does this make sense in context


So it has come to my attention that some people are calling for a boycott of Wynonna Earp over the gooverly/wynonna kiss. You want to cancel the one show that has treated their lesbian couple better than any other show to date over a peck on the lips? If you think it’s ok to boycott everyrhing you don’t like, if you think it will be ok to go harass Andras and the actressess over this then unfollow me. I firmly believe that Dom and Mel would have voiced concerns over the scene and I am as convinced Andras would have listened. .

You need to understand that this was not a waverly/wynonna kiss. It was a gooverly/wynonna kiss. It makes sense. The demon wants to be in a position of power but it needs a host that is dark enough for it to have the right habitat. What does it say about Nicole that the demon didn’t transfer to her? It can’t cause Nicole is FUCKING GOOD. Wynonna is good but also flawed and grieving and the demon will feed on that.

And isn’t it ironic that Wynonna the demon slayer is now possessed?

I have seen the argument that now homophobes will latch onto this to call us perverts. Because they will lift it out of context. Newsflash: the first people to lift it out of context are the people getting their knickera bunched up over an incest that isn’t there. I am looking at one particular “famous” user on here with whom I can’t even have a discussion cause apparently they are blocking everyone disagreeing on this. And they don’t even watch the show.

If you are a fan of the show you should be able to read the subtext.

Also spare me with the “this is what happens when the straights write a queer character” bullshit. Do you need to be a serial killer to write murder stories? You think Stephen King dresses as a clown overnight and drags kids to their doom? What about if someone told you that you an LGBTQ person can’t write queer romance until you fell in love. Wouldn’t you call that bullshit?

So Andras went from hero to zero in one scene. Check yourselves. You are here complaining about content that she created in the first place so you could complain about it. Without people trying we wouldn’t have anything. And their sexual orientation doesn’t matter one bit.

And this is the reason why instead of growing our content dwindles. Because writers are afraid to try, because when you do try and get it wrong you get death threats. You only need one “famous” internet celeb to whip up a mob except that on the internet you can say whatever the fuck you want without repercussions. At least a lynch mob in real life can be lynched back.

You know, all you need to write good characters and good plots is empathy (and research). Something lacking on both sides of the fence. But at least Andras is trying and if I learned something from the way she handles things it won’t be easy but Wynonna and Waverly will have a resolution about it. Because as soon as Waverly figures what has happened you bet your ass she will try to save her sister.

Because they are Earps. No matter what a birth certificate may say.

So don’t you dare ruin this fandom, which is the best fandom I have been in ever, because even different ships support each other. You don’t want to watch fine move along. Leave us be.

Look how well the boycott turned out for the 100 uh? (a show in which the show director actually queer baited people) If you feel like it please reblog. I am looking for an actual discussion with whoever wants. Or drop me an ask

Reading in other languages

Spanish: there are a few words you didn’t know but they’re cognates or you can figure them out from the context. Fairly understandable & grammar makes sense.

Mandarin: literally only one character you didn’t know before but it messes up the whole sentence. No easy way to find out what it means either so barely half understanding of this one.


anonymous asked:

I just keep thinking about the bay or bae choice but like in the context of the choice the beast gives Wirt at the end of over the garden wall. Like the tornado asking to choose between chloe and Arcadia bay and Max just responding with, "that's dumb" and choosing something else that saves everyone lmao

Haha, I’ve never drawn that comparison but that’s amusing. OTGW is one of my favorite stories in general at this point, though. Thinking on all of this led to an informal essay that helps me ground myself in my own mistakes with other fics I’ve worked on, All Wounds’ planning stages, and how I’m approaching its impending ending.

This one’s a bit of a doozie.

(I will be referencing elements of the endings to Over the Garden Wall, Life is Strange, Steins;Gate, and Oxenfree, in case you’re worried about knowing things you don’t yet want to know)

OTGW and LIS are very different stories dealing with very different themes, and OTGW can get away with a blunt and brusque resolution like that because it’s a dark comedy that’s in many ways subverting or teasing a lot of melodramatic tropes. LIS often introduces tropes and then peels back a layer and asks us to look deeper, which is a whole other sort of deal.

