not because she wasn’t enraged but because she seen no point in it. James on the other hand was enraged to no end and nearly died multiple times because of it. When Miranda does eventually get enraged, she has due reasoning to be enraged. She finds out who is linked with Thomas’ murderer (which we know now wasn’t the case) and she lets out all her rage. 

All the rage that Flint has had since episode 1 but ya’ll make her seem like we’ll look she could have calmed down in that moment. But no in that fucking moment, that was Miranda Barlow. That was the woman who has dealt with the death of her husband and being exiled from a place that she could call home. It would be nice if people could be considerate of  how Miranda withholding all that rage, fits with both the time period and her gender. 

She made her choices but she did them all for Thomas and James. Her choices were no different than that of Flint. Although I’d suggest she was more like Silver and less like Madi. She was not longing for war. But in that moment, the war was brought to her. We deserved to see more of that rage. We deserve to see Miranda alive with Thomas and James.  So this is a reminder that of matter, Miranda Barlow deserved better from not only the writers but from people on here. 

ihykok  asked:

How does one write with a sentient non-human as their main character--or as everyone in the story--so that they are exotic and alien to the reader, yet still human and relatable? I fear too far one way then why bother, just use humans; too far the other way may confuse, frighten and repel readers.

Setting your aliens apart as Not Human means you’ll probably need to invent and share a plethora of details about your beings, their world and the setting. Much of that is going to depend on the mood of your story. The good news is you probably already know how to do the rest of what you want to do.

I was watching one of the versions of the original Blade Runner the other night, one of the ones without the “happy ending.” The replicants in that story would definitely fit your conditions. [note: I haven’t seen Blade Runner 2049 yet.]

They looked human, but we know they weren’t. They had skills humans did not, and were sent into dangerous conditions where humans could not or would not go. They were, by their nature, amoral killers. But most importantly, they had a short shelf life that drove everything they did.

The replicants weren’t very nice. By design. But I still get chills every time I see Rutger Hauer dying in the rain. It’s a brilliantly written, acted and filmed scene. I am not anything like Roy Batty, but he and I share something fundamental: the desire to keep living. 

Blade Runner is not a nice film. It is Grimdark Edgelord™ defined. But there is something compelling about these almost-human beings and their desperate compulsion to extend their lives.

If your beings do not look human, you can give them drives and desires similar to humans – the desire to persist, to reproduce – but put some obstacle in their way toward achieving it. Maybe it’s something in the setting, maybe it’s a war with rival non-human sentients or a dying planet.

This isn’t all that different from advice for any character-driven story. We have a tags with posts on realistic characters, alien characters and inhuman characters to help you get started. 

– Aliya

youtube

idk how anyone could honestly have a problem with this
disney handled a real situation not that just adolescents but adults aswell go through or know someone who will go through this in their lives and handled it in a tasteful, classy and emotional, respectful way

No stereotyping, no “omg they are brainwashing” nonsense people throw up, just an honest open realistic discussion between two friends and it was directed/acted/written brilliantly.

This…..this is how you do this in media…..other companies/channels take notes

Thank You disney channel <3

So blown away by “Call me by your name”. This was beyond any high expectations i had, one of the most beautiful love stories put on film in the modern era. Along with Blue is the warmest color will be a staple for others to follow. Just astounding on so many levels. Brilliantly written and some of the finest all around acting by a cast in a new film, but really have to single out the brilliant performance by Timothée Chalamet, a star is born. To not even mention the amazing score by Sufjan Stevens, putting the classical touch in such a magical way. It’s like if you put the best moments of Rohmer, a bit of Assayas and a nod to Bergman in some scenes. This is why cinema is so powerful. At it’s best, few things can compare to the powerful effect is has on you ;)

Why CBS' Madam Secretary Will Fill the West Wing-Shaped Hole in Your Heart

In college, I used to roll my eyes when my good friend, Courtney, welled up while watching NBC’s critically acclaimed White House drama The West Wing.

“Are you crying because something happened, or are you just crying because of America?” I’d ask sarcastically. I was a casual viewer, and usually hadn’t paid much attention to what President Bartlet and his team were up to on any given week.

“America!” she’d respond, dabbing at her eyes and laughing. I laughed, too, because — even while in the thrall of a brilliantly written, expertly acted TV series — who gets all sappy over political footballs like healthcare and the national debt ceiling?

