but because of the way he was written as a plot device

ao3 klance fic recs

After making my way through most of the klance tag on ao3 I thought I’d share the ones that have stuck the most with me so far. honestly this fandom is a blessing, these authors are a blessing, these dumb space gays are a blessing. so in no particular order, please, have some klance;


Cheeky by rideahorse / a short and sweet oneshot that involves both kissing and incessant bickering, and honestly with this pair, what more could you ask for. rated T.

official summary: Keith pinches his eyes shut, slamming the book down again and swiveling to face Lance. “Oh my god,” he groans, standing up and crossing the two feet between them before Lance can get out a word. He grabs Lance’s face between his hands (perhaps a bit rougher than needed, but hey, he’s always wanted to slap Lance’s stupid face) and the last thing he sees is an expression of pure surprise before he leans down and presses his lips against Lance’s.It’s a peck, and it lasts a second, and then it’s over. Keith leans back, releasing Lance’s face, and hisses, “There.”

if it takes two by velvetcrowbars / Lance has a confession to make and Keith is a knight in shining armor (sorta). a well written oneshot that Lance is absolutely not going to remember in the morning. rated T.

official summary: After the Sendak attack, Keith and Lance deal with unresolved things. Whatever those might be.“Keith?”“What?” He finally says, safely slipping the piece over Lance’s head with minimal knocking against his temple. He sets the discarded parts on the floor next to the bed.“I have a confession.”

never been kissed by kairiolette / I got a pretty good laugh out of this one, Keith and Lance have a Quality Bonding Moment™ at a local alien burger joint and things may or may not get a little out of hand. not that either of them are really complaining. rated G.

official summary: “You give off the obnoxious popular vibe. The mullet, and the rap sheet, and—the fingerless gloves,” Lance replies, and barrels on before Keith can take it the wrong way. “I’m so handsome, my name’s Keith and I’m a pilot.”“That sounds more like a compliment than an insult,” Keith says slowly, a disdainful quirk to his eyebrows that only spurs Lance on. He tilts his head a bit, his bangs shadowing his face, like he’s assessing a particularly impossible physics problem. “And I don’t like that voice you’re using.”

A Fish And A Bird by Methoxyethane / I loved this fic, adored it to be totally honest. the writing is excellent and the plot is funny while also being meaningful. could alternatively be titled “Keith and Lance take miscommunication to a whole new level and then some”. rated T.

official summary: Lance has a boyfriend. Lance does not realize he has a boyfriend. Keith, understandably, does not react well.

head to head, neck and neck, side by side by kushling / lance actually wins a spar with keith and he is so incredibly baffled that he 100% misses the 5000 implications of keith’s super massive gay crush on him. also, avatar references. definitely worth the read. rated T.

official summary: Lance and Keith both like sparring, Avatar, and each other. They have a hard time admitting it. Pidge makes fun of them. Space swords!!!

Stranded by cyborgtoaster / keith and lance end up being both very cold and very gay, in that order. denial is rampant and i definitely snickered once or twice during this one. rated T.

official summary: On a mission gone wrong, Keith and Lance end up stranded on a barren planet during an unexpected ice storm. Left to their own devices, they have to find a way to keep warm for the night. For once, maybe they can get along and only increase their unresolved feels.

moments of silence by attemptsonwords / really well written and great character capturing. lace is super bi and keith is really really frickin gay, together they both start to put the pieces of their relationship together. rated T.

official summary: Quiet moments between two boys who spend most of their time yelling at the other.

Drive! by wolfgun / set in an earth-centric au, keith has obviously never attended a child safety course in his entire life since he thinks jumping into a strangers car and screaming “Drive!” is an acceptable escape plan. it’s like a sleepover au but better. rated T.

official summary: “C'mon, c'mon, c'mon! Don’t you know how to drive? With a car like this, you can’t tell me you just love to mosey on down the road like a goddamn geezer,” he taunted. “What is this? Just a bit of daddy’s money and mommy’s rules?”“I’ll show you geezer, mullet-head!"Au Prompt: You’re getting chased by the police and you just jumped in my car and yelled drive, wtf man (except it’s not cops because Lance’s mom would kill him for bringing home a wanted teen)

I’ve got 99 problems and you’re every single one by kitwitt / lace is so deep in denial it’s almost physically painful to witness, keith is so amazingly gay that’s almost physically painful, too. for an explicitly rated fic a majority of the (currently 4/5) chapters are more fluff then smut. well written and witty, keith is a snarky little shit and it’s great. rated explicit.

official summary: “Obviously I’m not gay.” Lance floundered, voice breaking to a higher pitch.
Shiro tilted his head slightly. “But you have a crush on Keith.”

In which Lance fails to mask his attraction to a certain pilot under the ruse of rivalry, and everyone knows but Keith.

Miscommunication and failures by Lance by mikuridaigo / oh man i got a pretty good laugh out of this. collage-student au where Lance fucks up big time and ends up with a seriously pissed off Keith on his ass. literally. rated M.

(it’s Explicit companion piece Disastrophe (I like it rough) is also absolutely worth the read if you’re looking for that kind of thing.)

official summary: When Hunk called the Sunday before the spring quarter began, asking if he wanted to grab brunch with him, Lance said yes; and when Hunk called again, saying that his friend was joining at the last second, Lance didn’t think anything of it.Until said friend was the best sex he’s ever had.Basically Lance is a screw up and fixing this mess was probably going to kill him.


I could absolutely keep going and going and going (and going) because there are so many great klance fics floating around out there. I definitely encourage you to root around in the tag for yourself if you haven’t already. huge shout out to all the voltron fanfiction writers out there, every single one of you are in my heart. every. single. one. 

thats all for now kids, tune in next time for more Quality Space Gay™ fanfiction recommendations !

anonymous asked:

If the Arthur series were to get a feature film (eg Powerpuff girls, SpongeBob, Hey Arnold, Rugrats) what do you think the plot, tone etc should be like? In detail please?

Following release from prison, Binky Barnes violates his parole by traveling to Elwood City to meet his partner-in-crime and friend Molly MacDonald to propose a caper. The two go to Crown City to pitch the plan to wealthy friend and former casino owner Muffy Crosswire. The plan consists of simultaneously robbing the Bellagio, The Mirage, and the MGM Grand casinos. Muffy’s familiarity with casino security makes her very reluctant to get involved, but when she starts to think of it as a good way to get back at her rival and father, Ed Crosswire, who owns all three casinos, Muffy agrees to finance the operation. Because the casinos are required by the Gaming Commission to have enough cash on hand to cover all their patrons’ bets, the three predict that, on the upcoming night of a highly anticipated boxing match, the Bellagio vault will contain more than $160,000,000.

Binky and Molly recruit eight former colleagues and criminal specialists: Arthur Read, a young and talented pickpocket; Buster Baxter, a casino worker and con man; George and His Dad Lundgren, a pair of gifted mechanics; Alan “The Brain” Powers, an electronics and surveillance expert; Francine Frensky, an explosives expert; Nigel Ratburn, an elderly con man; and “The Amazing” Sue Ellen, an accomplished acrobat. Several of the team members carry out reconnaissance at the Bellagio to learn as much as possible about the security, the routines and behaviors of the casino staff, and the building itself. Others create a precise replica of the vault with which to practice maneuvering through its formidable security systems. During this planning phase, the team discovers that Binky’s ex-friend, Prunella, is Ed Crosswire’s secretary. Molly urges Binky to give up on the plan, believing Binky incapable of sound judgment while Prunella is involved, but Binky refuses.

When the plan is put in motion, Binky goes to the Bellagio in order to be seen by Ed, who, as expected, has him locked in a storeroom to be beaten by a bouncer called Rattles. Rattles, however, is a friend of Binky’s, and he allows him to leave through a ventilation shaft, to meet with his team in the vault. Arthur poses as a gaming commission agent and reveals to Ed that one of his employees is actually Buster Baxter, an ex-con. Arthur and Buster stage a faux confrontation in Ed’s presence so that Arthur can steal the vault access codes written on a piece of paper in Ed’s jacket. Sue Ellen is smuggled into the vault by the Lundgrens to assist in triggering the explosive from the inside. Nigel sneaks explosives into the casino vault by posing as a wealthy international arms dealer who needs especially secure safekeeping for his valuables and then pretends to have a heart attack that draws the security men’s attention away from the vault monitors, and is subsequently treated by Molly posing as a doctor.

Francine activates a stolen EMP device to temporarily disrupt the casino’s electrical power, allowing Arthur and Binky to drop down the elevator shaft undetected. As Ed attempts to restore order following the power outage, Molly anonymously calls him on a cell phone that Binky had earlier planted in Prunella’s coat. Molly tells him that the vaults are being raided and that all the money will be destroyed if Ed does not cooperate in loading half the money into a van waiting outside. Ed observes video footage of the vault that confirms Molly’s claims and complies in moving the money but orders his men to follow the van after it departs and calls a SWAT team to secure the vault and the other half of the money. The SWAT team’s arrival results in a shootout which causes the incineration of the half of the money left in the vault. After assuring Ed that the casino is secure, the officers depart at Ed’s insistence.

Ed’s men following the van discover it is being driven by remote control, and that, instead of money, it contains duffel bags full of flyers advertising The Sugar Bowl. Ed realizes that the vault video feed he had been watching was pre-recorded, as the vault floor in the footage lacked the Bellagio logo, which had only recently been installed. A flashback reveals that Binky had used the vault replica to create the fake video Ed had seen. The rest of the team posed as SWAT officers and took all of the money in the vault when responding to Ed’s call for police assistance. Ed then returns to the room where he left Binky and finds him still there, apparently still being worked over by Rattles, leaving him with no way to connect Binky to the theft. As Prunella watches via security surveillance, Binky tricks Ed into saying he would give up Prunella in exchange for the money. Binky then says, “All right. I know a guy. We were in the joint together. Anybody pulls a job in the western US, he knows about it. Give me 72 hours. I’ll find out who took your money”. Ed orders his men to escort Binky off the premises and inform the police that he is violating his parole by being in Crown City. Prunella leaves Ed and exits the hotel just in time to see Binky arrested. The rest of the team bask in the victory, silently going their separate ways one-by-one. When Binky is released after serving time for his parole violation, he is met by Molly and Prunella, and they drive off, closely followed by Ed’s bodyguards.

5 Signs You Treat Your Reader Like an Idiot

(1) Overusing Adverbs

For Example: “Get out, Michael. I swear to God, get out before I try to kill you. I wasted two years of my life on your pathetic cheating ass. Get out!” Tara yelled angrily.

Adverbs are, more often than not, useless additions to your writing. Looking to the example above, adding “angrily” to the end of the line tells the reader nothing new. The reader knew Tara was angry, because Tara is clearly yelling at Michael. The dialogue alone is enough to portray this, and I’m sure with the full scene, the reader doesn’t need any extra help. Adverbs clutter up your writing and weaken your writing. Trust the reader to catch on without the adverb.

(2) “As if” Phrases

For Example: Mrs. Winters lingered over Bryan, her stern face glaring down at him, as if daring him to speak out again.

You don’t need to explain why characters are doing what they do. “As if” phrases are explanations we don’t need. Your writing needs to be strong enough to portray that Mrs. Winters wants Bryan to shut up.

