but these are the most important imo


top 15 rwby duos - as voted by my followers

#4. Ruby Rose + Yang Xiao Long

OK guys hear me out on this but- I think that the entire TAZ world, or at least the seven red-robes are running on a constant majoras mask/refuge year long loop that resets with the earth being devoured by The Hunger, and that there is a second voidfish that (up until now) kept this a secret

There will be a tl;dr at the end

Keep reading

some reminders if we do get sana for s4:

  •  with all the islamophobia and xenophobia in the world at the moment (such as geert wilders, whose twitter banner literally is ‘stop islam’, being one of the leading candidates of the dutch election yesterday) a season with sana in the lead couldn’t have come at a better time tbh 
  • to people who think sana as s4 main is “rushed”: sana had a major subplot in s2, and she was involved in s3 (even if that was to a large extent to help isak’s development, sana and her religion was still important) so she’s not more rushed than any other character on the show imo 
  •  a season with sana would probably break some of the norms of the show which would be very interesting to see (for example, her backstory in s2 had to do with her family relations – how will the show solve that, when sana still lives at home?) 
  • apart from the boys, sana is probably the character who would give isak (and by extension, even) the most screen-time
  • on that note: the last season’s main is always ‘followed up’ in the next season (eva and jonas post-breakup in s2, noora coming back from london in s3)
  • sana is so wise and clever and perceptive and can you imagine how cool it would be to see a whole season from her point of view? 
  • also sana has such a tough exterior, so seeing what goes on when she lets her guard down? probably amazing and emotionally touching 
  • i know many of you want even for s4, and i get that, i really do… but whichever character julie has chosen, it’s probably with good reason, and we probably have an awesome season in store no matter what 
  • have faith in julie andem!! lord knows she’s earned it  

i am seriously moved by that clip. it made me feel so much. the music, the AMAZING cinematography (the most visually stunning skam has ever been imo), the beautiful and important and so giving conversation, the fantastic acting. this is really skam at its best.

Ah gosh, I’m so so happy this show is back! And it’s a very sweet episode to start on.

It’s cute how Steven is theorycrafting in the beginning of the episode, trying to puzzle out some secret message in Rose’s video. Which, of course, doesn’t exist but out of the secret messages he guessed at, “I stay a bit” seems like the most plausible one to be foreshadowing…

When Lion yawns in this episode he sounds like the cats in World of Warcraft. Which doesn’t mean anything, it’s just neat to me.

Just, poor Steven. He feels like he has to have a reason to be, a purpose, but the reason Rose had him was for him to not have a destiny. Gems are all made for a purpose, they’re all predestined for something. They can either fulfill that or rebel against it, but there’s always something they were ultimately meant for. Rose’s fascination with humans is because they have no ‘purpose’, in that sense, they only have possibilities. Steven’s destiny is to not have a destiny, but he feels (felt) at a loss without one. Thank goodness for Greg, Steven’s gotta talk to his dad more often about these things.

Y’know, the more I learn about Rose, the more I like her. She’s a complex and interesting character and I enjoy how, as the show goes on, they deconstruct this sorta perfect goddess image of her we were initially presented, but they do it in a way that isn’t just “this character you thought was good is actually bad.” Just, “This character you thought was perfect is flawed and complex”, just like everyone. I feel like it’s very important, the way they’re exploring her character, because she’s the voice of this very core and important ideal, the wonderment of the “magic” of being human, so to speak. Its an important message of the show, imo. And as they explore her, she gets more complex and less perfect-seeming, but that core idea is never tainted. It’s still the most earnest and purest part of her and that allows the audience to genuinely believe it, which is important to the show’s central themes, imo.

Anyways, I got more thoughts but these are just my first initial ones. Great first episode!

Jason’s telling the Bellarke story, and it’s romantic.

*I’ve never written meta or spec or anything like that before, I am a known shitposter, but I had a lot on my mind so just stay with me while I attempt this.

Ok guys, I know the finale has us all drowning in our tears and the looming hellatus has us quivering in our boots, but I am here to offer a bit of Blarke hope.

Jason is writing romantic Bellarke. It’s in the story, and after the finale and his recent interviews I am more confident than ever. He might hate us, and want to torture us, and stretch this slow burn out as long as humanly possible, but he’s telling the a story and Bellarke is at the center of it. 