Cut to 16 years later. This past Sunday night, in fact. Witness me trying to hold it together while Madam Secretary‘s Elizabeth McCord watched a wrongly imprisoned, recently freed American journalist reconnect with his family for the first time in years.

Who cries at uplifting political dramas? In this age of Muslim bans, Mexican walls and pregnancy as a pre-existing condition, I do.

All I can say is: Thank goodness for the CBS drama, which has picked up The West Wing‘s mantle of believing in the best parts of American exceptionalism. Téa Leoni’s character, the titular government official, is a smart and savvy — and above all, not jaded — believer in the good that her country can do in the world. And she fuels my hope that I can feel that way about the United States, too, even though my national pride has taken a beating in the last year or so.

If you’ve never seen an episode of the series, now in its third season, let me quickly fill you in. Elizabeth is a former CIA analyst and college professor who reluctantly accepted the Secretary of State gig when her former colleague, Conrad Dalton, needed her to. She’s married to Tim Daly’s Henry, himself a religion-and-philosophy professor who now works with the National Security Agency.

As I’ve said before (and as recently as earlier today), I could fill a dossier with how much I love Mr. and Mrs. McCord’s mature, sexy, intelligent, respectful, fun on-screen relationship and the way they raise their three kids. But for the sake of my argument, let’s just focus on this: Elizabeth and Henry are morally and ethically upright creatures who struggle mightily with some of the planet’s toughest problems yet somehow make the right decisions when it matters most.

And when Elizabeth has to deal with a power-hungry Russian president… or figure out who stole uranium in Eastern Europe… or weigh how schooling the newly elected leader of an Asian country for his misogynistic tendencies will affect his participation in an important treaty… or — as she did in Sunday’s episode — track down the country really responsible for an ailing reporter’s unjust incarceration, you can rest easy in the notion that she’s doing so in a way that’s good for the American people as well as forAmerica as a whole.

I would be remiss if I didn’t mention Elizabeth’s staff, who — like West Wing‘s Sam Seaborn & Co. — frequently do the heavy lifting and detailed legwork for whatever international crisis or diplomatic quandary comes her way. They are sharp, dedicated workaholics (played by Erich Bergen, Patina Miller, Sebastian Arcelus, Geoffrey Arend and Bebe Neuwirth) who are so good at their jobs because they care so damn much. It’s inspiring.

Sec. McCord’s support team also often bears the burden of the primetime drama’s less-believable storylines; Miller’s Daisy, for instance, is now pregnant thanks to a fledgling relationship with an undercover CIA agent who was murdered before their romance really got underway. Absurd? Kinda. But the performances are so good — Elizabeth’s reassuring reaction to her press coordinator’s impending motherhood, for instance — you just kinda roll with it.

One last note: Just in case the words “liberal” and “snowflake” have crossed your mind in the last few minutes, you should know that Madam Secretary has never once declared whether President Dalton’s administration — and Elizabeth, by extension — is Republican or Democrat. The show’s decision not to affiliate with either party was a “kicky idea” in the beginning, Leoni told CBS News in 2015. “It’s become something more interesting than that now, to me, because I think on [Capitol] Hill, there’s such polarization.”

Translation: Madam Secretary is not a Democratic thing or a Republican thing. It is an American thing, a soothing balm when your faith in the country and its leaders is scraped-up and raw.

Somewhere, perhaps in his presidential library, Jed Bartlet is smiling.

TVLine

anonymous asked:

I wanna watch the young pope, but I'm not entirely sure what it's really about - is it just young american guy gets made pope or causes havoc? is it a comedy or a drama? I've been googling and no one seems to say without giving spoilers :(

It’s a drama with comedic elements (it’s very funny) about the dangers of mixing religion with politics and the meeting of ancient traditions and beliefs with human imperfections and modern mundanities.

Yeah it’s American pope fucks shit up to an extent but it’s brilliantly acted, beautifully filmed and scored, well written, and genuinely entertaining

the gist is jude law is elected despite no one really knowing what he stands for and everyone not expecting him to win, he is immediately a threat to the catholic church and refusing to be a puppet to the shadier people running the church, his personal issues are kept private but make him a compelling character who is genuinely AWFUL and engaging in turns, the catholic religion and the vatican city are treated with both criticism and artful decadence by the show. 