(3) Exposition in Dialogue  

For Example: “Hello, Bridget, my ex-girlfriend who cheated on me with Brad”.

I wrote a whole post on this last week, because exposition in dialogue is absolutely terrible, but I will say it again. Using dialogue to explain things is usually just lazy writing. Dialogue needs to sound the way that people actually talk. Keep in mind that the characters know more than they say, and rarely need to explain it.

(4) Lazy Research

For Example: The curtains opened and Jared lifted the wand. With a wave, he instructed the winds start playing. The hall filled with the melody of flutes, clarinets and trumpets.

To the untrained eye, Jared is a decent conductor, and is doing a fine job leading the orchestra. To a musician, this scene would come off as weird. The stick a conductor uses is a baton, not a wand. Trumpets are not wind instruments. These details aren’t enough to completely ruin a story, but if you have a character interested, you need to do research. Know what you’re talking about. Using the right words, terms that are only used within the community (for this example, words like staccato or laccato tell musicians how to play a note).  If you have a character who is a musician, learn about music. If you have a character who does ballet, learn what a pliée is, and what an arabesque is. Don’t assume your readers won’t notice if you mess up on small details. The small details matter.

(5) One Dimensional Characters

No matter how minor a character is, it is your job to make them matter. Every character should have some sort of story. It might go untold, but characters need to be people in the universe you created, not plot devices there to guide your main character to what they need to do. This is especially true when writing women. Many female characters are written with the purpose of being a love interest to your main character, and they deserve more than that. 

Analysis: Romance in One Piece

Note: I’ll be posting condensed versions of this analysis in other sites

A) Relevance of plot and characterization AKA Unbiased Readers Vs. Delusional Shippers

“Who lives on ilusions dies from disappointment” – An old Puerto Rican saying

Most of us know One Piece is a very popular manga. Its high quality and popularity depends on several factors, among them we could name memorable and likeable characters along a deep, compelling, fun and action-packed story. The One Piece many know and love wouldn’t exist without the balance between these factors

When talking to at least 3 different One Piece fans, each of them non-shippers who analyzed the manga they all enjoy, I found interesting and pretty sound perspectives of the One Piece story and its nature. All of them value characters, story, development, consistency and logic; something I can totally relate to

But I also found a pattern; these 3 guys shared one single outlook on the very same subject: shipping. Regardless of their expectations, all of them expressed distate for shippers’ general mindset and “odd” viewpoint:

One of them called shippers out for ignoring characterization and very clear and direct statements made in the manga. His attention was centered on a Luffy pairing and how it contradicts his own character. Oda once explained that he writes Luffy as someone pretty straightfoward when it comes to expressing his thoughts and feelings, and this non-shipper said with brutal honesty that for the discussed ship to happen we would need to disregard and/or discard the very core of Luffy’s character. Meaning Oda would need to stop being consistent and faithful to his own story and characters

The next one explained how shippers tend to turn a characters’ relationship into a sappy teen love fantasy that doesn’t match One Piece at all. His analysis also exposed how integrating this kind of underdeveloped “love” into the story would severely damage One Piece originality, ruin the series and needless to say destroy the likable dynamics between several characters as well as their own development. This fantasy, this so-called “love”, is what the vast majority of shippers support and defend. The same kind of “love” most non-shippers, fans and critics dread

The third non-shipper gave me a more detailed explanation: this is even more rough than the other two as he describes that the common shipper mentality of “he/she likes her/him so they should be together” can “only be likened to that of elementary schoolers”. And how shippers take every little meaningless detail and blow it out of proportion with no regard for context, legitimate bonding or the canon story!

But we can’t put all the blame on shippers. Many manga authors seem to have no idea how to write a character-driven series or complex character relationships. In fact, mainstream shonen writers have their fair share of guilt into promoting this common shipping mindset by being notoriously bad at writing romance. Which results in underveloped premises that leave your average fan skeptical, and your average critic disappointed at a poor portrayal of emotional bonding and a severe lack of cohesive narrative in the “romantic love” department

This is the reason why many fans, critics and non-shippers hold the shippers’ perspective in a very low regard. Just like the third non-shipper states: “The blushing, longing stares, corny ass lines etc. That kind of poorly portrayed romance is the kind of thing dreaded by the average fan because it reduces the quality of One Piece to the level of such poorly written series”

So an author needs to build a relationship the same way one person would construct a building: stablishing a strong foundation on companionship, respect, trust, signifcant moments, and emotional bonding. All of this must come before reaching the status of “romantic interest". In relation to this subject, there’s a trope called “First Girl Wins”, a portion of its description truly fits this criteria:

“From a [extradiegetic] point of view, the Law of Conservation of Detail suggests introducing the Love Interest early. An early introduction allows you to get the audience interested in her and rooting for her, gives you space for Character Development, and gives her relationship with her (eventual) partner the most time to develop organically. And with all that said, it’s such a common device that in all likelihood, it sometimes gets played for its own sake.” – tvtropes.org, 2017

Notice this isn’t a cliché, this is a literary device to enhance the story. Pairing up two characters without meaningful moments, emotional build-up and development, is the equivalent to lazy writing. Having such elements firmly stablished for two characters and then deciding to go for a different “route”, pretty much wasting a well-developed relationship for the sake of a “weaker” premise, would be the equivalent to bad writing

Is Oda, the man who’s willing to die for One Piece, a lazy writer? Of course not! Is he, a man who planned the ending years ago and is still sticking to said ending, a bad writer? Being number 1 in Japan and having such a loyal fanbase all around the world prove he’s not!

Do shippers want Oda to be a lazy/bad writer? Facts already answered this question as many (although not all) fans value their own fantasies and delusions over the manga canon and/or the author’s take on the characters and their relationships

Many (but not all) shippers now have a war. Not only against rival ships but mainly against One Piece story and consistent development. Yet as the old saying goes, those who live on delusions will have to eventually face reality and disappointment, because Oda is not a lazy/bad writer like some people here would want him to be

B) Romance Dawn AKA The not so secret origins of One Piece

“If we don’t know where we are going, it can be helpful to know where we come from” – Jostein Gaarder

When debating posible outcomes, fans rarely look back at the time when One Piecewas a still a work in progress. Taking a look at Romance Dawn V.1 and Romance Dawn V.2 helps us to see there are constants present in all versions of these Works that made it into what would later become the most popular manga in Japan

But before discussing those constants I would like to clarify the meaning of the word: “Romance”. There are people who doesn’t really grasp the concept of “Romance” both One Piece and Oda work with. Luckily the first two non-shippers I meantioned shed some light on this subject:

Romance:

“A mysterious or fascinating quality or appeal, as of something adventurous, heroic, or strangely beautiful
“A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place”
“A narrative in verse or prose, written in a vernacular language in the Middle Ages, dealing with strange and exciting adventures of chivalrous heroes

– thefreedictionary.com, 2016

“A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious
–  Merriam Webster, 2016

Romantic:

“Marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized
“Having an inclination for romance: responsive to the appeal of what is idealized, heroic, or adventurous

–  Merriam Webster, 2016

These definitions match pretty well One Piece and Oda outlook on this concept. Even Oda lampshaped this by giving his own translation to the title: 冒険の夜明け (“Bōken no Yoake”, “Dawn of the Adventure”)

So Oda’s “romance” covers a wide variety of themes: Adventure, heroism, mystery, virtue, idealism… we can find comedy and tragedy, happiness and sadness. And among the virtues and the idealism we find companionship and love. As the second non-shipper I mentioned explained One Piece is pretty much like an “Adventure novel”, which is why we’ll find in One Piece many of the tropes commonly used in those books

Among those tropes, we find a couple of constants in all versions of “Romance Dawn”

The golden-hearted protagonist and the “First Girl” who doubles as a female lead. Think about this “what if” scenario: If things would’ve played different back then and One Piece never went beyond “Romance Dawn V.1”. If that story were to be elaborated futher, which two characters would had shared the most moments to become endgame? The answer is pretty simple: The golden-hearted protagonist and the female lead!

But when debating, the weight of the argument depends on edvidence so we need to rely on what we can confirm. And we confirm this, what’s the constant in Luffy’s story in all versions of Romance Dawn? a Nami-like character

This becomes even more interesting when we discover that at an interview at “Manga no Chikara” and others, Nami was supposed to be the first one to join Luffy but her debut was postponed by Oda’s editor at that time. Edvidence of this being a last minute decision remains on the first color cover:

Yet as the second non-shipper noted: “her role as secondary protagonist was not altered” for “Nami shares with Luffy the largest character development in the entire series”. And as explained here we already know how the trope goes when someone seeks to write a natural growth for an emotional connection between two characters 

In fact, the relevance of Nami to Luffy’s story is implied in what Oda himself said about Strong World: “I really wanted to make a ‘hero saves the heroine’ story (ヒロインを助けるヒーローを描きたい the japanese sentence). [….]. You might think otherwise, but I had no intention of bringing in someone new to fill that [heroine] role. So when I had to think about whom to use for it amongst the straw hats of course that meant Nami

In Oda’s mind, Luffy is the hero and Nami is the heorine! We can tell that the hero and the heroine are meant to be the driving forces of the series, and therefore putting them together makes the most sense from a storytelling perspective

C) LuffyxNami AKA LuNa/LuNami

“Logical consequences are the scarecrows of fools and the beacons of wise men” – Thomas Huxley

Many shippers tend to ignore and disregard the importance of staying faithful to the canon story, and the author’s take on the characters and their relationships

To makes matters worst some of them even deem as illogical any argument solidly based on these factors. While considering stuff like lines, frogs, sweat, fire, nonexistent sexual tension, assumption of sexuality, and even assumptions of pregnancy, as legitimate proofs of a plausible outcome! In fact they even value comparisons to other series with a different tone, themes, and characters over anything that the One Piece author conveys through his work

There’s even people who goes as far as editing the wiki as if that would change the story to match their preferred pairing!

But in order to reach a conclusion that remains true to One Piece and its nature we have to rely on the very same foundation that was already described several times: mutual trust/respect, faith on one another, significant moments, stress in their relationship and emotional development. If the story doesn’t let you build your premises on these elements, the conclusion you’ll reach will obviously be flawed and stray away from what One Piece really is

So here I’m not only defending the premise I strongly support; I’m defending the very same story and build-up that contributes to this bond’s natural growth:

As explained before there’s nothing explicitly romantic about major interactions. But given we’re dealing with a good and dilligent writer, what we’ll get to see is how big to small moments stablish an emotional connection between two characters, and how that becomes the base for a even greater growth

First we have the themes of trust and faith: At first Nami doesn’t trust Luffy very much, out of her clear distate for pirates, until witnessing how far was Luffy willing to go to selflessly help others. Even then Nami treated their relationship as a mere business and later betrayed the crew

Still Luffy always trusted Nami to the point of putting blind faith in her. Even when given reasons not to do so. One remarkable example is when Luffy was informed by someone trustworthy (Johnny) that Nami apparently “killed” to Usopp, and Luffy not only kept holding onto his blind faith in Nami but he also threatened Johnny for saying such things about her


This becomes something remarkable when we take into consideration that Zoro quickly gave up on Nami and later tried to attack her without even a second thought! While Usopp just wanted  the Merry back…

And it would later become even more impressive in the Whiskey Peak Arc when Luffy came to doubt Zoro because of the words of wounded man he didn’t even know, and even doubted Robin during Water 7 until Nami told him and the crew the truth behind Robin’s desertion:

But what else makes this situation with Nami any different from others we see in the manga? Some might point to the saga where rescuing Robin was the primary objective; but in Robin’s case Luffy knew her life was in danger for Robin was planning to die for the crew, and he got the resolve to save her only after learning the truth. Others might point to the current arc, but he saw right through Sanji’s act and got desperate to rescue him only after hearing his life is in danger.