The problem, though, is that its own finale and final climax kind of doesn’t hold up, because it hinges upon a choice that really makes no sense – and a moral-oriented choice, at that, which makes it even harder to swallow.

With Wirt and the Beast, there’s a physical character within the world to confront. To call out. To vanquish or scare off or outsmart. Greg’s disposition can be broken apart and he can be released. The entire story is about mystery and, well

OTGW makes no allusions that its story isn’t supposed to quite make sense, it embraces its mystery, and it subverts things by making ‘reality’ a hidden element until the final act.

The story makes it pretty obvious that this world isn’t supposed to make much sense, too, which leads us to not really question things when it doesn’t.

Wirt is the elder brother, he’s supposed to set an example, he’s supposed to look out for his sibling, and he fails.

And while there’s a lot of darkness to this story, it is, ultimately, a comedy, first and foremost, and most resolutions with the various antagonists are resolved with some kind of clever or amusing tactic. It doesn’t want us to take it too seriously, and it’s often making fun of tropes in dramatic fantasy stories.

What’s happening with Max, Chloe, and the tornado isn’t so physical as being lost, as confronting magical beasts. It’s abstract and unexplained, yet the story wants us to take it seriously and tries (weakly) to ‘explain’ things. This falls short because there aren’t really any concrete, established rules, and yet we’re supposed to buy into everything being Max’s fault when we don’t even know how it’s her fault. This is tricky because within the context of the narrative, it makes the player assume the position and perspective the creators wanted:

Max Caulfield is supposed to choose between the greater good, or what she desires as an individual.

The premise of that choice is great, and it’s what the entire game has been foreshadowing and leading up to. The execution is just very iffy to me because of the dodgy attempt at explanation…without explaining anything. ‘Chaos Theory’ literally does not work the way the game alludes to it. The writers know none of this makes sense, which is why in the finale they unfortunately go as bluntly as to make Chloe say:

Keep reading


I once read a theory about Garnet’s visor being a tell of who is more “in control” of her at that particular moment and I got curious. So I went looking and it seems like a very plausible theory (though I would phrase it more as who’s personality is more prominent at that particular moment and not who’s “in control”) and I wanted your opinion on it. These are only 8 out of like 30 screenshots I took, but it appears to me that the visor is most often blue when tact is required and also when talk of the future is brought up (or when Garnet appears to be using future vision), and that the visor is most often red/pink when Garnet is angry or is dealing with a subject that’s emotionally-based. What are your opinions on this theory? (And can you phrase it better than I can bc I feel like I’m doing a terrible job of explaining this.)

I get where this theory comes from and in the context of the screenshots it does make sense. My only hesitation calling this “confirmed” is that it dispels the idea that fusions are individuals. It sort of makes it seem as though Garnet is just a big mecha with two little people in the control room. They work together to get it moving but sometimes one coordinates a more complicated move than the other.

Garnet as an individual has a personality, has beliefs, experiences and makes decisions. And I also find it flattening to reduce Sapphire to the “tactful one,” and Ruby to the “emotional one.” So to support this theory supports those implications, and I’m not too fond of said implications.

What I’d be willing to say is that there are times we’re really supposed to see the dichotomy, such as in Keeping It Together when Garnet is really falling apart and her component parts are “showing.” Because when Bismuth tells her, “You’re Ruby is showing,” it’s a joke between friends, but in the context of the other jokes being said (like about Pearl having an owner), the content alone is supposed to be very derogatory and insulting. It’s telling Garnet she’s not a relationship but only two individuals in a beautiful trench coat.

Mid-formality conjugation (해요체)

Last time, I covered the low-closeness high-formality group of sentence endings that are known as 하십시오체. While useful, it’s not the most useful form if you just want to talk to other people in the most common of daily life scenarios. That honor goes to 해요체!


해요체 is a mid-formality mid-closeness conjugation that is used… pretty much whenever you’re talking to someone you aren’t super close with but don’t want to create too much distance with, and need to maintain some social formality but not excessively so. You are least likely to offend someone using this form, as it is more or less neutral in terms of closeness and formality. If you want to know a bit more about the workings of social formality and closeness in Korean conjugation, you can check out this post and skip down to the “Formality levels” section (and I highly recommend you do so, as it’s very important in Korean society and thus, in the Korean language!). While this form is generally not too problematic, you might offend someone if you use 해요체 with them when you would usually use a different formality level, like suddenly using it with your boss who insists on 하십시오체, or using it with close friends that you would normally use 해체 with.