Now to my “evidence” or whatever:

The Writing

Let’s take a look at our most iconic Bellarke episodes over the last couple of years and also look at who wrote those episodes, focusing on two writers in particular: the show runner, and the man he was ready to hand over the reigns to.

  • 2x16: the iconic “together” moment, and the entire good-bye scene (Jason)
  • 3x02: Bellamy losing his shit, going after Clarke, the cave scene, “WE CANT LOSE CLARKE” (Aaron and Wade)
  • 3x15: “I trust you”, “You’re not the only one trying to save someone you care about.” “START WITH BELLAMY BLAKE” (Aaron and Wade)
  • 4x01: oh boy, “Thanks for keeping me alive”, Bellamy losing his shit both times Echo threatens Clarke’s life, the very intentional cut to Bellamy’s face when Clarke talks about /exa, the return of “princess” (Jason)
  • 4x12: roadtrip flirting, worried Bellamy as Clarke takes off her helmet, the blarke of it all (Aaron and Wade)
  • 4x13: the hug, the face caress that haunts my dreams, the entire head and the heart discussion, “I’ve got you for that”, “I left her behind”, Clarke radioing Bellamy every single day for 2199 days (Jason)
    • *yes I know other moments like the s2 reunion hug, the s3 beach hug, and the list episode were by other writers, but that’s not my focus

Are you seeing the pattern here? Either Jason or Aaron/Wade write the most important Bellarke scenes of each season. We have the biggest known Blarke writer on staff (imo) and the actual show runner responsible for these treasures. 

THEN, you add the fact that Jason was ready to let Aaron take over, if his other pilot got picked up. He trusted Aaron, a known Blarke stan, to continue the story he was telling. Isn’t that suspicious? 

But just think, our 2 biggest Bellarke episodes were written by Jason.


So we’re all aware that Jason says he knows where he wants the show to go for about 6 seasons - even if I still think 3a was a mess and not the original storyline for reasons. He has planned out how this show ends and he’s had that ending since he started. 

He wouldn’t be responsible for writing such iconic (romantic) Bellarke moments and interweaving that into the plot if it didn’t go anywhere. The man is trash and I wouldn’t trust him to buy my groceries, but he knows what he’s doing and he knows how to tell a story, even if he gets it twisted sometimes. He knows where to starts and how to end - which is why he writes the first and last episode of every season.

Their Story

“First of all, Bellamy and Clarke have always been at the center of this show. It has always been the story of — on some level — Clarke and her relationship to Bellamy. […]” -Jason Rothenberg

I think we’ve all learned to take Jason’s interviews with a grain of salt, but he knows what story he’s telling.

The show is about them. He is writing their story, and he has been from the beginning. Which is all especially evident when you look at the S1 script leaks that blessed us this year, and what was cut out, aka DAY TRIP. 

It’s been them from the start and it’s been romantic from day one. 

Anyway, This was my first shitty attempt at meta or spec or whatever and probably my last, but I think it’s just important to realize what’s going on despite how shitty Jroth is, he’s telling a certain story. 

But add on to this if you want. Thanks!

Dean germaphobe Winchester

Ok I’m seeing A LOT of hate towards Davy Perez for writing an OOC Dean in this episode….  @godshipsit @whyjm and I have written a few short posts but I feel the need to go into this a little more… I don’t have a big following so don’t know if this will reach many people but I feel like I need to throw in my 2 pence here because imo, this is NOT the case! 

Originally posted by itsokaysammy

 This scene is supposed to make us question everything that we are seeing. Dean knows or suspects Sam is lying….

This is Dean’s gift! He is canonically, continuously good at sensing when people are lying, especially over Sam who is more cerebral but has less EQ than Dean. And I mean Jared is a good actor, but this acting is terrible? It’s so obvious to us that he’s lying…. Then just this season Dean can read Mary and Cas even over the phone… but can’t tell his own brother - the most important person in his life who he RAISED - in person is lying? No. 

Plus all his call outs to Sam in this same episode over lying?  And the overlying arc of this season being that Dean is fed up of lying, is letting down his walls, slowly dropping the performing!Dean facade while Mary and Sam (and now Cas?) are hiding things from him.   