Here, Nami’s life wasn’t in danger as far as Luffy knew. And he constantly try to reach out to her despite her harsh attitude and the fact he knew next to nothing about her past and her current circumstances. It was only when he saw her cry he got enough motivation to beat Arlong, and it was only when he got a small glimpse of what she went through that he lost it!

How does Nami respond to this? Initially she wanted to get Luffy out of her villaje and her life. While Nami indeed grew fond of Luffy and the others she wasn’t willing to bond with any of them; she held on her distrust of others. But that changed when she finally hitted her lowest point, when she finally lost all hope. Then it comes Nami’s first major development as character: she realized she needed to rely on someone else, she realized Luffy was her only hope Nami decided to rely on him. The following scene marks the first time of many when Nami relied on Luffy to a emotional level. And the first of two times when Luffy entrusted his treasure to her in a touching gesture to provide comfort and hope:

From the very beginning the emotional build-up between Luffy and Nami was a key factor for one of the most meaningful and memorable moments in One Piece. The moment when Luffy becomes Nami’s “emotional anchor”

The effect Luffy had on her character was also quite powerful as we could see during the 2nd pass of the hat: back then at Skypiea arc Nami could still panic at dreadful situations: 

But as soon as Luffy gave her his treasure, the panic stopped and when he was later removed from the battle field, Nami was capable of drawing enough courage from Luffy to face the big bad from that arc:

Not to mention Luffy’s final move against Enel was combined effort of the two as well as an impressive display of mutual trust/faith

We can continue to appreciate their development even futher as the story goes on. As someone already pointed out, Nami during Water 7 displayed an impressive resolve and determination, but as soon as she got the chance to explain Luffy their situation she opened her heart to express how she felt, her anguish and her distress. When Luffy reassures her that he will save Robin, she doesn’t cry anymore until she reunites with Robin

Their bonding is even futher explored in the only One Piece movie fully written by Oda: Strong World. As this is the author’s take on their relationship is still a valid argument to support Luffy/Nami development:

We already considered how impressive Luffy’s blind faith in Nami can be. So after listening to most of Nami’s recorded message, Luffy gets enraged! Why?

Well, after all that time Luffy relied on his navigator without ever doubting her. He was likely expecting all his trust and faith in Nami to be reciprocated

Turns out Nami does return that feeling! And why can we say that? Remember the movie’s ending: Nami finds out everyone in the crew got her hidden “save me” at the end of her message… everyone but Luffy. Then when Luffy is about to play the recorded proof of Nami’s unwavering faith in him, what does she do? She tries to get rid of the “edvidence” out of embarrassment 

It’s easy to see then why Nami seeked out Luffy for hope and comfort during Zou. And how she did something similar to what happened in Water 7: she opened up to Luffy

I said it before, since Luffy is Nami’s “emotional anchor”, it makes sense for her to keep strengthening her bond with Luffy. And given Luffy needs a guide to new adventures and someone “mature” enough to sometimes keep him in line, it makes sense for Luffy to grow closer to Nami

She once summed it up pretty well: “He always talks big, but when it comes down to it, he knows nothing about the sea! He’s severely lacking in the ‘sense of danger’ area! And he always overdoes it…if I left him alone, he’d die. And he’s stupid, so I have to take care of him. That’s why I’m gonna help him!” - Nami, chapter 596

Still, none of this is explicitly romantic in the traditional sense of the word. But just like someone who’s contructing a building, we start dealing with the foundations to then proceed to make a solid structure: a well-written relationship that enhances the story

As someone once reviewed, Luffy and Nami dynamic doesn’t need to chance for them to become endgame for they already have anything they need to finish that “building”. And that’s what’s being a potent pairing means: having everything to your favor for futher development and growth. Luffy and Nami definitively have the major moments and the emotional bonding while remaining consistent to the One Piece canon to be considered a Potent Pairing

Bonus:

It’s interesting we find other interaction that proves how comfortable is Nami around Luffy: 

She doesn’t mind having Luffy around her, what she really minds is Luffy wanting to go to dangerous places But why is this relevant? In Thriller Bark we had a clear showing of how she reacts to pervs trying to accomplish what Luffy did here. She electrocutes them. We can confirm she haven’t changed in this regard because at the end of Fishman Island arc Nami electrocutes a perv for trying to peek at her while she was taking a bath

Another interesting detail about Nami’s attitude toward Luffy is a change we see in WCI. Of course we have the remarkable faith and trust Nami puts on Luffy by even boasting how him being the future Pirate King ensures their victory over Cracker’s ability.

But the real change is when Sanji brutalizes Luffy. Nami already stated she felt guilty for what happened when Sanji got taken. But when Sanji did his “little” number on Luffy her attitude changed, she not only begged him to stop but was also promising they’ll leave if he did (Luffy clearly disagreed on that)

After seeing the way Sanji treated her captain, Nami did something the could seem pretty justified because of what happened: she slapped Sanji and then sarcastically played along Sanji’s “royal” act.

When she goes to Luffy and finds out her captain is not relenting on his effort to get Sanji back, she gives us this little gem:

The Japanese text for Nami’s dialogue reads: “Luffy!! Why?! No matter what his reasons are, after he did all that to you…”

The term she used here for the line in bold conveys the idea of severe mistreatment. She was obviously mad at the way Sanji attacked and badmouthed Luffy and his dream. Ironically Luffy is the one who shows far more emotion to the prospect of getting Sanji back than Nami, she kept displaying far more concern for Luffy as the chapters went on

Nami is now showing, little by little, more of a emotional attachment to Luffy. Which makes a lot sense given what we saw in their story

anonymous asked:

Even tho Cassie Clare was problematic at first, she got a whole lot better in her later books- Jem in TID, Cristina in TDA, etc. The Last Hours series is going to be released starting either 2018 or 2019, and it's going to have two biracial (British-Iranian) siblings. One of them will be a focal POV main character. Her name's Cordelia. Unfortunately the fandom thinks she is white because she has red hair. I wonder if they ignored the fact she has brown skin and speaks Farsi?

Cassandra Clare might have characters of color and LGBT+ characters in her books, and she might try to seem “inclusive” and “progressive” with “her” work. I think, however, that she utterly fails at that. Under the cut, a list of all the reasons why her diversity isn’t worth much, and why I don’t think anyone should be giving her any more money, as she will just keep on dissapointing. Call this… 

The Cassandra Clare is inexcusable masterpost: 

Keep reading

BS Bending in TLOK

Watching The Legend of Korra is so disappointing in a lot of different ways. So if you ignore the plot, you’d expect at least some good action scenes with the effort and consistency from the old show. Ehhhh. The bending in LOK is strikingly idiotic and a degradation of the gem from the old show. Maybe if I weren’t comparing it to The Last Airbender, I wouldn’t mind it. But the fact it is so blatantly off from its predecessor makes for another highlight of Korra that I can’t un-see. From how elements are manipulated to even more complex shit with specific kinds of ~special people bending~, Korra, if I can put this politely, fucks everything up.

Right from the start you can tell that Korra definitely dumbed down the movements of the characters. It’s odd because the martial arts expert from Avatar worked on Korra as well. However, he only worked on 22 episodes of Korra, compare that with his 61 episodes guided in The Last Airbender. It’s probably a mix of Kisu’s lack of involvement, and an overall decision from the writers that maybe it wasn’t as important? Which is sad, because it really disassociates the audience from the complex spirituality and intricacies of the world. Styles benders seem to have spent years mastering are lost, and replaced with a modern, boxing type “PUNCH PUNCH PUNCH!!!” Hollywood action situation. Here’s some pretty (MS PAINT) pictures to do the talking for me.

And a bonus:

If the simplification of normal bending hasn’t gotten to you, there’s still a lot more I have to sift through. There’s so much shit pointing to how bending’s complexity was reduced for coooool moments. I’m even going to make nice little subheaders.

Lavabending 

So, in ATLA we see lavabending is a feat only the Avatars are capable of. Roku does it, Kyoshi does it. Avatar cool kids only. But then in Book Three, Bolin suddenly has the ability to lavabend at the tip of the hat. Which, by the way, is another thing stupidly prevalent throughout this series. Both Korra and Bolin in times of crisis suddenly have the ability to do things they couldn’t do, but really wished they could’ve. Hooow convenient.

So the discrepancy here is how Bolin can lavabend, and so can this random Earthbender guy, wouldn’t that mean all Earthbenders can? Metalbending makes sense, but lava is so hot it’s going to set stuff on fire. Technically, it counts as two elements, and has been confirmed as such by making it an Avatar-only thing in ATLA. But now these two random guys can just do this. Apparently it may even be easier than metalbending, which is also ridiculous. If lavabending is just bending the Earth to “go fast”, that’s a lot easier than metalbending because there’s more mass to bend. Just make it go zoom zoom and blamo everyone’s a lavabender.

Some people like to claim that because Bolin had an Earthbending dad and a Firebender mom, then that means he can control both elements to control lava. Which is dumb because then that would make him a fanfic-esque Dual Bender. And we really don’t need any of those. It’s never explained or justified, and is so different from the original show, it feels…sacrilegious. How dare you dishonor the lore. /s

BALD AIRBENDING MAN

What’s his name?

I don’t really care, because he’s dumb too. I feel like I don’t have to elaborate, though. It should be pretty obvious. ~Harmonic Converge~ (weird af plot device) gave him airbending, and because he studied it before and read a book by an Airbender Lady, he’s a master at it now. His powers are so innate, he worked so little to get to where he is. Hell, he didn’t work at all.

Unless you want me to believe that all his days in prison, he anticipated becoming an airbender and practiced all the moves beforehand. Granted, there are no official moves anymore. I’m sure he’s experienced in reckless punching. That’s all you need to bend, right?

If he can read a book and be great at airbending, why can’t Korra. Why didn’t Aang read THREE books to go defeat Ozai. Aang just should’ve read Earthbending for Dummies. Then he could bend the entire world off its axis. And This Bald Guy can jump off a cliff after quoting some “deep airbending lore” and he can FLY. Not even propelled by anything or even (AGAIN I REITERATE) moving his arms to BEND the currents around him. He’s not flying. He’s floating. And floating characters have always seemed like pretty bad animation, seriously. He looks like a late-stage yuri on ice character. Super out of place, and moving oddly across an undefined plane.

MAKO IN GENERAL

Mako does a couple things I’m not a big fan of. Ok, a lot of things. But in terms of bending, I have a few choice picks.