When using 해요체, using the formal word for “I,” “저,” is your safest option. Sometimes you will hear “나” being used with 해요체, perhaps from a coworker who is older than you (and thus higher in the social hierarchy) but does not use 반말 with you. Especially when just starting to learn Korean, it is safer to use the formal “I” until you develop a better sense for when it is and isn’t acceptable to use it with 해요체. Also, you should refer to others using their name or title and not the informal “너.” You can sometimes also use “당신” for “you,” but it very often sounds awkward, so sticking to names and titles is best.


The conjugation of 해요체, unlike 하십시오체, does not change depending the type of sentence you are making. Rather, the context of the conversation will be enough to let you know if the sentence is declarative (statement), interrogative (question), imperative (command), or propositive (suggestion).

To form 해요체, you take the root of the verb and add either -아요 or -어요 depending on the final vowel of the root. If the final vowel is 아 or 오, add -아요. If the final vowel is anything else, add -어요. For example:

먹다 - 다 -> 먹 + -어요 = 먹어요

  • 민호 씨는 초콜릿을 안 먹어요. (Minho does not eat chocolate.)

좁다 - 다 -> 좁 + -아요 = 좁아요

  • 이 방은 정말 좁아요. (This room is really narrow.)

I don’t plan to really get into irregular conjugations here, but there are some extra rules that you must know to use 해요체 properly. 

First, if the root ends with either 아 or 어, instead of doubling the vowel you just attach the 요, as if the vowel of the root and the vowel of -아요 or -어요 are simply overlapping.

가다 - 다 -> 가 + -아요 = 가요 (NOT 가아요)

  • 저는 학교에 가요. (I go/am going to school.)

서다 - 다 -> 서 + -어요 = 서요 (NOT 서어요)

  • 그 상자 위에 서요. (Stand on top of that box.)

하다 is a bit of a special case. Going by the above rule, it would conjugate to 하요. However, it properly conjugates to 해요.

오늘 뭘 해요? (What are you doing today?)

세빈 씨는 정말 강해요. (Sebin is really strong.)

우리 친구 해요! (Let’s be friends!)

되다 is also special. Going by the regular rule, it would be 되어요. While you might see this sometimes in writing, it is not a form used in speech, and it is often contracted in writing as well. Let’s check it out:

되다 - 다 -> 되 + -어요 = 돼요

  • 이름은 어떻게 돼요? (What is your name? [Lit. How does your name become?])

Yet another special case is 이다. When attached to a noun that ends with a consonant, it is conjugated as -이에요. When the noun ends with a vowel, 이다 becomes -예요. -에요 is NOT a valid conjugation of 이다.

공책이에요. (It’s a notebook.)

강아지예요. (It’s a puppy.)

Other special cases occur with roots ending in the vowels 이, 우, and 오. In these cases, the final vowel merges with the 어 in -어요 (or the 아 in -아요 in the case of roots ending with 오) to make a compound vowel sound. Sometimes you will see them written out in non-compounded format, similar to 돼요/되어요, but understand that such a form is usually reserve only for writing.

시다 - 다 -> 시 + -어요 = 셔요 

  • 맛이 너무 셔요. (The taste is too sour.)

춤을 추다 - 다 = 춤을 추 + -어요 = 춤을 춰요

  • 미나 씨는 춤을 춰요. (Mina dances/Mina is dancing.)

오다 - 다 -> 오 + -아요 = 와요

  • 비가 많이 와요. (It rains a lot/It is raining a lot [Lit. Rain comes a lot].)

NOTE: There is one exception to the above rule—yes, there are a lot of exceptions! This is when you use the honorific infix -(으)시- with your verb (Read more about its usage here!). In that case, the last syllable before you add -아/어요 is 시. Based on the above rule, one would think that the final 시 becomes -셔요. However, it instead becomes -세요

좋아하다 - 다 -> 좋아하 + 시 + -어요 = 좋아하세요

  • 우리 엄마는 꽃을 좋아하세요. (My mom likes flowers.)