I’ve heard it described as Hannibal for lapsed catholics, but that’s mostly in style and tone, if you look at content I’d compare it more to house of cards.

check it out i recommend it

Originally posted by brokenmichael

Batjokes kinks

Ok so since a couple of you asked, here’s a list of me faves. Probably forgotten a load but oh well.

. Sleepy cuddles. Just-
. TEAM UPS!!!!!!! I WANT BADASS FIGHTIN HUSBANDS ALL DAY FUCKING LONG!
. Pretty much anything to do with Europa. Give it the ending it deserves!!!!!!!
. Angry snogging during/after fighting. Or whenever really.
. Angry snogging in the rain.
. Snogging and blood. Gross, yes but I blame Europa.
. Sleepy cuddles.
. Bruce pining. Because ANGST!
. Heh um ok so maybe I kinda like subby Bruce? Just, y'know, a lil bit.
. Bruce and J being gentle with each other. Or mainly J being surprisingly affectionate or caring and Bruce being all “wtf?!?!”
.sleepy cuddles.
. FLUFF!
. Ok so y'know the Joker/Rachel TDK party scene? Well, replacing her with Bruce. I want a fic of that pretty please thanks so much.
. J rehabilitation. (I blame HWA. In fact I blame that fic for many things)
. Did I mention sleepy cuddles? Cos I really like sleepy cuddles.
. Sleepy KISSY cuddles.
. Bruce seeing/interacting with J when he’s not Batman.
. Those two assholes finding any way to say “I love you” without using those actual words. Cos they’re idiots.
. TDK interrogation scene. Not just for batjokes but it’s a fucking brilliantly filmed/acted/written scene. Whole movie is actually. I love it.
. Right, ok, so I blame @jeffersonhairpie for this kink that I shan’t name here. Just read their fic Rose Gold and you’ll see.
. J’s hypersensitivity
. The smudged lipstick. Any excuse to put that in a pic and I’m there!
. J getting overwhelmed.
. J being comforted by Bruce.
. Any fic that’ll make J and Bruce kiss at the end of TKJ. Yes purlease.

. Bruce and J fixing each other which is basically why the City Goblins series by @altered-eagle is so wonderful!

Errrrr that’s all I got for now.

Top 5 Moments: Root

Lionel Fusco || Joss Carter || John Reese || Sameen Shaw || Harold Finch ||TM

1. Root’s vision of the universe (Root Path, 3x17)

If someone asked me to show them one scene that perfectly encompasses Root’s philosophy, they’d get this brilliantly written and amazingly acted scene shoved under their nose. It shows us how she sees the world – aimless, just a series of random occurrences and coincidences, no reason and no logic, and no meaning either. It also beautifully highlights how she views TM and why its presence and continued survival is so important to her. TM is the one thing that gives her purpose and direction. It brings meaning to an otherwise pointless existence. It gives her a reason to live. 

2. Root as The Machine’s Analog Interface (Aletheia, 3x12)

This is one of my absolute fav scenes from the entire show because it’s a brilliant demonstration of one of Root’s primary roles on the show – that of TM’s analog interface. Root was already a part of TM a long time before ep 100. She was already its voice and its ears and its hands. This scene also showcases Root’s absolute devotion to TM and how far she’s willing to go for it. She’s willing to bear any amount of pain and torture, and she absolutely believes that it cares for her and will help her out of this situation eventually (and she’s proven right!). And finally, god bless Amy Acker’s goddamn acting during this scene! 

3. Root being self-aware (Prophets, 4x05)

I adore moments like these because Root is so deliberately flashy that it’s really easy to just classify her as the ‘perky psychopath’ and leave it at that. But this moment right here shows that Root does understand the dangers associated with being on the front lines as TM’s analog interface in an AI war with SAM. She’s completely aware of what her future is likely to hold and she knows how this is going to end, and she still goes ahead 100% with it anyway. Because she sees TM as something completely worth sacrificing herself for. And because she now also has people that she thinks are worth protecting at any cost. Root being introspective is a rare treat and this scene also stuck with me for the foreshadowing that it provides. 