In Legend of Korra, lightning and its redirection has a lot less of an impact. Being electrocuted no longer hurts anyone unless the writers want us to feel bad for a character being hurt (usually Korra). But half of the time, it’s just there to look really COOL and not really do anything. This is proven by two things. Mako shoots lightning right on Amon at point blank, and Amon isn’t affected. The same is true for Mako. He HOLDS ON to the lightning and ISN’T AFFECTED AT ALL. Let me make another ATLA/LOK comparison.

Zuko: Tries to redirect lightning, gaurding his torso so hopefully it doesn’t hit him. In the end it does and he’s pretty much out of the fight.

Mako: Doesn’t even really care if he’s hit by the lightning at all. He holds on to it for a good few seconds, because it’s not like electrocution hurts or anything. Only after getting a REFRESHING SHOCK for a good bit does he decide to toss it back at the Robo Man.

Maybe this would make sense because Mako is supposed to be a cool, all-powerful Firebender. But then even that theory breaks down, because he can withstand the strongest forms of raw fuckin’ Bending Power from all elements, apparently.

He does another of these dumb moves when he’s being bloodbended by Amon. We see Amon being bloodbended, but he escapes the grip, and the audience assumes it’s because he’s a bloodbender. But then suddenly MAKO CAN DO IT TOO. What a great guy.

Also Amon’s fine from this shock as well. And this kind of encompasses everything I’ve touched on. There’s Amon bending without moving, Mako having unrealistic powers never touched on before, and powers that are nerfed to all hell just to add ~drama~ in replace of actual sense.

TL;DR: LOK’s bending is saturated action filler written in for wish fulfillment, sacrifices old techniques and inner consistency for cool looking moves and scenarios, and shows a disappointing lack of passion or misunderstanding of the source material

sacchariwrites  asked:

Are you going to tell us now how you changed the story after you saw episode 10? You said you had to go back and re-outline the whole thing. I am interested in knowing how it differs.

i’m sorry if someone has already asked you this but can you share with us the original plan you had for umfb before episode 10? or can you not tell us until after the companion fic?


How Episode 10 Changed Everything (and other fun stories):

So as I’ve said a couple of times before, episode 10 was an absolute game changer for Until My Feet Bleed and My Heart Aches and now that the fic is finally done I’ll try and explain how although this may get a bit long and I wont go into too much detail about Viktor for companion fic reasons.

So the main three things that episode 10 changed in the fic was Viktor’s entire character, Yuuri as an unreliable narrator and the program music.

The most significant by far was Viktor’s character. Because pre episode 10 we really still didn’t know that much about Viktor and we had no idea about the banquet. So before episode 10 I assumed that Yuuri fell in love first and Viktor came to coach Yuuri out of curiosity because he likes surprises and doing something different and eventually and unexpectedly found himself falling in love. In a draft for another fic I was tossing ideas around for it actually centred on Viktor only realising he was in love with Yuuri just before the kiss in episode 7. Viktor was always very mysterious and I’m sure people who were in the fandom pre ep10 will remember all the theories that he was just using Yuuri and all that and while I didn’t believe that, I did assume that Viktor’s character trope was the ‘workaholic slowly learns how to love by being loved’ one.

But then episode 10 comes and completely knocks that out of the water because we find that Viktor is actually this adorable sappy romantic who calls Yuuri sleeping beauty and adores him and fell in love with him when he was wasted and dancing and brought life and love back into Viktor’s world. And that completely changed Viktor in the fic because after an episode from his pov I had a much better handle on his character and realised he absolutely wouldn’t act like he had been planned to act in the fic.

In the original plan he wasn’t ever a bad person or anything but he was actually a rival for Yuuri and he didn’t fall in love until much much later. But with episode 10 we also found out that Chris and Viktor are best buddies and Viktor likes skating with Chris and can’t imagine a season without him which means that in the fic there’s no way that Viktor would feel threatened by Yuuri as a rival because in canon he’s besties with his competitor and he’s way too much of a sweetheart for that. So in the fic it changed from Viktor reciprocating the rivalry to Viktor actually enjoying the challenge and excitement it brought into his life.

As for him falling in love, in chapter 10 the singing thing was always planned but that was originally the first sign that Viktor was starting to feel affection for Yuuri and was just the very beginning of him falling in love. It chapter 10! But after ep10 I realised that Viktor ‘love at first drunken dance’ Nikiforov would definitely not be having a solid two years of a ‘relationship’ and just be starting to fall because that would be seriously ooc and we finally saw just how much he adores Yuuri through his own eyes. And so in the fic I reworked the whole thing to fit with Viktor as a character as I now understood him and that included him falling first, falling hard and falling early.

Episode 10 also showed us just how much of an unreliable narrator Yuuri is, with the banquet and also how different everything seemed from Viktor’s eyes. And so that meant that I started to play with the idea of Yuuri being a seriously unreliable narrator and trying to tell a story where his version is very different to the version the audience see, which is obvious now pretty crucial to umfb&mha.

I also went back and reworked all the program music for the fic once episode 10 came out. Before it was all important and did have significance but after I knew that Viktor was going to fall early I decided to play around with the idea of showing the audience how he was feeling through his music. So I went back and completely changed the program music to tell a proper story (funny story, originally Yuuri was going to be the one skating to Sun and Moon. And then episode 10 happened and I looked at the new outline of the fic like ‘this is such a Viktor song oh my god).

Another thing that episode 10 changed was originally Chris wasn’t involved in the fic at all until we found out about his and Viktor’s friendship and that he’s actually such a bro not just a weird guy who gropes Yuuri and comes on the ice. As well as that, in episode 10 we also found out that Yuuri was actually the unknowing playboy in the Eros story not Viktor, coming into Viktor’s life, stealing his heart and then leaving without a word, which lead me adapting the fic to umfb!Yuuri becoming a perceived playboy by others through certain things that will be explored fully in the companion fic as a reference to that. There were also some smaller changes like the inclusion of the drunken Olympics and Yuuri knowing how to pole dance as a shout out to the episode.

Episode 12 also changed a lot. One of the things was Yurio and his role in the fic and how he feels about Yuuri which will be explored more in the companion fic. Also the original end of the fic was that Yuuri was going to try and fail to do the quad flip which ruins an otherwise perfect skate and potentially loses him the gold but he was willing to sacrifice it to tell Viktor. But in episode 12 we see that Yuuri can do a quad flip with his love for Viktor as motivation so it changed to Yuuri still potentially ruining his skate because he isn’t sure if he can land the jump but doing it anyway and actually succeeding because every time he tried and failed before it was because he was doing it out of bitterness trying to beat Viktor and this time he was doing it out of love.

The fic also changed a lot over the course of writing it just because characters take on a life of their own and my first draft was very rough and done before I’d written anything so I’ll try and do a chapter by chapter run down of the big changes from the rough plan I wrote before starting the fic to the end result.

Chapter 4:

·       Phichit originally wasn’t a big part of the fic but that very quickly changed because it’s Phichit and he’s so damn important to Yuuri and such an amazing character so I added him in early and made his part much bigger

·       There was originally going to be a discussion between Viktor and Yuuri that went badly and they both ended up annoyed and offended which sparked Viktor’s side of the rivalry but there was no way to do that without making them both dicks and ooc and after episode 10 it changed to Viktor trying to be helpful but unreliable narrator Yuuri taking it wrong and cutting the conversation short

Chapter 6:

·       Yuuri was originally going to be watching interviews and stuff of Viktor and thinking how arrogant and self-assured he was but this changed with Viktor’s character change because that’s just not him

·       Viktor was going to make a comment about Yuuri’s quads but this one was actually going to be an insult and again changed when Viktor’s character changed

·       The idea for the dream sequence only came later

Chapter 7:

·       Pole dancing only became a thing after episode 10

·       Viktor was going to only miss the GPS and come back for Worlds but lose because he wasn’t fully recovered but I decided I didn’t want the first time Yuuri won against Viktor to be so unsatisfying

·       The watching Yuuri skate at the rink didn’t originally happen at this point in the fic until after I saw ep 10

Chapter 8:

·       Yuuri never lost motivation originally but I decided at that point it was important in his character to almost give up but then come back with a vengeance

·       The drunken Olympics never originally happened

·       They were both originally going to be drunk when they first slept together but that got thrown out almost immediately because consent is very important and there was no way I was going to write a scene where both of them were drunk and therefore couldn’t give proper consent.  Also it was important it wasn’t a drunken mistake but a deliberate choice.

·       Viktor getting drinks never happened, instead he was going to be treating Yuuri in a similar way to how Yuuri was treating him

Chapter 9:

·       Yuuri was originally still going to be very hostile before I realised it was ooc and a dick move after Viktor was being nice to him so it changed to him congratulating Viktor after Viktor won. That then changed the sex scene from the mutual hatefuck it was going to be pre ep10 to Yuuri and the comments thing that sent him spiralling. The not-talking thing was also added as a plot device because Viktor as he became acted very differently to him as he was originally planned to be and it would have been too easy if he had been allowed to talk.

·       Viktor was originally going to take Yuuri out to dinner at the WC purely out of guilt

·       There was originally going to be another sex scene after the WC and dinner where Yuuri was angry at Viktor for ruining his skate but it would be ooc for both of them and got changed early on

Chapter 10:

·       Number swap was supposed to be just for hooking up but changed after ep10

·       Yuuri’s theme was originally going to be something related to hatred but it changed as his character developed and I realised how he was being affected by the events of the fic was different to the plan and that would be doing him a disservice as a character

·       Viktor was still kind of being a bit of a dick and making snide comments during sex when Yuuri won which was changed when I rewrote Viktor as a character after ep10

·       Conversation with Phichit was very short and didn’t involve a lot of the stuff it did in the final chapter

·       Viktor was again going to be acting very different in the second sex scene with none of the need or desperation that happened which all came about during his character change

·       Conversation with Chris never happened until the third of four re-writes of ep10 when I realised Viktor’s actions needed some more context for people who were ignoring the music

Chapter 11:

·       Lots of sex was supposed to happen in this chapter before I changed it for plot reasons and also companion fic reasons

·       Sex scene was supposed to be all about Yuuri acting like Eros Yuuri but those two idiots in love were very sappy and sentimental instead and it became a crucial relationship shift point instead

·       All domesticness from that chapter was planned out later in the fic as the fic was being written not in the first plan, including the borscht scene

Chapter 12:

·       Meal with the other skaters never happened

·       The revel about Yuuri’s virginity never happened in the first plan. Then in the rough draft of the chapter it happened at the same time as the second reveal but I split them because it worked better that way

·       This was when Viktor was supposed to secretly watch Yuuri skating his routine

·       Yurio wasn’t originally involved at all and Yuuri left after getting jealous. The love revelation never happened

Chapter 13:

·       Yurio appeared in this chapter instead although the conversation was very different in the rough plan because everything he talks about in the final version came about after episode 10 changed everything

·       Yuuri was originally going to be much more angry at the scandal and used his anger to win while Viktor still fucked up his skate but this changed early when I realised it was ooc and Yuuri would actually react very differently and that emotional devastation and heartbreak would ruin his skate instead

Chapter 14:

·       None of the conversations with Yuuri’s family were planned in detail in the first rough plan, I just knew he needed to go back to Hasetsu and have some revelations

·       Yuuri was supposed to convince himself that Viktor never loved him and never could and only realised Viktor’s feelings after seeing stammi vicino. This changed because it was very important for Yuuri to go and get some distance and time and then decided to come back and decided to try again with Viktor before he saw stammi vicino. It also changed because with Viktor as he became after ep10 and how he reacted there was no way that Yuuri would convince himself that Viktor never cared for him. He’s a bit emotionally dense sometimes but not an idiot

·       Yuuri was going to fall on the quad flip

So yeah, all this is from the very rough draft before I wrote any of it and the story adapted and changed along the way as I got more into the characters and got a better handle on how they would act until it became what you see today. It definitely became a much better story and I’m very happy with all the changes that I made! Having a plan is great for a framework but letting the characters grow and change naturally during the writing process is much more fun and I think makes for a better story

So Enzo died.