So…perhaps is he is repressing it? He doesn’t want to lose his brother after having lost his mother and Cas is away and they are avoiding each other after 12x12….. this scene is a subversion, it is showing us something is wrong with him. Kinda like when you’re depressed and don’t want to shower or eat or generally look after yourself. And throw yourself into something else (hunting) so you don’t have to think about it…. 

Even if this isn’t quite the case, the whole scene is made to make US realise that there is something wrong here.

Davy seems to know what he’s doing with pretty much everything else, so I’m gonna trust that he knows the character of Dean and is using it well here, NOT completely ignoring canon but actually using it to further his point.

Again, this reminds me of @floralmotif‘s post re: the visual ‘wrongness’ of the car scene in 11x23 and how this is again shown in 12x10 with the ‘wrongness’ of Ishim’s lying/playing Cas.

Originally posted by yougiveagirlallsortofnastyideas

Originally posted by super-sootica

This is just a textual version rather than visual…..

Half-formed thought of the day

A big theme in news articles and commentary lately is manufacturing jobs, crisis of labor, crisis of automation, etc, heavily focused on white working-class men. Often with the obligatory mentions of Luddites, carriage-makers and the automobile, etc etc pick prior examples as you please. But here’s a dot I’m not seeing connected:

Modern feminism arose out of a crisis of automation.

Feminism isn’t just the incorporation of women into longstanding ideals of citizenship and equality, although that’s important. Feminism is what happens when the huge amounts of domestic labor that need to get done for society to function–and that women as a class-like entity have been responsible for in most agricultural societies–can be done with machines in a fraction of the time. In the time it takes to get from the invention of the sewing machine to the mass adoption of the microwave, half the labor force goes from a back-breaking full-time job to chronic underemployment. 

(The other big structural pillar that people underestimate is safe, controlled reproduction. Its importance as a personal right is feminist dogma now, but IMO that misses just how much the insoluble problems of constant pregnancy and death in childbirth shackled the entire structure of society. Like, the reason there’s still so much conflict over this is that we’ve basically solved one of the eternal problems of the human condition and are still figuring out what the fuck to do with our success. But that’s a topic for another time.)

Mind you, I’m not saying “stop thinking of the white working-class men when you could be talking about women!” Just that it’s a potentially interesting point of comparison that’s being overlooked. And I’m definitely not saying it’s a one-to-one comparison, for probably some of the same reasons it’s being overlooked: underemployment plays out differently with unpaid labor that’s generally organized through household units instead of a more liquid job market. Or rather, supplemented by a job market for domestic labor, which is also heavily female and goes through its own series of upheavals.

Anyway. I don’t have enough knowledge of the relevant fields to develop this much further. But I thought I’d toss it out there in case somebody does, or just wants to cc it to the thinkpiece writers at the Atlantic.

Igbo Water Divinities

River gods and goddesses are found wherever a significant river or waterbody is found in Igboland, some of the more powerful cults cover larger areas and command more respect and followers by the importance of the waterbodies. Often of fluid gender, the water spirits are powerful ‘images’ of sexuality, fertility, beauty, and wealth and power. The most powerful water spirits are listed.

[Map of major rivers linked to divinities within Igboland]


Ńjābá is so powerful among southern and specifically southwestern Igbo communities that he outranks Àlà, the Earth Mother, in these communities. Ńjābá is usually male and is the guardian of the river of the same name that is a major tributary of Ụ́gwụ́tá (Oguta) Lake in Imo State, Nigeria. Éké, the royal python, is sacred to Ńjābá and surrounding communities consider them messengers and manifestations of Ńjābá and somewhat of a totem animal of which it is forbidden to harm or eat; serious fines and the responsibility of funding a human-sized burial for the snakes befalls anyone who harms pythons. [Interview about Ńjābá+]

Ímò Ḿmírí

Ímò Ḿmírí is the spirit of the Imo River [pictured] which runs between present day Imo State (which is named after the river) and Abia State and runs into the Atlantic between a section of Rivers State and Akwa Ibom State in Nigeria. She is usually feminine and was associated with the  Ibinukpabi oracle or “Long Juju” of Arochukwu, the most powerful oracle in southeastern Nigeria during the Atlantic Slave Trade, and she is considered as its female counterpart. Ímò Ḿmírí is a largely benevolent fertility spirit. In myth, the Imo is the river that rushed between the Ngwa people of Abia State and their relatives in Imo State creating a permanent cut-off between them. [More+]


Also: Ósìmírí / Órìmílí / Órìmírí / Ósìmílí - the female spirit of the Niger River which is named after her in Igbo. As is usual to feminine water spirits she is a fertility goddess. Èzù nà Ómáḿbálá, the confluence of the Anambra and Niger Rivers, is the site where Èrì’s band, the primogenitor of the Umuleri and Umunri Igbo people, migrated from the north to and settled.