4. Root’s hatred of humanity (The Contingency, 2x01)

Root’s utter disdain for humanity is my absolute fav. She doesn’t celebrate the flaws that people have as an inevitable part of being human. She just sees it as proof that humans are rotten to the core and should be exterminated. However, I love that Root isn’t just spewing random bullshit. She’s speaking from an evolutionary perspective. She thinks humans had evolved as far as we can and is enamored by the idea of artificial intelligence specifically because it’s perfect and rational by design and would fix everything wrong with humanity. Which makes it deliciously ironic that she winds up as the analog interface to an AI that celebrates humanity in all of its flawed glory and teaches Root to find something valuable in human life. And this brings us neatly to…

5. Root’s fierce love for her family (The Day The World Went Away, 5x10)

“I can’t lose you… you’re too important to me!”

“You can’t live with me, I can’t live without you.”

“This might be the first time I feel like I belong.”

Yes okay so I cheated a little with the quotes for a bit of context, but this gif highlights something that is very important to me and a concept that is immensely staggering – Root has no regrets. If you asked her, she would go back and do this all over again. No matter what struggles and pain she has endured, she wouldn’t change any of it, because she also gained something from it all. She found people who she loved and who cared for her in return. She found acceptance and belonging. She found herself a family that she would fight tooth and nail to keep. And that’s pretty priceless. 

Gifs from (x) (x) (x) (x) (x) and a special thank you to @isagrimorie for making that last gif from ep 100 for me. Honourable mentions go to: “We might as well be a symphony” (The Day The World Went Away, 5x10, reserved for Shoot moments), the Truth Speech (Liberty, 3x01), and the Hand Drilling (MIA, 4x13). 

Murder on the Orient Express though

Honestly it’s perhaps my favourite film of 2017 so far, the acting is superb (especially Branagh and Leslie Odom Jr) and the directing and cinematography is stunning as well. None of the actors try to outshine the others which is what can happen when you get a bunch of huge A-Listers in the same film. The ending is brilliantly acted and written, providing a thought provoking piece of cinema that you don’t usually get nowadays.

I liked the cheeky reference to Death on the Nile at the end so I hope that Branagh gets to direct and star in it as he did a marvellous job

Mon-El Appreciation Week - Day 3

Favourite heart-breaking moment.  I’ve seen a lot of posts where Kara ends things with Mon-El because he lied to her about who he really was.  I ‘personally’ thought although it was beautifully acted the reasoning behind the break-up was blatantly weak.  So, the moment I’ve chosen is this one.

I’ve posted this scene on many occasions, and feel that the writer of the episode and Chris deserve every accolade they receive.  Brilliantly written, acted superlatively, shattered this Brit’s stiff upper lip and this is the reason I’ll be watching in October!

anonymous asked:

Gami I've been going through your Harry tag for about an hour now and though I love all the Dunkirk stuff, I still don't know what you thought of the movie and Harry's performance! I probably missed it so I'll just ask again;) I thought it was a great film and I'm honestly impressed with Harry. He has a much bigger role than I expected! In terms of spoken lines he practically tops the chart. So proud of our boy haha!^^

I don’t think I said anything because I was writing a super-long, complex review about the structure and techniques of Dunkirk and how they apply to the theme. I haven’t actually finished that yet.

I loved Dunkirk 100%.  I think it was brilliantly written, directed, produced, filmed, edited, and acted.  This is sort of a jerky thing to say, but I honestly think the few people complaining about Dunkirk only don’t like it because they utterly missed the point.  You can’t go into Dunkirk measuring it by the patterns and tropes of every other war movie because it’s not cut from the same cloth.  It wasn’t supposed to be from the start.

Harry fits right in with the rest of the cast and in an ensemble movie like Dunkirk, that’s really the absolute best he could do.  Dunkirk may well get some Oscar nominations, but it’s very likely they won’t get any acting ones except for Mark Rylance as supporting actor maybe.  It’s not that the acting was bad, but that the movie isn’t focused on individual characters in the same way most movies are.  

The fact that Harry fits in and plays his part as well as anyone else does is very good.  The movie is all about immersion, so if anything were to take you out of it like bad acting, that would be a failure.

This doesn’t really clinch Harry’s acting ability for outsiders because they’ll be saying something like “but can he carry more weight in a role outside of a non-character-focused ensemble”.  However, because I’ve already seen Harry be hammy and I’ve already seen him be charming as hell, the only thing I didn’t know was if he could be serious and if he could be subtle. It turns out he can do both, so I think he could take on absolutely any role given some time and experience.  It would be a crime if we never got to see him in a rom-com though.