Seriously, is anyone actually surprised? Of course he died. I knew he would since S8 started. He was just some random-ass, irrelevant character that only got any significance paired up with Bonnie … and in a fucking flashblack episode at that. You think Bonenzo was going to get a happily ever after, written that way? Lol no.

If Enzo comes back in the finale?  It just means Enzo died so Bonnie could be put through completely unnecessary grief for plot. It symbolizes hatred of her character. Bonenzo symbolizes hatred of her character. Everything on this show symbolizes hatred for her character and you are naïve to think otherwise.

You think Bamon’s going to happen now? Lol no. Because Damon belongs to the sacred Elena and Bonnie’s just meant to serve Elena. God forbid you pair her with a male lead or pair her with ANYONE. Canon ships (Bonenzo, Beremy) or potential ships (Bonkai, Bamon), JP fucks them all up because to her Bonnie ain’t good enough for ANYONE.

Bonnie never gets to be happy. JP is a racist, obsessed fangirl that goes out of her way to make sure she has the worst of everything. She was depowered for nearly all of S8 for no goddamn reason and gets it now conveniently when the plot demands it. Because Bonnie has never been a character for Plec. Bonnie is a plot device. A sacrificial lamb. If she dies for DE and reunites with Enzo in the afterlife or gets some fucked unrequited love for Damon and then dies for DE, I wouldn’t be surprised by any of this. I don’t care what bullshit we heard about Bonnie getting a “unpredictable happy ending”, knowing Plec, it’s going to be unsatisfactory.

Bonnie Bennett deserves everything. She deserves the world. She deserves it all and will get nothing because this is Plec’s world. Expect nothing else.

Semiotics in Fandom Texts

A brief lesson on media decoding for the Check Please! Fandom

Semiotics is the study of signs/symbols and their use/interpretation. It’s basically how is meaning is created and expressed. Stuart Hall, notably, had a preferred reading theory. 

There’s encoding and decoding in all media. The content creator (an artist, journalist, etc) makes a piece with an intended meaning. They encode a message into their work. It’s the job of the audience to take that piece and decode its meaning.

 Now, it’s not often that straight forward. It’s not just like you have an audio jack straight from the brain of the creator into your mind so you can download their exact intended message. You have things like ethnic, racial, regional and religious backgrounds. You have how old you are, the generation you were raised in, and  the kind of education (formal or otherwise) that you’ve received. Whether you’re nuerotypical or allisitic sometimes comes into play. What privileges, or lack thereof,  and experiences you carry with you heavily impact how you interpret media. And even when a creator comes out and says “this is exactly the lens through which I want you to see this piece,” that can still be ignored or disregarded. 

Hall broke down how an audience decodes meaning into three major categories: 

Dominant reading- you’ve hit the nail on the head. This is exactly how the creator intended you to consume this media. You figured out the message and have accepted it as such. 

Negotiated reading - you’ve taken the message, and there are parts of it that you accept. You’re negotiating your bias with how much you believe that the intended message is indeed the message. Perhaps you see how it could be interpreted differently, but you’ve chosen to accept your interpretation as THE message. 

Oppositional reading - you’ve basically rejected the entire message in favor of something more aligned with your beliefs. This is like when global warning deniers refuse to look at facts and figures because they’ve been conditioned to believe that “the science is still inconclusive”. (just one example, more on this later)

Typically, the way people read media messages is more on a spectrum. So I’ll be using qualifying terms such as “more”, “less”, “closer to” and “further from” in order to describe placement on this spectrum. 

Case Study: In Universe Meta Meta 

Keep reading

anonymous asked:

Just wondering whether you think that 5.20 etc was planned or something they decided to do because of fan reaction? Thanks!

(I’m guessing by your use of ‘etc’ that you’re referring to Olicity’s progression?)

Not a chance. Hell no. The reunion has been 100% set in stone since before they broke up. @louiseblue1 and @jbuffyangel have explained it so well in the past, much better than I’m about to.

HOW they decided to do it, they figured out between May and August 2016, with a few addendum’s made by 5.05 was filmed. When they knew the time they wanted them to reunite (as in, at the end of a season)? Roughly when they filmed 4.16. I know there are some people who disagree, but I know the truth.

Want facts first?

Bullet point answers coming up:

-  The script for 5.19 was written before 5.14 even aired – which means they’d figured it out before the ruckus that episode 15 inspired.

-  They’ve known all season how much we dislike the LI’s: they still went ahead with them.

-  Before writing scripts for a season, they must first plan the season. Good novelists and fanfiction authors do the same for a story they know will last a while (I don’t and I suffer for it). They don’t have enough time to change things on the spot later on or mess about with the plot because of their tight schedule, which is why they write scripts for episodes that are roughly 4 episodes ahead of the ones being filmed. And then they have to make sure the episodes work with the narrative flows of the season. Advanced prep.

-  When 5.05 aired (an episode that was filmed before episode 1 aired), WM & MG both admitted that they wanted to explore Oliver and Felicity apart from each other for a bit FIRST. First. It implies that it isn’t forever. Just long enough for realisations to set in. And to drive the fandom insane.

-  Before the season started no one said they were over. Yet by season 2’s end and before season 3’s air date, WM was saying said that Oliver wouldn’t be getting back with LL or Sara because their relationships were based on the past and would never last. SA specifically said NO.

-  WM & MG have also said this season that there were a few stories they had left that they ONLY do if Oliver and Felicity weren’t together. It was the truth. Such as explore them with other people and see those relationships fail for a fundamental reason. As well as delving into Felicity’s changes and Oliver’s sin. His darkness. Facing himself. To find themselves before they can find each other.

-  This season was THE one where they could throw Olicity utterly through the blender as they explored other avenues. We didn’t have to like it but it has been implied enough times for us to know that it’s because once these two idiots get together, it’ll stick. Even through bad times. With many seasons to come - like Stephen said - they could afford to slow down.

-  Dig asked a question in episode 1 regarding Olicity that has yet to be answered because like each season there is something in the first episode that gets answered in the last. It hasn’t always been a question. It’s a device used to show progression, whether for good or bad.

Originally posted by timetravelersloth

(Now there are many themes and questions, I’m just picking one for each) Season 1: it delves right into making us wonder who Oliver Queen is, what his mission is and why. Who he’s become. And what it might cost. It ends with a man who is a survivor but not a hero, a man who tried and failed and the cost? Tommy.

Season 2: Can he be a hero in trying a different way? Answer: yes.

Season 3: It’s more of a choice than a question: The Arrow or Oliver Queen.

Season 4: Can Oliver and Felicity be together both romantically and professionally? Does Oliver have what it takes to be the light? Both answers are ‘not yet’. They’re both under a schism.

Season 5: is Felicity going to be part of Oliver’s future and can Oliver overcome what’s been hurting him for so long? Yes and yes.

With Felicity’s help.

It’s a question posed and meant to be answered by 5.23.

-  MG recently said in a tumblr answer that he and the writers view Olicity as much more than just a romance and that it was a very good thing. And it is: it means not only will they pay attention to them as a couple, they’ll give credence to the people they are. Who they’ve become. Felicity’s had more story this year than Laurel did season 1. They’re exploring her personality, whereas LL got thrown a bunch of cases to try and fail at solving and got passed around 2 men. In fact, in each season, Felicity’s story builds. THIS year, the show has explored Oliver more than anyone else but it was always with the goal in mind of truly making him a legend: the GA. This show has always been about him.

I just mentioned Laurel and season 1…

This season, in some ways, is like a fix-it. At least, it is for me. And I promise this ties into the question :)

In season 1, Oliver tried to honour his father and did so by taking his book of names of the members and associates of Tempest and making it a list of marks to hunt, intimidate, coerce or kill. To try and make Starling better this way.

Evil begets evil.

His main love interest was LL, who he’d betrayed; however, he spent the season trying – to a fashion – to find compatibility from a woman with the man he had become.

Helena was the connective thread to his darker side searching for redemption.

Mckenna was his desire for some normalcy: an ordinary, functional but caring relationship.

Laurel was his need to heal the past; to go back in time and once again be the man he used to be, the one everyone missed, the man who hadn’t made a dumbass decision that ended in death, terror and loss.

A man who couldn’t love Laurel because he was no longer the man she fell in love with. That man died in the ocean.

(To anyone who doesn’t like what I’ve just written, please re-watch episode 8: Oliver says this to a version of LL. An episode were he sees people he’s lost and feels guilt over loosing, the people he needs to leave behind because they’re haunting him. The people he couldn’t save because he wasn’t who they thought he was.)

A man who wasn’t a dutiful son. Or the amazing boyfriend who hadn’t slept around behind LL’s back. And he wasn’t Ollie. He’d never be Ollie again except to his sister. It takes 2 seasons for him to figure that out.

Right before the end of season 1, he gets the girl, aims to save the city and declares that - once he’s finished - maybe he won’t need to fight anymore.

By 1.23 he’s lost his best friend, any last chance with LL by CHOICE not circumstance, this is important, he doesn’t save the city and his mother is arrested.

What should have happened after season 1 – I’m going to focus particularly on LL – if a) Oliver wasn’t as damaged as we’ve found him out to be in season 5 and b) if KC as LL had worked, is this:

LL would have found out Oliver’s secret at the end of season 1. After Tommy’s death they would have slept other but he still would have left.

Oliver and LL would have spent up to, roughly, episode 14 of S2 being apart until they couldn’t take it anymore. Instead of sleeping with Sara, it would have been Laurel.

They’d be on and off throughout until the end of S3.

Instead of spending the whole of S2 being an addict and recovering: LL would have also been using boxing or martial arts etc to try to kick her habit and vent some of her anger and guilt at Tommy’s death. She would have become a definite target for Slade and there would have been more than one episode covering this. By the end of the season, Oliver would have started training her. Personally.

In its place, we got an LL who spent an entire season – this is going to sound super harsh - feeling sorry for herself and blaming everyone else but herself for her problems. I know that sounds bad but, she drank and popped pills to take away her pain because it was too much for her. THAT’S FINE. THAT’S UDNERSTANDABLE.

What isn’t fine, is making damn sure that whoever’s with her feels just as bad, if not worse, than she does.

Because she doesn’t just feel guilty, she feels entitled to pass judgement. As if her pain gives her a free pass. It gives no one else on the show a free pass so this isn’t a facet the audience can like.