Ìdèmílí is the female spirit of the river of the same name that runs through the local government area of the same name in Anambra State, Nigeria. Ìdèmílí means ‘the pillar of waters’ referring to the spiritual force of the water spirit preventing rain-clouds in the sky from falling [ídè also means flood, and water spirit forces are known to punish through floods or other sorts of water-logging]. Like most water spirits Ìdèmílí is a fertility goddess. Éké, royal pythons, are also sacred to Ìdèmílí and to communities that depend on her and are also known as Éké Ìdèmílí. Ìdèmílí’s story also involves appearing to mortals as a maiden. [The Ìdèmílí story+] [Priest of the Ìdèmílí shrine+]


Also: Ụ̀hámírí - The ambivalent feminine spirit of Ụ́gwụ́tá Lake of which she owns, she is paired with Ńjābá and she is also known as Ògbúìdè meaning ‘deep floodwater’ and her husband is Okita. Ụ̀háḿmírí roughly translates from Igbo as ‘the shining beauty of the waters’; Ụ̀háḿmírí is beautiful and wealthy and happy and childless. She is a powerful spirit among women in Ụ́gwụ́tá and is considered as somewhat of a spirit of achievement among women; successful women in Ụ́gwụ́tá especially were said to mostly be devotees of Ụ̀háḿmírí.


Also: Ụ́làsị̀ / Ụ́ràsị̀ - The spirit of the Ụ́ràshị̀ (Orashi) River which runs through Imo State and Rivers State. A male, Ụ́ràshị̀’s sacred grove, like Ògbúìdè’s, was marked primarily by the red and white pieces of cloth.


Also: Ọ́máḿbálá - The spirit of the Ọ́máḿbárá (Anambra) River which runs through northern Anambra State in Anam-Igbo land and then into the Niger River.

Ọ̀tá Ḿmírí

Of the Ọ̀tá Ḿmírí (Otamiri) River which runs through Imo State and particularly Ụ́ràtà-Igbo communities where the Ḿbárí votive shrines are dedicated to his mother, Àlà the Earth Mother, and where he plays a significant role.

anonymous asked:

tell me why every straight ship of sakura sucks

oh i actually have an answer for this one 

sakura’s story is most interesting when read as her rejecting men from her life as a necessity - ideally in reference to lesbianism but like, ill take “strong independent woman” or w/e lol it’s still a better option. 

she starts out the series as clearly really really struggling w femininity. she does everything she can to be cute and likable and reserved - she’s a fucking ninja but she doesn’t feel like she’s allowed to show aggression

this is imo best illustrated by inner sakura - bc we can rly see all the personality she’s repressing in favor of being likable. 

here’s the important part though, she’s most worried about being likable to boys. this is of course shown w her crush on sasuke, and how she always sizes herself down to try and not annoy him. but with her attempts to impress kakashi - a male authority figure, i’d say the same applies. don’t get me wrong, i don’t think that means theres a romantic element between her and kakashi. what im referencing here is the experience for pretty much all young girls and the different pressure we tend to feel from adult men. i won’t go too much more into it rn but. if ur a girl, im sure u know what i mean lol 

she never shows this problem with ino, able to openly insult her and show her rough side. all references to femininity around ino are either 1. when theyre much younger children, and ino is supporting her in that even tho she might not meet conventional standards she’s still likable and adorable, and 2. when they’re playing up their attributes to appeal to boys. 

and overall this is really really detrimental to sakura. her part 1 character is hurt by this insecurity, and internalized misogyny is really obviously to blame imo. 

i think for this reason i like seeing her arc as breaking past that and not caring at all about the opinions of men - and this is rly relatable to me as a lesbian who’s had to work to not worry about the male gaze, and i think that extra layer gives her a lot of dimension!

obv im not a fan of rly any str8 sakura ship, but since sasusaku is the canon one, i do have an example from is specifically i wanna bring up.