It’s true that Harry has quite a few of the lines in the movie and most of the really memorable ones.  I’ve only seen the movie once so far, so now that I know everything that happens with his character, I want to go back and watch it again to see it from a new perspective.

I find it funny that Harry’s narrative is that he just fell into acting because he likes Chris Nolan.  Like… what singer with no real professional acting experience up and decides to audition for a movie like Christopher Nolan’s just because he likes the movies that director makes even though he doesn’t have any particular desire to act otherwise?  It doesn’t really make sense.  Also, if you think about it, what they’re saying is that the first and only audition he ever did (because he’s not interested in acting apparently, just in Christopher Nolan’s movies), he beat out thousands of people to win the role.  That’s pretty insane the way they’re framing it.

To be clear, I do think he won his audition fair and square, but I don’t think he went into this without the intent to break into acting.  I would wager he auditioned for more than just Dunkirk.  I think he was looking for the right project.  He definitely got acting lessons considering his marked improvement between the Steal My Girl music video and the Between Us perfume ad.

He’s being coy about whether he’ll continue acting, just like he was coy about his plans for the break during the end of OTRA interviews.  At the time I could tell that he was purposefully avoiding talking about / hiding something he had planned.  Right now, I swear he’s doing the same.  I don’t know that he has anything else lined up, but I definitely think he intends to continue acting in the future.  He’s just not saying it right now.

Overall, the image being projected is that he takes acting seriously when he does it, but that he’s not trying too hard to become a “famous” or “respected” actor.  This reminds me of the fact that Louis, Liam, and Niall have all claimed that they didn’t intend to have solo careers at all and just fell into it.  I might buy it from one of them, but not the same basic story from all 3.  

There are various strategic reasons they might be playing their narratives this way, but I couldn’t say exactly why with any certainty.  For Harry, they could be trying to avoid too much pressure and too many expectations.  They could also be trying to keep the focus on Dunkirk rather than making Harry too big of a spectacle (as much as they reasonably can).  

Niall’s image is very laidback, so not pushing too hard for a career fits that image.  Louis’ been assigned the underdog image, so not intending to go solo fits with his image as well.  The reason for Liam’s narrative stumps me a little more, but I’m sure there’s something I’m missing.  Then again, there might be a larger group reason that all of them are spouting the same lines.

I digress ;P  My point was that Harry did quite well and that I expect we’ll be seeing more of him acting in the future no matter what he’s saying during promo.

Johanna (Quartet)
Hugh Panaro, with Jake Boyd, Stacie Bono, and Eryn LeCroy
Johanna (Quartet)

“I’m fine, Johanna, I’m fine.” 

This Act 2 scene is brilliantly written, staged, and performed.  The perfunctory way that Hugh as Sweeney Todd takes his victims to their fate embodies the anger that has descended into madness.

I spoke with Hugh after the show, and he was tired but supremely gracious after eight performances in six days.  The role must be physically challenging, for it requires him to repeatedly climb a flight of stairs while singing and also to jump up onto the tables at which the audience members are sitting and menace them.  The woman sitting next to me was also clearly thrilled when he lunged at us.

3 September 2017, evening performance, “Sweeney Todd: The Demon Barber of Fleet Street,” Barrow Street Theatre, New York City

16 Days of Outlander - #6  The Garrison Commander

This is one of the episodes I generally skip over. It is brilliantly written, acted, and executed but it’s just a bit more… intense and dark than I can stomach, so it was interesting to go through trying to find favorites within it.

Favorite Line: “If ye wished to hear Londoners speak, perhaps ye should have stayed in London.” The tension starts at the end of Rent and doesn’t let up for most of The Garrison Commander. Even when he’s outnumbered, Dougal won’t be intimidated and gives as good as he gets from the English officers. His quip to the complaining officers is my favorite, though a close second his agreement with the general about Claire’s ability to effectively order men about just a few lines later.

Favorite “That’s not in the book” Part: Black Jack gets Claire to stick her foot in her mouth (like that’s too difficult). In the book the visit to the Garrison Commander is so much more straightforward because Black Jack is the Garrison Commander (and Claire wanted to see the Garrison Commander because they didn’t know that Black Jack was the one holding that position). So there’s very little from the episode that is actually in the book. It’s cunning the way that Black Jack manages to provoke Claire into defending the Scots’ beliefs/position and getting a roomful of side-eye where moments before she’d had all the soldiers eating from the palm of her hand.