The last time she does it is with Oliver: that argument in the hallway after she’s just hurt her father, mother, sister and ex all in one go. After she blamed Sara – like she did Oliver – for ‘ruining’ her life. For making every bad decision and every wrong turn shes made, the fault of someone else.

That’s when a character being an addict loses sympathy. The addict part isn’t a problem. It’s how the character affects the people around them. She improves afterwards but, that mark stays with her.

We accepted Thea’s drinking and substance abuse, even if she irritated us, even if she was horribly immature with it; it was understandable and acceptable. She was a teenager lashing out at the world. But they deliberately didn’t push too far with it. They did with LL. They being the writers etc.

They make her into a vigilante for her sister with some ‘I care about Oliver even though I disagree with everything he says and have become a vigilante for SARA yet - when it suits me – also because Ollie’s one too and if he can do it - even though I disagree with everything he does – then so can I’ thrown in.

Season 5 resembles this movement… but it twists it on its head and mends what was broken.

Oliver has resorted back to killing criminals, to being very much the vigilante of season 1. He’s in love with Felicity but can’t be with her because he’s hurt her terribly and there’s something fundamental that hasn’t mended. That hasn’t been fixed. Something in him.

Noticed the similarity with season 1?

He spends the season unconsciously working from the viewpoint that he is someone who infects others. Someone who killed his own happiness and didn’t save the people he cared for.

Tommy, his mother, his father, Laurel etc… Felicity’s presence by his side. She closed off her heart to him and that’s his fault.

But he tries, like in season 1, to build something. He – at Felicity’s behest – builds a bigger team. He tries to be the politician Star City deserves. He tries to move on and date. He tries not to succumb to the monster he was the year before he returned home. He tries to atone and move forwards.

Professionally he mostly succeeds. Personally, he utterly fails.

Rory has left by choice. Evelyn betrayed them by choice. Curtis has destroyed his marriage through choice.

Rene and Dinah are flourishing.

As a politician, he’s destroyed his legacy as the Arrow, even though he thought it the right choice: it’s hurt him and he doesn’t know how to come back from that.

He killed Billy, thereby once again, hurting Felicity and reminding him again that it isn’t the worst thing he’s done.

He settled for the first offer at a relationship that came along, from a woman who he knew initially thought little of him because he needed to prove to someone like that, that he wasn’t bad and could be better. And if he could convince someone like her – even as he lied and was subpar about them – then maybe, just maybe he could be worthy of more. Worthy of Felicity.

He now feels he was an idiot to even try and once he saw that for what he was, once he realised why he’d tried in the first place he dumped Snoozan in the coldest break up I’ve seen on TV in a long time.

He’s been forced to see why he destabilises everything in his life. He’s fallen to his lowest ever point.

And like with every season, Felicity will be the one to make him rise back up.

Originally posted by fponthedl

Originally posted by bookolicitynessa

Originally posted by felicitisqueen

Originally posted by thecwarrow

Originally posted by moan-s

Originally posted by jules85

Unlike season 1, Oliver and Felicity won’t have a quick 2-minute thing and then spend 3 episodes ignoring each other like he and LL had between 21 and 23 S1. 

Olicity had episode 19 to air out the big problem between them. She thinks he doesn’t trust her and he has no idea how to tell her the truth because once he does he thinks he’ll lose her love forever. They’ll have 5.20 to circle back round to each other, to have Oliver explain why he’s been acting the way he’s been acting and have Felicity be openly vulnerable to him. 5.22 it’s his b-day party and 5.23 they all end up on Lian Yu.

Not city wide attack, no loss of a best friend (Diggle), no loss of a love that’s his life and his always and his future.

Perspective will be gained as will a new life. He’ll let go of the rope around his neck: his promise to his father. He’ll FINALLY step off the island. He’ll have the girl who completes him to help him and him, her.

THEY COULDN’T MASH THIS UP TOGETHER IN WEEKS OF PANIC OVER THE OUTCRY OF FANS.

They would never - EVER - give THIS much simply for fan-service. It’s far too much.

Originally posted by gif-007

They aren’t that stupid. A waste of money, time and resources on pleasing some fans.

Ah, no.

Look, we know fans have some power. We know that. They listen to what we like and if enough people like something, they either look at it more closely or it’s given credence.

But it isn’t their motivation for action. And the CW guys, the directors, the producers, Warner Br’s etc: they make calls that we don’t know about BEFORE fan reactions even occur. Before they we loved Felicity, THEY fell on love with her first and asked her to be brought on for more episodes.

By seeing the scripts for season 2 and 3, we’ve had it confirmed that all the small moments between them over season 1 and 2 were created with an epic romance in mind. The break up has been coming since the beginning. We all know LL was the original LI, until they watched the pilot before it aired and realised they couldn’t re-cast their female lead.

Originally posted by ahappypace

The break up and the space between Oliver and Felicity has been deliberate and something they’ve been planning for a long time. As is their reunion. As is Oliver’s rise to glory.

All of this, the romance, has all been about Oliver becoming the GA. It has NOTHING to do with fan reaction.

Take a brief look at season 4’s narrative cues first:

They’re together, moving in with each other and getting married. All in 9 episodes. Wow. At the time I didn’t notice the speed but looking back at it, I’m super stunned I didn’t see the it until it was too late.

They rushed their progress to break them up. To give them lots of time to live differently without each other. I’ve already posted that I believe they’re aiming for 5 more seasons to reflect on the first 5. It had nothing to do with whether whoever makes the decisions likes Olicity or not; it was a piece of the story. They realised they were going to get more than 5 seasons – A LOT more. Revealing this secret child and having them work through that was probably going to happen all in one season. Until the glorious news of more seasons.

So, then they have that scene in 4.16 where Felicity says to Oliver that he would always be on that island and that, though she loves him and wants to be with him, he’ll always resort to being that person. To the man created in those 5 years away. The kind of fiancé who would make the kind of choices that would leave the ones he loves bereft, even if that wasn’t his intention. The man she loves who could one day simply leave her, because of a choice he might make.

It’s a progressive point: something for him to aim to beat. A wall to climb over. And some walls are really high and terrifying to scale.

They’re at a stale mate and a cross roads and to be honest, I understand why. As much as the patience they asked of us is wearing very thin, I get why it took so long.

They couldn’t get back together in season 4 because Felicity was right: eventually he’ll make a decision that will ruin them. And she needed to face her demons. Until he could understand himself, understand what lies at the root of his decisions, they were null.

And Oliver… well he’s the king at burying what hurts. It’s very characteristic of his character to take a full season to GET IT.

This is the core of season 5. His evolution. Stepping past that and becoming the hero Felicity has seen in him since day one.

And yet he hasn’t managed to do this without her. 

Originally posted by seeing-red-arrow

She’s a pinnacle piece of his puzzle. Their break up is at the root of what’s hurting him.

Most of his choices this season have ended in failure and/or pain. The things he’s doing as the mayor, how he’s resorted to killing once again, then openly renouncing the GA without discussing it with his team, dating SW and then dumping her like she was nothing (she was and he knows it which is why he doesn’t understand why he dated her: it was because he was lonely btw), they’ve been based on an underlying principal that he is this bad person who destroys the goodness around him. He went in search of something to prove that wrong… what he found was much worse. He found the truth: or a partial truth.

Being alone hasn’t helped him: it’s simply made him see what he was denying for years. In a very real way, it is a sickness.

But honestly, he was never EVER going to understand himself fully, was never going to see the missing pieces without Felicity Smoak.

Originally posted by ataleofthousandsplendidships

I believe 5.20 will be about this: about the revelation in 5.17 and Felicity showing him that there might be a different way to see this.

The way they’ve filmed the episode tells me they’ve put a good deal of thought and MEANING into it.

It’s sounding like the Olicity episode to end all other episodes: they’re in each scene together. It’s been made so that Felicity has to depend on him, something she’s been deliberately not doing all season. It will be brutally honest, gut wrenching and heart-warming MAYBE OTHER THINGS. 

Originally posted by allreactions

Now, WITHOUT proof, why would they do all that just to tide over a fan-base?

If the narrative flow to Olicity and their reunion wasn’t obvious to some people it’s because they were either too close to the subject or too angry at their break up. I get why. It was a crappy breakup and the length of time we’ve had to wait for the pendulum to swing back around has been almost too much – but they could never get back together until Oliver is at his lowest, until he is at a place he can fully open like he’s never been before. 

All because of her, because she’s changing his world view of her and it is certainly not in any bad way. 

And in doing this - in confessing to the one person he’s most afraid to confess to - he’ll free himself of a burden AND have what is likely going to be an amazing response from the woman he loves. Something to give him hope: a different point of view. Maybe it’s that simple. It’ll connect to their breakup. It ALL connects.

They’re tying up 5 years of story in 5 episodes, but there will be a focus on his secrets (William/his break up with Felicity) and his loose ends (the return of some major villains etc).

She’s been through something now, and she sees him in a different light — and he also sees her in a different light. There’s a lot more mutual understanding, and even though I think it’s hard to top the mutual respect they already have for each other, that goes up as well.” 

WM said this and do you see how brilliant that is?

That they’re creating a couple who no one can stand against, a couple who love, respect and admire each other the most out of everyone. A couple who understand each other enough that their future encounters are bound to fascinate us.

Like someone once said, they’re the DNA that make Arrow what it is. The essential make up now of the show.

Fan-service, they will never be. They were decided BEFORE we wanted them by Warner Bro’s, CW, the directors etc.

(DID I GO ON, OR DID I GO ON? I DO APOLOGISE)

Libraries and Piragua (Lin-Manuel x Reader)

Summary: You were sexiled by your roommate on a day that you’d kill just to collapse into bed. You end up passing time with someone that makes your day end on a high note.

Word Count: 1,340

Warnings: Aimless plot, mentions of sex (nothing graphic), cussing, mentions of death (but character death like Abuela Claudia’s death in ITH mentioned is what I’m saying)

A/N: College AUs are my weakness, this is a demonstration of my knack for tying In The Heights into literally anything (and making my Classical Tradition professor proud with my Sophocles reference). Also, I am obsessed with the way Lin’s eyes are so expressive and was forced to take out approximately 1,000 references to them from this fic during proofreading.
_________________________

“Please [Y/N]? You owe me from that time you broke the coffee machine, [Y/N].” you muttered, mocking your roommate’s pleas as you trudged across campus to the library. You planned on mocking your own stupidity for agreeing to her request once you were done being annoyed with her. She had to pick the one day you ended up having a terrible, rushing-everywhere, everything-goes-wrong kind of day to seal the deal with the guy she’s been pining over for months. 

You yanked open the door to the library with an unnecessary amount of force before you stalked inside. You made it upstairs, appreciative of the near empty scene. There was only a few people scattered among the tables or computers along the wall. At least you knew you’d be left alone with your bitterness. 

You pulled out a chair to toss your bag onto before shedding your jacket. Once you got settled in, you pulled out your headphones and laptop. You popped in one headphone and scanned your library looking for a song that might ease your exasperation. Once you had it playing you pulled out your textbook and leafed through it, debating whether you wanted to be productive or not. You settled on not and shoved it away before pulling your laptop closer. With your one free ear you heard a chuckle and you internally sighed before turning to find its source. The table to your right had a boy who was looking at you amused. You wondered if the dark circles under his eyes meant he was as exhausted as you were.