i DONT like seeing sakura like this. its sad! she’s a confident rough and tumble girl and we never see her act like this in part 2 until sasuke comes back. to me this reads like he’s just opening up her insecurities again and its upsetting. :(

let sakura date girls! thanks for coming to my ted talk

anonymous asked:

I have to rant to somebody about this, I hope you don't mind... I've been thinking that klance should become canon because it'd be the first cartoon where two of the male protagonists are with each other. We've seen lead girls in gay relationships, being korrasami and rubyxsaphire the most prominent ones, but there hasn't been an occidental cartoon with male lead protagonists in love yet. And it'd be amazing and what the media needs imo, I hope it'll come true...

klance is SO important to me!!!!!

like you are right the only lgbt rep that is shown in cartoons is female and that alone is incredible honestly but gay men should have rep too in all forms of media as well!!!

klance has the potential to be such a good romance like their dynamic is incredibly healthy and if they include lance coming to terms with his sexuality?? that would probably make me cry,,, like a bisexual poc finding out who they are and being supported the whole way?? and their sexuality not made to be a joke?? god,,,, i think i would die that would be so amazing and good for younger audience members to see!!

its a lot harder for guys esp teenagers to find out who they are because there is so much pressure to be straight and if they showed a character being supported and love while figuring out who they are in terms of sexuality that would send out such a good message for the next generation like i could show my kids this show when i’m older and i can let them know that its okay to be who they are y'know!!!

like rep of all forms is so good like not only is it educational but it’s just nice for people to look at a character they love and say,,, wow that’s just like me

like if lance was confirmed bi??? god i would cry like that would make me,,, a bi,,, so happy 😭😭

also don’t even get me started on keith being gay. like if keith is gay?? that alone would be so incredible!! like keith is this badass character who isn’t part of the “stereotype” at all and i love that so much and god,,, i just,,,, i have a very strong need for voltron to do this,,,, i don’t even care about klance that would just be the icing on the cake tbh,,,

i just want two male lgbt character who are supported through and through and are shown in a positive light and i have a strong feeling they might actually do this,,, they picked netflix for a reason they wanted to develop an interesting story and have as much freedom as possible


anyways that was such a long rant :’)

anonymous asked:

hey, can I get some advice? I've been working on a book for the past few years, and 2 of the main cast are jewish (the protagonist and his older sister). their faith isn't the main focus of the book, and the brother doesn't really practice, but I want to include it as an important part of their lives. what are some aspects of being jewish that you wish were included more in fiction? is there anything I should know (dos/don'ts)? thank you!

hm, this is a really broad question. i’ll do my best with general answers but please send me follow-up questions so i can be more useful (off-anon is better so we can have more of a conversation).

DO include:

  1. a sense of justice and duty to improve the world.
    whether or not you are religious, being jewish means a lifelong devotion to improving the world. jews have been involved in every civil rights movement you can think of. look into the jewish values of tikkun olam, “repairing the world,” and tzedakah, literally meaning “justice,” “righteousness,” or “fairness,” but used in practice to mean “charity” or “generosity.” these values extend beyond the purely religious and are a fundamental part of jewish life.
  2. an inclination to analyze and debate.
    jews are stereotyped as nerdy and argumentative, and there’s a real reason for it: judaism highly values academic debate. judaism is characterized by struggle, not only with our oppression but with everything. we are taught to struggle with tradition even as we celebrate it, to struggle with authority even as we respect it, to struggle with g-d even as we love him and he loves us. jews will sit down and talk about one word choice in one passage of the torah for innumerable hours and still know we haven’t reached every possible interpretation. there’s a common saying – “two jews, three opinions.” we love to argue, we really do.
  3. specificity.
    if you want your characters to be accurately jewish, you’ll have to be more specific.
    what ethnicity are they? are they ashkenazi (european jews), sephardic (jews descending from spain), mizrahi (MENA jews), beta israel (jews descending from ethiopia)? are they converts? are they mixed? do they come from an interfaith background? were they raised observant, become religious later in life, abandon the religion but not the culture?
    what branch of judaism do they belong to? are they orthodox, conservative, reform, reconstructionist? are they hasidic?
    the answer will change what foods they eat, what music they listen to, what language they speak at home, how they practice certain holidays, how men and women interact with each other, how modestly they dress, whether or not your male character shaves, what superstitions they hold, whether or not they’re allowed to get tattoos, how they interact with their elders, and more.
    obviously if these things aren’t directly relevant to your story there’s no reason to get excessively specific. there are constants throughout judaism, and aside from hasidic jews and orthodox women, most jews dress like whatever the norm is where they live. but do the research anyway, because if your character is supposedly sephardic and drops yiddish into their speech, that makes them, and you, less credible.
  4. religion.
    i know you said the protagonist doesn’t really practice. i personally encourage you to change this. you don’t have to write about them going to synagogue or anything but maybe have them kiss the mezuzah as they enter their home, have them keep kosher, have them wear a magen david, a kippah, maybe even tallit.
    yes, this will mean more research for you, but heres why its important imo: antisemitism targets the religious element of judaism just as much as it targets the ethnic element. antisemitism has most frequently appeared throughout history as jews being forbidden from practicing our religion, being forced to remove religious garments and eat treyf and have our synagogues barred or demolished. even now, religious and cultural apathy in american jews is in large part due to our forced assimilation. not long ago it was dangerous to be religiously jewish in public, so families started raising their kids less and less religious for their safety. every jewish character you see on TV is the kind who practices hanukkah and not much else. it would be wonderful if you could at least imply a difference.
    if you don’t feel there is a way for you to do that sensitively (i’m assuming you’re a goy or you probably wouldn’t be asking me this), that’s fair, but i hope you will consider it.