Favorite Performance: Tobias Menzies as Black Jack Randall. Everything about his performance as Black Jack in this episode makes my skin crawl - just as it should. It’s calculated, deliberate, and stays on the right side of the line between over-the-top campy villain and total sociopath. As a character, Black Jack is a bit in-your-face so for Menzies to keep that so controlled and in check is amazing - and makes me never want to watch some of these scenes ever again. Aside from the flogging and the amputation, there isn’t much about this episode that can be called gory and yet I don’t know that I’ve ever cringed so much in my life. 

Favorite Minor Character: Corporal Hawkins. This was a real toss up between the Corporal and Lieutenant Foster whose interference - though kindly meant - is what landed Claire in this situation in the first place (at least, in the show’s adaptation). Ultimately, I had to give it to Corporal Hawkins whose timidity Black Jack takes full advantage of so that he isn’t just playing and abusing Claire, he’s tormenting his subordinate as well. When Black Jack screams at Hawkins to kick Claire, he is so close to tears and looks just as relieved when Dougal enters as Claire is.

Favorite Music Moment: Dougal to the rescue. As soon as Dougal bursts through the door, the musical tension breaks and I can breathe again as the tone of everything immediately begins to lighten. Even though there’s still a bit more Claire has to go through before the episode is over, it’s clear from the music at least that she is safe. The tension builds - both in the dialogue and the music - so slowly and subtly that it isn’t until the shift occurs that it can be fully appreciated. 

Favorite Location, Favorite Book-to-Screen Adaptation, Favorite Costume: Saint Ninian’s spring. So much about this scene is my favorite in the episode. The introductory shot (pretty sure it was filmed using a drone) is such a brilliant way to bring the audience into this legendary and powerful spring - and after spending so much time in that single room at the inn, it’s like stepping through the door and out into the open air again. The exchange as Dougal questions Claire about being a spy one last time and then lays out his proposal for how to turn her from an Englishwoman into a Scot is one of my favorite Claire/Dougal scenes from the book. And finally Claire’s blue and green tartan dress. She’s been wearing it for a while at this point of the episode but this is the first scene where we get a really good, well lit look at it and it is my favorite of all Claire’s dresses in Season 1 (yes, even counting her wedding dress). The colors are entirely my aesthetic, the symmetry with which it is constructed (especially the way the pattern is turned on its side for the stomacher), and you can’t forget that lovely knitted shawl. I’m telling you now, this dress will be making another appearance as favorite costume when we get to Lallybroch.

Favorite Jamie and Claire Moment, Honorable Mention for Favorite Music Moment: Claire and Jamie chat and share a drink over the marriage contract. It’s really the only Jamie and Claire moment in the episode but it’s so good. He immediately knows that what she needs is a drink and makes sure to pour her a good-sized one to enjoy while he explains why he doesn’t object to the arrangement (without explaining all the reasons why he actively wants to marry her). The closing music track that kicks in as soon as Claire’s face registers the fact of Jamie’s virginity is another favorite and ends the episode on an up-beat (as Claire decides that she’ll need even more alcohol and takes the bottle from Dougal while the menfolk exchange some of the best facial expressions of the show). 

The Dragon and The Wolf: GoT Season 7 Finale Review Pt.2

Dragonstone

Originally posted by daenerys-stormborn

The scenes at Dragon Stone can be Divided between three Charcter and their interactions: Jon/Theon and Jon/Dany 

 Jon and Theon

Originally posted by fuckyeahhousestark

I must say that they gave us my second favorite scene of the night at Dragonstone. After Jon and Dany finish planning their journey North. Jon and Theon have a conversation in Dragonstone’s throne room. What ensues was a brilliantly written and acted scene. One of the best of the season.

Theon tells Jon that he always known what was right. What he should do as a man of honor. And has taken the correct steps accordingly; He could have lied to Cersei but Jon didn’t because if they are going to band together lies would only seed dissension (at least that’s the story he’s sticking to publicly). Which is true. Jon replied, he doesn’t always know what the right thing is and he has done plenty of things he has regretted. (Let’s stick that token in to the UndercoverJon2.0! Theory Jar). Theon goes on to tell Jon he has always felt like he’s had to choose between his two loyalties. An impossible choice of who he truly was: He is born a son and heir of house Greyjoy but he’s also been a ward of and raised by house Stark most of his life. As Jon said Ned was more of a father to Theon than Theon’s own father. That’s where the parallel begins but more on that in a moment.