Keep reading

Bodyguard Bucky.

A/n: The title is unoriginal af, I know. Just a little thing I wrote because I saw a dvd of ‘The Bodyguard’ in a charity shop and was hit with the idea, that Bucky is your bodyguard but you’re secretly in love with him. (It is nothing like that film/play, I haven’t seen it but I looked up the plot.) I thought ‘that’ll be easy to write’, but oh my gosh, was I wrong! It’s gone through so many rewrites and had about half of the original version cut, and it has some of the same themes as other things I’ve written, but I hope it’s okay…

Proof read by way of a text-speech device.

Summary: You’re secretly in love with Bucky, your bodyguard, but now he’s leaving…Whatcha gonna do?

Pairing: Bucky Barnes/Reader (Gender Neutral)

(Mentions of being Tony’s child, but only mentions)

Word count: 2136

Warnings: Mentions of alcohol/intoxication, some angst and crying, but fluff by the end :)

Masterlist


As Y/N Stark, Tony Stark’s one and only child, you were obviously going to be a bit of an easy target, so since you’d finished school you’d had a bodyguard to protect you practically 24/7. The man entrusted to keep you safe for the past few years was one James Buchanan Barnes, or Bucky to you, and over that time you’d like to believe that he’d come to be more of a friend than just paid protection. Apparently not though. Last week he’d announced he was to quit with no warning and that single action had sent your life into turmoil, having realised a long time ago that you were completely and utterly in love with him.

Keep reading

First thoughts on 12x18...

The Memory Remains is is one of those episodes where I can’t really tell how much of the problematic-ness was done on purpose, and I don’t want to be ‘that person’ that goes around saying that nothing is problematic and everything is perfect, but I also doubt that the ‘wrong-ey’ things in the episodes were accidents, because accidents don’t happen accidentally and there is a pattern, and patterns rarely happen accidentally. Basically - was the fact that all the main characters were white men done on purpose? The waitress Carmen and the health inspector are there, kind of in the outskirts on the scene, we barely hear their voices, the camera barely fixates on them, and when it does they don’t really get their ‘own’ shots, but we look at them through other characters’ eyes. In an episode with so much focus on looking through eyes (we repeatedly see things through a mask’s eye holes), I think it’s probably done on purpose.

It’s a claustrophobic episode, both in setting and ‘atmosphere’. Almost everything happens in enclosed spaces (the bunker, which is literally a bunker; a fridge cell; a basement with a literal tiny cage in it…) and the vibe of the episode is claustrophobic, a virtual enclosed space of lies weaved by white dudes. Reminds you of something? The episode Thin Man was the same, in Thin Man there was a dude wearing a monster mask that others mistook for a real monster (but… who was a real monster, although human), there were secrets and lies and the monster was a dude with an inferiority complex and whatever. After Thin Man aired we discussed about the episode being about white men only, the only female character killed right away and just a plot device, and it made sense - it felt jarring, and claustrophobic, and wrong, just like this episode feels, because everything is supposed to feel wrong and jarring and uncomfortably enclosing, because the episode is about cages and traps and acting wrong.

When Ketch and his men leave, the lights and shadow form a bar pattern, just like the bars that were supposed to keep Moloch trapped in the basement. The episode is about people being trapped, and Dean and Sam are trapped by the British Men of Letters’ scheme, Ketch has trapped them with the fake messages from Mick and now the bunker has become a cage, they’re under surveillance… it’s like when they were arrested, but now they are ‘arrested’ in their own home, and they don’t know it. They think they’re free, just like Lucifer thought he was free (and apparently now thinks he can get free, either with the help of that demon at the end of 12x17, or Dagon, or his child), but Lucifer was under Crowley’s control, just like the Winchesters are under Ketch’s control. Judging from the promo for 12x19, I’m betting that Cas also thinks he’s free but is under heaven’s control (again, poor thing).

Speaking of Lucifer - he’s a parallel to the Winchesters, but also, obviously, to the actual monster Moloch (*insert goat imagery related to the devil here*). Pete freed the monster from its cage, just like Lucifer has been freed from his original cage by Cas+prevented from going to the cage by Crowley. I’m not sure whether Pete is a mirror for Cas or Crowley or both - both Cas and Crowley wanted to use Lucifer for some goal (fighting the Darkness in Cas’ case, I-don’t-think-we-know-the-full-extent-of-it in Crowley’s), but Pete only claimed that his goal was ‘saving the town’, he just wanted very egoistical personal gain. If he’s a Cas mirror, he’s a dark mirror; if he’s a Crowley mirror, I don’t know.

Now let’s talk about Dean - Dean’s behavior is supposed to feel jarring and wrong, he’s concerned and scared about Cas so he distracts himself - the waitress (at a place filled with tiny Cas things* and large BS written everywhere), even called Carmen which reminds us of Carmen Porter from 2x20 and that is so not a coincidence, the burger, which Dean is overenthusiastic about just like when he came back from Purgatory (“it’s a treasure” then, “this is heaven” now - and the word heaven isn’t a coincidence, either, not with what the next episode is going to be about - again, I’m tending towards a Naomi-like situation where Cas is more under heaven’s control than he realizes, in some way or another).

* It’s like a compendium of everything - coffee, burger, “Gus’” like in season 9, the comet-ish-like logo, I mean, there’s even a fish…

The emphasis on the initial letters makes me think we’re supposed to read is as “BS C(a)S” aka bullshit Cas - Dean literally has sex with a woman to fill in Cas’ absence, and it’s quite explicit in the episode, it’s not just the letters or whatever - Dean is upset because Cas has disappeared, Dean acts on his coping mechanism things, it’s linear. It was supposed to be an episode about being closed in a dark place.

Changing the topic - the heaviness of dysfunctional white dude family brings us to the Stynes again. The entire season is run through by the Stynes, from the nazi elements to now a family who has a dark secret and basically owns the town (just like the Stynes were “gods” in the town). The intertwinement of the Bishop family and the British Men of Letters basically spells Stynes 2.0 - the Stynes invaded the bunker and ‘tainted’ it (back in those times we wrote about a possible adiós to the bunker just like we’re doing now…) just like Ketch and his men have done, with the difference that the Stynes trashed up the place, while the British Men of Letters acted so that Dean and Sam wouldn’t notice. Dean’s photographs feature heavily in both cases… (the two scenes are also parallel to Amara’s visit to the bunker, when she did trash the place up a little but also saw Mary’s picture and eventually brought her back - Amara, like Ketch, kind of collected into about Dean connected to Mary; the Stynes kinda did the same, as they dug up the same pictures, but they didn’t care).

So, I think the BMoL arc is going to have a lot in common with the Stynes arc, with the due differences - I expect a ‘reverse’ of the dark elements of the Stynes arc (Dean doesn’t have the Mark but has grown up a lot since those times, etc etc - extradiegetically, I’m pretty sure the witch twins and Jody are going to be fine lol, I’m pretty sure they learnt the lesson).

Basically I saw this episode as the love child of Thin Man and The Prisoner (there were vibes and references to other eps, but those two stood up imo), which suggests that the story will proceed in a way that will put the characters in situations similar to the ones back in late season 9-late season 10, except that the characters have gone through experiences that are going to have them react to the situation differently. Thoughts?

Please be aware of the spoilers!

just came from wonder woman

oh my god, what a movie

i saw the last 20 minutes through the tears

gal gadot as diana was absolutely stunning - the delivering, the moves, the grace and magnificence. she appears on the screen, and straight or not, YOU CANNOT TAKE YOUR EYES OFF HER

And during the fight with Ares? She looks SCARED and HESITANT and LOST and it was such a perfect choice of emotions. I absolutely loved the naivety she represents, how it was handled as purity and not stupidity. 

and thanks to using her perspective the war scenes looked so much more realistic and emotional, because it is the horror we are USED to seeing, but SHE sees it for the FIRST time in her life and she is horrified and it affects you

and oh my god that scream when steve blows up, that was so brutal.

and coming to the subject of steve trevor, DAMN, what a character. he was sooo well written, he fit the story perfectly and he did not become a plot device. and chris pine did such a terrific job, his acting was one of the major highlights of the movie for me. that scene, where diana kills the general, whom she believes to be Ares and the soldiers just keep loading the bombs, and diana loses all fight and he urges her to believe. “it is not about deserve, it’s about what we believe in”. and it is so beautiful that he is not teaching her that, she was actually the one to show this to him, she just needed to hear it oh my god. AND WHEN SHE REFUSES TO CONTINUE THE FIGHT AND HE JUST GOES BECAUSE HE HAS TO PLEASE. i was already bawling at that point.

the scene in the plane deserves its own paragraph. i always knew chris pine was an awesome actor, i love him as Jim Kirk, but oh my god that scene in the plane where the camera just shows the bombs with gas and him PREPARING TO BLOW HIMSELG UP WITH THOSE BOMBS was my undoing. they just kept showing his face and his eyes as he was getting ready and it was honestly hard to watch. HIS EYES outplayed the whole cast of an average superhero movie (i’m not gonna point fingers here)

and just…diana and steve were such a beautiful couple, in every sense, their dynamic was a treasure. the way he handled her naivety? perfect. he was a hero in his own right, but he never took from her shine and he never got lost in her shadow. they were balanced, equals and it was such a gift to see this type of relationship. the romance? the dance under the snow? the silent communication in her room? the kiss she dominated? this love story is beautiful and perfect UNTIL IT FUCKING ENDS but oh well that’s why we can’t have nice things i guess

and they were never going to last, of course, she is a goddess and he is a normal man, he would have died from old age, but everybody wishes they could have had more time. it’s so frustrating and heartbreaking and “i’ll save the day, you save the world” WHO SAYS THAt STEVE TELL ME WHO SAYS I LOVE YOU FOR THE FIRST TIME AND GOES TO BLOW HIMSELF UP IN THE PLANE OH MY GOD

i expected this movie to affect me, but i did not expect my heart to be RIPPED OUT OF MY CHEST TOYED WITH AND GIVEN AS A SACRIFICE TO PATTY JENKINS

but if it helps her direct more movies like that I’ll be happy to rip it out myself and give it to her

A Massive Spones Rec List

The Spones fandom is made up of some of the most talented people but is tiny and in need of more content. Due to this fact, there are significantly less Spones fics so I searched extra hard to compile a good, lengthy list of fics.. and somehow managed to find way more fics than I did for my Mckirk one?? Why am I such trash, help I need a life.

(Listed alphabetically: ** = favourite)


Addressed to the Damn Doctor by ElloPoppet | 2.5k, T

Spock writes McCoy a letter of confession, despite not quite knowing how to write a love letter. (A super sweet insight into Spock’s mind, especially on his thoughts on the Enterprise’s resident doctor.)

Best Medicine for the Worst Patient by gammadolphin | 8.5k, T

It’s a special kind of hell, becoming obsessed with the laughter of a man who barely even smiles unless he’s high or dying of blood loss. Leonard doesn’t handle it particularly well. (A hilariously frustrating fic in which Bones becomes a little too obsessed with trying to hear Spock laugh just once more.)