DON’T include:

  1. the obvious stereotypes.
    duh. no greedy bankers, no misogynistic or lecherous men, no doting or overbearing mothers with long island accents, no feeble nerdy men whose failure to live up to white masculinity is the butt of a joke. no mean adjectives attached to characters’ beautiful down-turned noses or lovely dark curly hair.
  2. nazis or nazi allegory characters.
    you haven’t mentioned the antagonists of your story, but just to be safe: if youre not jewish or romani, steer clear of nazis. seriously. jews have had enough of nazis.
  3. criticisms of judaism.
    i’m assuming you know this since you were sensitive enough to ask about representing jewish characters, but for the crowd: if you’re not jewish, it’s not your place to criticize judaism. somewhat related, but please don’t use your jewish characters as your mouthpiece for issues regarding israel and zionism. those conversations are way less intra-community since they affect others, but you cannot claim to hold a jewish point of view on them by having your jewish characters express “their” opinions.
  4. the word “jews.”
    i notice you didnt use this word in your ask! good. just like referring to women as “females” or trans people as “transgenders,” reducing jewish people to an adjective is a subtle but insidious way to strip our humanity. i know i’ve been saying “jews” a lot for convenience, but that’s a luxury i get as a jew myself :p
  5. resentment towards their family/community.
    if their parents are in the picture, i encourage you to write them as good parents. there are abusers in every culture, but there is a huge stereotype about jewish parents being abusive/manipulative (jewish mothers, in particular). leave the fiction about abusive jewish parents to jews. likewise, don’t have other authority figures in the characters’ jewish community mistreat or bore them.

that’s all i can think of for now. i hope this has been helpful at all, and please feel free to send me follow-up questions!!! good luck with your story.

Men’s Lives Have Meaning, Part 5: The Hour of Ghosts

Series so far here

“There’s a tipping point in every tragedy where inevitability locks the exit doors on free will and you know that after this, there is no turning back.”


Hello everyone. My name is Emmett, and I could have been imagined, designed, constructed, and sold as a consumer for the Lord of the Rings movie trilogy. I had just turned twelve when the first one came out at the end of 2001, I’d read the books that summer, and the infusion of swelling Hollywood orchestras and Peter Jackson’s beloved action schlock was perfectly calibrated to take my love for the material and shoot it into the stratosphere. I still look back on those movies with love…mostly. There are moments, especially in Return of the King, where the tone tips overboard: 

On one level, that’s what we want our heroes to say, right? We’re up against the odds, we might not be rewarded for our efforts, but let’s do it anyway; that’s the lesson a lot of great genre fiction is meant to leave us with, in one form or another. The problem with that clip is the knowing wink, the sly acknowledgement that after they’ve escaped so many other hair-raising disasters, this is just another day at work. I get the joke, but it would make more sense for (say) a Bond or Indy movie, where it really is just another day at work and part of the enjoyment comes from how what’s over-the-top for us is normal for them. In the context of LOTR, it’s tonally off, because this is not supposed to feel episodic. It’s supposed to feel climactic, like our heroes are genuinely in danger as everything comes to a head, and that’s marred when you expose the plot armor so blatantly. If this is just another day, why are we supposed to be invested in their risk? 