Jon in act of true nobility and grace forgives Theon for as much as he can of what Theon did to the Stark family.  This is what Theon has needed, he needed to hear those words, he needed the redemption that it would bring him. It was beautifully written, one of the best scenes that D&D have done in this show. Not just for the final path to redemption for Theon and serves as the last push he needs to reclaim his courage but also a double entendre for Jon.

Theon then goes on to rally the Iornborn to save Yara. The fighting and crotch kick of a eunuch was a little bit much for me. You kicked me in the crotch but wait I just remembered I have the strength and resolve to beat you because I don’t have the bits that would hurt me for you doing that. Whatever, at least he is going to save Yara. This is going to be the final act for Theon and I don’t doubt that he will die fighting Euron while saving Yara.

Jon

The scene’s setting takes places in Dragonstone’s throne room. The ancestral seat of the Targaryen family and the traditional seat of the heir to the Iron Throne. The seat that Jon’s own father Prince Rhaegar sat on for many years. Here is Jon (The son of Rhaegar Targaryen raised by Ned Stark as his own son) firmly placed on the Targaryen Sigil etched into the floor and facing that very seat that rightfully belongs to him and he is telling Theon that he doesn’t have to choose between being a Greyjoy and a Stark. That he is both. He is the son of Balon and the son of Ned. The Starks are a part of Theon even if he is a Greyjoy. I almost cried, it was so beautiful. Jon giving him this acceptance of letting both identities dwell within him taking strength from them is going to make a beautiful parallel for when Jon finds out wo he truly is.  He is not just Jon the bastard, nor is he just a Stark. He is Aegon Targaryen the blood of the dragon, heir to the Iron Throne. Son of Rhaegar, Son of Ned. I have no doubt that just like Theon it will take him time to reconcile these two sides of himself but he will and only then will he come into his true self and fulfill his destiny.

Jon and Dany

Originally posted by jondaenerysdaily

Jon has Dany wrapped around his little finger. She is just agreeing with whatever he says.

Jon: The Dothraki will ride North

Dany: Sure, Babe

Jon: You’ll come with me

Dany: Whatever you say!

Jorah: Khalessi, I don’t think you should go by land. You could be killed by a stray arrow from a  Lannister loyalist. Fly Drogon there instead.

Jon: She needs to come with me or the North won’t trust her!

Dany: Yeah Jorah! I need to go with him. Saving the North not conquering, remember?

 

Daenerys isn’t listening to logical counsel any longer. She’s spurning in it, unless it comes from Jon. She isn’t listening to Tyrion and she isn’t listening to Jorah. These are her two closest and most trusted advisors. Men who have provided wise and true counsel for her over the years, Men who want to put her on the iron throne. Who is she listening to instead: Jon Snow. A man who only kinda bent the knee because he needs her to save the North. She is acting increasingly erratic and stupid. It’s good for Jon though, she trusts and does what he says all he has to do is make sure she stays the course he wants and doesn’t give her any reason to believe he’s playing her.


Part 3: The North Coming soon…..

8

Anna, so much has happened. So much has happened. First of all, Julian dupes me into believing that he’s Derek Wells. And before that, Faison – he’s over here, trying to seduce you while I’m held captive in Switzerland, and I’m powerless. I can’t help you. So, therefore, I am no one! But you helped me. You rescued me. And then, recently, Faison captures me again, and again, I’m helpless. And you come running to the rescue. Well, I’m through being rescued by you, Anna. I don’t want to be rescued by you, and I don’t want to be held captive by men like Faison. And I don’t want to be duped by people, people like the Jeromes! I’m done with that! I want to protect the people that I love. I want to protect myself. I want to have my power back. I want to be in control. I want to be the man that I was before! That’s what I want. I want to be that man!