Blues March by IntuitivelyFortuitous | 7k, T

Leonard McCoy sees his friends bleed. He loves the blood when it is inside them, flushing their cheeks and warming their skin. When it colors his hands on the operating table, he can think of little but the time he has with them, and a minute is too long to waste. He’s not going to let Spock get away that easily. (Gruesome and sad yet somehow really sweet.)

The Body by therev | 13k, T

McCoy’s consciousness is transferred into an android body after a fatal accident. Spock helps him remember the man he used to be. (Wow a really creative and fascinating fic that could have gone totally wrong if it hadn’t been written by such a talented author.)

Keep reading

There’s a lot that gets me about the love story in FFXV and how it relates to the characters, or rather, what gets me about the characterization and how it relates to the love story, but it’s going to be a long read.

TL;DR the characterization tried to lift tropes from previous Final Fantasies ( particularly VII and X ) but XV’s version just seems like a hollow echo that takes the tropes on the surface without actually figuring out why they worked for the characters and their plot, instead banking on telling us that everything is supposed to work out and be coherent and letting nostalgia pull some weight. It also didn’t help that any use of those tropes was completely shot to pieces by the story being a forced tragedy requiring ( in my opinion, unnecessary ) character deaths to be “touching” ( read: edgy ) and playing that tragedy straight instead of subverting it, exposing the writing as having a juvenile lack of vision.

Keep reading

ok i thought i was finished ranting but im not

the more I read from the side of the writers, the more it becomes clear that they really don’t care about quality

If you look at the Overwatch canon - and I really mean just the canon - it’s bad. It’s just really, really bad.

Overwatch is two dozen clichés slapped onto a decent first-person-shooter. The characters are shallow and trite, any originality seems accidental.

We all make fun of the fact that McCree dresses up and acts like a cowboy in 2076, but from a purely objective point of view, he doesn’t fit into that universe.
Neither do Hanzo and Genji with their names and traditions that date about 500 years into Japan’s past.
Soldier 76 is the epitome of an overdone character trope, Reaper is the most stereotypical bad guy villain you could possibly make up. 76 is dressed in red white and blue, Reaper gets the “black = evil” look down to an inch.
Tracer and Widowmaker were designed to be jerk-off material and the former being lesbian is only thanks to massive fan involvement.

All the major characters are painfully overdone and boring and the few that are interesting from the start have so little in the way of content that it feels like the writers just don’t know what to do with potentially exciting characters.

So here’s the thing, and I’m speaking purely for myself here,


Here’s what made Overwatch into one of the greatest, most diverse and creative fandoms I’ve ever been in: The fans.


I didn’t get into Overwatch because I thought “man, I really miss Supernatural, where else can I get bad writing and boring characters”
I didn’t want to get into Overwatch because nothing about the official material appealed to me in any way, shape or form, but I was dragged in by what the fans made of that material.

Keep reading

Anyone ready for some wild SPN season 12 speculation?

OK DISCLAIMER: this is just my opinion and I know nothing more than anyone else OK and I’m more than happy to be proved wrong or have lots and lots of opinions on this, please do, its just fun and I wanted to write down my thoughts as I flailed about this a lot today, lets be honest :)

Foreshadowing points through the season and Speculation under the cut.

Originally posted by gameraboy


Keep reading

"He Could Have Pie, He Just Won't Eat It Though...": On the Absence of Pie in Season 12 and the Demystification of Mary Winchester

I am prefacing this by saying that I haven’t watched the most recent episode yet, so if Dean and Co. happen to eat pie in 12x13 “Family Feud” I had no way of knowing it. :)

That said, in the end, even if Dean did enjoy a slice in this week’s episode, it really wouldn’t change a whole lot, because so far we have seen Dean very rarely eat one of his favorite types of food in S12: pie. Sure enough, the reason why we may see Dean not indulge in eating as much pie may be entirely be explained by things outside of the show - like maybe Jensen saying “man, please no more sweet stuff” ;) - still within the context of a show the absence of pie his season feels very telling. Especially so as pie for Dean definitely was a typ of comfort food and held a good deal of connotations and associations that all circled round notions of family, home, safety and love.

In the 12 seasons of Supernatural Dean’s love for pie has become just as infamous as his love for his baby. Even more so Dean’s eating habits as such have been used as an indicator for his emotional state of mind, his longings and wishes and especially over the course of the “Mark of Cain”-arc Dean’s hunger or lack thereof was drawn attention to as it revealed a lot about his emotional struggles (I have written lot on this topic, I’d insert links but as I am typing this on my phone I can’t) as well as the fight he faced within between human and demon. After all, little else is such a direct example of basic human necessities: the need to eat and drink to survive. That entire plot with Dean edging away from being human to becoming a demon was exemplified heaviest when Dean “left that cheeseburger uneaten” as Crowley reminisces before raising Dean as a demon in 9x23 “Do You Believe in Miracles”. Dean’s arc was contrasted with Castiel’s, who as a human for the very first time experienced hunger and thirst as two real necessities to be able to function.

The topic of hunger and food as indicators for humanity therefore have been very directly written into Dean’s personal story arcs from S8 onwards. Given this focus of recent seasons paired with the shows adamancy of inserting Dean’s love for pie as a recurring stylistic device over 12 seasons of the show in general, it feels very striking that Dean seems to have lost his taste or love for pie in S12 almost completely - the season in which he sees his mother returning from the dead.

As mentioned above Dean’s love for pie seems to be to a good extent directly connected to the memory and love of his mother. In fact, 5x16 “Dark Side of the Moon” even gives the audience as much of a “starting point” as to how Dean’s love for pie came to be in the first place when we see one of Dean’s memories play out in which we (as much as Sam) learn that the Winchesters’ “marriage was never perfect until after Mary died” and that Dean comforted his mother when his father had moved out for a couple of days after a bad fight (one now has to wonder if maybe that could have been due to Mary disappearing and hunting), told her that “daddy still loves her” and offered emotional support to his mother when he was a mere 4 years old. It’s that memory standing out clearest in relation to Deans love for pie as Mary not much later after she calls Dean “her little angel” offers him some pie. It’s by no means a truly happy memory imo, especially as it does kind of showcase how Mary tries to lighten the mood with the offer of pie. It’s this action really that frames and explains Dean using pie as “comfort food” in the most literal sense of the term. So of course this will sound somewhat over the top, but one could argue that every time Dean enjoyed a slice of pie in his life he remembered this moment with his mom. A moment nonetheless in which he again acted almost like an adult rather than a child (and yes, that is suppose will just always remain the tragedy of Dean Winchester: his lost childhood, that, as the show progresses, it seems was lost much earlier than when his mother died…

Keeping all of this in mind I think it is interesting to take a look at S12. The season of Mary Winchesters return. The undoing of the past. But for sure not the erasure of old wounds, scars or traumas, but rather the start to add a few new on top. Amara giving Dean “what he needed most” was his mother. She gave the Winchesters a chance to re-write their story, because maybe she wished her and her brother could do the same. What Amara wanted - and there is not a single doubt in my mind, because even though Dabb seems to have forgotten what he himself wrote at the end of last season, Amara wasn’t cruel just cause - was for Dean to be happy and find peace. Little did she know that bringing back the Winchesters’ mom would hardly bring that for him.

Now, as I have written about multiple times at the end of last season and prior the beginning of this season with Mary’s return we aren’t just loosely following the possible re-write of the Winchesters’ story (though much of this season to me feels sadly like “same old same old” and plain repeat), most of all we see the demystification of Mary Winchester - and that may actually be one of the most painful ones for the Winchesters and Dean especially as it seems countless times he is proven that his mother really is nothing like he remembered her to be. Of course there are few characters that have had such a “cult” surrounding them on the show as Mary Winchester. Her own children never really got to know her as a person as they simply were way too small for that to be the case, yet over time Mary was stylized, idealized and turned into a symbol that had very little in common with the very real Mary Winchester - as this season explores.

Not a single episode this season didn’t feature some sort of deconstruction of Mary Winchester as a person and character or a realization of who she is opposed to how she was imagined to be. It’s vital to see things for what they are, but there’s no denying it’s tough and eliminates foundations that provided at least some sense of stability - and so far we have not seen any kind of building new ground together for a stronger and more mature foundation. In the first episodes Dean learns that Mary “never cooked” or “continued hunting even when she was already married” and that many of his memories are unveiled to have been “false”. Getting to know their mother really is a constant progression of disillusionment for the Winchesters (and for Dean much more than for Sam since he doesn’t have any memories that could be rendered untrue or incomplete or downright “wrong”) and while I firmly believe that Mary does somehow care about her grown up sons, true emotion and connection doesn’t seem to be there. And one can’t really blame anyone for that because of course for Mary suddenly being alive is hard and she never learnt how to have grown up kids, because well… she never lived to have them in a natural progression.

Still, I think it is fairly well portrayed how much Mary struggles to form a meaningful connection with Sam and Dean. A relationship that could build into becoming the loving relationship that meant safety and home and everything being okay for Dean for example as seen in his memories - and one memory in particular featuring pie. Coming back to the symbolic meaning of pie again I think it’s valid to analyze the absence of it in S12 (I truly only remember Dean eating pie in 2nd episode when all was still fairly “okay” and happiness prevailing over Mary being back rather than the start reality setting in) in relation to the demystification of Mary as a symbol and mother figure. Pie may simply not provide the comfort and safety it once did for Dean, because like so much of his past and memories regarding his mother have been overturned and corrected, but not in a very healing - or worded differently - comforting way.

So in a way this season exemplifies imo rather perfectly the saying “You can’t have your pie and eat it too”, which describes you can’t have two good things at the same time, which seems awfully fitting to the whole Mary Winchester arc. And in that regard I think it is indeed very revealing how now that Mary is back “Dean could have pie”, but we don’t see him eat it…

anonymous asked:

Why don't you like Frank's transformation??

1. you can’t use magic to transform a character and take away all their insecurities and call it character development

2. frank’s chubbiness was never a problem. it hindered nothing. there was no reason for it to be written out, other than ~character development~, but it wasn’t.

3. stopped a legitimate character arc about loving yourself and learning to be comfortable in your own skin dead in its tracks by magically erasing the conflict out of the narrative (with literal magic as a plot device).

4. frank losing weight in an unnatural way and having everyone comment on how much better he is for it? like wow way to send a message to kids that nothing matters but how thin you are, you don’t have to be mentally or physically healthy because nobody cares. just. lose weight. like seriously what the fuck is that.

5. frank losing weight as a setup for him becoming a Leader. like just. why. (we all know why.)

6. insecurities don’t just magically vanish even when you use magic to alter your physical appearance. like i’m not going to go around saying that you shouldn’t alter your appearance in ways that make you happy but. frank basically views himself as a clumsy fuckup, and that problem is not going to go away because he lost weight and grew a foot. with that kind of self-image, you gotta deal with the underlying cause or no aesthetic changes will ever be good enough to make you feel better.

7. nobody reading this series has the option of magically losing weight and growing a foot, so it just makes everybody feel like shit. instead of utilizing a gigantic platform to teach kids about body acceptance, we get yet ANOTHER character with virtually (in this case, literally, because it’s LITERAL MAGIC) unattainable body expectations. as if there weren’t enough in this series alone, not to mention all of fiction and the media.