Of course, Peter Jackson didn’t invent that problem. It’s a storytelling problem. And that is why GRRM created Quentyn Martell. It’s why he tries to tame a dragon and why he fails: to reclaim the stakes and re-sensitize us to the risk. It’s not just that he dies, it’s how and why he dies. What does it mean to not have plot armor? What does it say about quest narratives that they can collapse so completely and yet the quester clings to tropes as if they’ll save him? How are we to live if Story fails as an organizing principle? “The Spurned Suitor” brings these questions to the forefront, right before “The Dragontamer” sets it all on fire. It’s the most reflective and dialogue-heavy of Quent’s chapters, the most thematically explicit; it’s the one that cuts through the hellish imagery dominating this storyline right to what it all means. In genre terms, where previous Quent chapters soaked the fantasy tropes in blood-red horror, this chapter has a distinctly noirish feel to it, in terms of both imagery and theme.

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anonymous asked:

hey sorry to bother u but if ,, one wants to start watching AT but wants to skip the first few episodes where its still like kinda bad , which season do you think should they start? sorry if this doesnt make sense hhh have a good day!

a lot of episodes are important unfortunately, even in early seasons :(

@cryptolalias made a list of episodes that are ‘plot relevant’, though! i understand it’s a pretty long series, though most episodes are really good and you shouldnt skip at all imo

there are other lists people’ve made floating around but i can’t find them atm :(

cosmowl  asked:

ive heard things about botw but theyre all mixed,,,,is it good or??

It gets a definite reccomendation from me. Honestly, at the end of the day, it’s probably one of my favorite games of all time, next to Fallout: New Vegas.

Without spoiling too much, the game’s absolutely massive in scope, yet at the same time it’s an adventure and it doesn’t try to be anything more than that. All you have to do is defeat this one guy, and the game leaves it up to you to determine how. You can prepare as much or as little as you want, and do anything in practically any order you want.  

The world’s absolutely massive and packed with details that make the world come alive, but most important imo is the fact that literally anything you can see in the distance is somewhere you can go and explore.

Essentially it took everything that made me enjoy Dark Souls over previous Zelda titles and did it better than Dark Souls.

…that is, except for charcter customization.

Please Nintendo for the love of god, if you’re going to make another game like this it’s time to ditch Link and let play as a purple-haired buff trans lesbian if i choose to.


ok i’ve been trying to find a way to word this so here goes

i know some ppl feel like we should have been shown more “obvious” evidence in the whole dizzee x thor relationship but like…aside from actual physical contact everything else was there?? like i know we got scenes of mylene & zeke having /implied/ sex & tanya kissing ra-ra’s cheek & carmelita straddling boo-boo but do we ever see mylene go for any of zeke’s gigs (i know she’s busy being an a star but still)?? tanya literally just met ra and carmelita was a v brief plot device that was a huge bad influence?

but dizzee & thor!!! dizzee wrote letters for thor when he was in jail & started a freaking comic just to tell him about all his adventures and thor fuckn loved every single one like you can basically say they had a long-distance relationship thing going all the while thor was in jail. thor attended every single get down bros gig?? like he literally came straight from jail to see dizzee & his bros perform (he was wearing the same clothes so im assuming this dude didnt even go home to take a shower or change lmfao) then we had the whole painting scene which i thought felt so domestic dizzee’s soft “im painting” & thor being like “i want u to paint but i dont want you to die and i dont want you bombing no more” he’s looking out for dizzee!! plus how he was looking at dizzee painting through out that whole montage with so much love and admiration in his eyes!! like basically thor is just so supportive of dizzee and their relationship might not seem “affectionate” but there’s definitely a lot of love there and imo it’s like the most healthy relationship in the entire show so far??

having said this THOUGH i do hope the tgd showrunners show dizzee & thor being physically affectionate with each other in season 2 cos lgbt representation is important and shouldnt just be “implied”.