  • Cuffs: *Is well written and brilliantly acted*
  • Cuffs: *Has LGBT+ main characters with proper representation*
  • Cuffs: *Has PoC and religiously diverse main characters with proper representation*
  • Cuffs: *Doesn't have a bad episode, has a wonderful cast and crew, is only in its first season and deserves a chance to grow a proper fanbase*
  • The BBC: *cancel it anyway*
Why I hate Steven Moffat’s Doctor Who #1:

This is the first post of my series attempting to detail everything that is horribly, horribly wrong with the modern state of Doctor Who, my favorite show. The basic premise is that I think Steven Moffat is an absolute narcissistic, sexist, hack, that he has turned Doctor Who into something that is idiotic and has none of the magic that it used to have, classic or revived, and that he should either quit or be fired as soon as possible. Each post will have it’s own specific reason that I personally hate the Moffat era. Enjoy.


1. He has failed to create a single character I give a damn about.

 One of the criticism’s frequently given to the Russel T. Davis era of Doctor Who that it focus far too much on Rose Tyler. Rose Tyler is my first and still one of my favorite Doctor Who companions, but it’s a fair point. The first two seasons obviously had Rose as the companion, the next season was about Rose having left, and the fourth season was about Rose coming back. While I liked both Martha Jones and Donna Noble, it could be true that the focus was on Rose at the expense of the other companions. But even then the thing that justified the focus on Rose was that she was a three-dimensional, well-written character, brilliantly acted by Billie Piper. Creating characters you loved and cared about was one of Russell T. Davis biggest strengths. While Rose is my personal favorite of his companions (I’m probably biased because she was my first), Martha and Donna were also believable, well-written, and well-acted Characters, brilliantly distinct from each other while still having their own strengths and weaknesses. 

Steven Moffat, on the other hand, has failed time and time again to create any character I care about, relate to, or even like all that much. Steven Moffat cannot write characters, more especially he cannot write women. He has given us two companions, and neither of them have any dimensions to them at all besides a few quips and their obsession with the Doctor. Also his sexism comes out in the writing his women(I’ll get to his sexism in another post.) Of his two lead companions I prefer Clara(this is another thing I’ll get to in another post, but let me be clear, Amelia Pond is one of the worst companions to ever travel with the Doctor.) One of the joys of Doctor Who, in the both the classic series, revived series, and Big Finish audios, is meeting these new characters, falling in love with them, experiencing the Doctor’s adventures through them, feel for their pains and loves, and emotionally bid them farewell once their time in the Tardis is done. 

I remember hearing a few months that River Song was returning for the Christmas special, and being startled at just how apathetic I was to the notion. I realized how throughly Moffat had failed to develop the character and establish her relationship to the rest of the cast. Basically what he did was throw her into the show, say, “She’s the Doctor’s Wife” and expect us to follow along with just that. He did the same for the Paternoster gang and basically every character he has ever written for his seasons. Since he doesn’t put any work into his character, I can’t possibly put any investment into their conflicts. As a head writer this is unforgivable. Doctor Who should have the best characters in the world, not these basic cut-outs. But it is still only one of his many, many offenses against the show. 

Update: I’ve decided to do a response to some of the criticism I’ve received for this post, namely that I’m vague in my criticism and that I don’t give reasons for my dislike of these characters and the writing behind them. I have friends who have warned me against doing this, but what the hell, I’ll give it a shot. First of all, I have special ire for Amelia Pond that I don’t have for Clara or River simply because I don’t think Karen Gillian can act. She has never convinced me of the emotional truth of her actions or her situation. While I don’t think Clara is massively better written than Amelia, I think Jenna-Louis Coleman is a far superior actress. Unlike Gillian, she manages to bring some truth to her character and has a better chemistry with both of her Doctors. 

Secondly, to address the other points, I agree that there has been the attempt to give these characters good backstories and character development. But creating well-rounded characters with good backstories is hard, and I think Moffat just gives shallow lip-service to who these people are. Any backstory and relationship doesn’t seem to be present in the majority of episodes, and many subtexts and histories are almost forgotten completely. Ultimately think he has the worst habit of telling instead of showing. Moffat tells us that Clara and the Doctor are best friends, but he doesn’t flesh out the dynamic between them well enough. He tells us that the Doctor and River are a loving couple, but rarely does he provide evidence that these two people have a deep romantic history shared. 

I don’t intend to make a habit of responding to the arguments in the notes, but I did think there were some valid criticisms of my first post. I stand by everything I said, and I hope that my update provided a least some clarity my original points.