앉다 - 다 -> 앉 + 시 + -어요 = 앉으세요

  • 여기 앉으세요. (Please sit here. [-(으)시 is used here to make the command more polite.)

More Examples

We’ve gotten through the conjugation rules for 해요체, including some exceptions. Let’s just check out some more examples using a variety of sentences types.


  • Declarative: 오늘 우체국에 가요. (Today I am going to the post office.)
  • Interrogative: 어디 가요? (Where are you going?)
  • Imperative: 시장에 빨리 가요/가세요. (Go to the market quickly.)
  • Propositive: 학교에 같이 가요. (Let’s go to school together.)


  • Declarative: 저는 채소를 많이 먹어요. (I eat a lot of vegetables.)
  • Interrogative: 고기를 먹어요? (Do you eat meat?)
  • Imperative: 이거 먹어요. (Eat this. [Using the honorific -시- here and creating 먹으세요 would be unusual. Instead, one would use the honorific form of 먹다, 드시다.])
  • Propositive: 이거 먹어요. (Let’s eat this.)


  • Declarative: 그 남자는 축구를 해요. (That man plays soccer/is playing soccer.)
  • Interrogative: 민지 씨는 공부를 해요? (Is Minji studying?)
  • Imperative: 그만 해요/하세요! (Stop doing that!)
  • Propositive: 우리 게임을 해요! (Let’s play games!)


  • Declarative: 이 것을 만지면 안 돼요. (It’s not okay if you touch this thing [More natural translation would be “Don’t touch this thing,” but in Korean, it’s a declarative sentence, not imperative].)
  • Interrogative: 시간이 돼요? (Do you have time?)
  • Imperative: 좋은 하루 되세요. (Have a nice day.)
  • Propositive: 우리 좋은 학생이 돼요! (Let’s become good students!)

꿈을 꾸다

  • Declarative: 에린 씨는 매일 밤 꿈을 꿔요. (Erin dreams every night.)
  • Interrogative: 어떤 꿈을 꿔요? (What kinds of dreams do you have/dream?)
  • Imperative: 돼지 꿈을 꾸세요! (Dream of pigs! [In Korean culture, a dream of pigs is said to indicate wealth.])
  • Propositive: 재미있는 꿈을 꿔요! (Let’s have fun dreams!)

This post was pretty hefty! If you have any questions, feel free to ask. As always, happy studying~

One of these is not like the others

In the Star Wars universe, it is stated that slavery is a primary tool of the Sith—for controlling one another, and also for the subjugation of the entire galaxy. And thus it stands to reason that if Anakin is truly the Chosen One (and this is confirmed by Lucas’ canon), then he is also the one who is destined to destroy the Sith, and by doing so, it is implied, break this seemingly-perpetual cycle of slavery (and mental/ideological enslavement).

The Chosen One, the Hero’s Journey, and breaking the cycle of enslavement in Star Wars: or, why TFA makes no sense in the context of the Prequels and the Original Trilogy’ 

(via the-far-bright-center)

This is why the climactic and emotionally cathartic ending of Return of the Jedi must herald an end to this cycle. What does destroying the Sith mean, if not that? Without this, there is little point to Anakin’s otherwise wholly tragic story. Without this, I would argue, there is little point to Luke’s story, either.”

The RoboHarry Conspiracy

At this point you have probably heard about the infamous HarrDuck conspiracy. The revelation shook the fandom, and today, I come to you with yet another conspiracy surrounding our quirky (quacky) young boybander.

Buckle up, friends, because this is going to be a bumpy ride.

Based upon the evidence we have compiled, we have come to the conclusion that the infamous HarrDuck has a robo double. I know, I know, it sounds odd at first, but take a look. 

The resemblance here is uncanny. 

Obviously RoboHarry has had a bit more work done to perfect his appearance - some of which is CLEARLY depicted in Harry’s recent BTA film. 

Ahh, the mask. They had us all believing that it was only to be used for a stunt double in a music video, when really, it was being used to update RoboHarry’s hardware. 

 But enough of that - we have hard facts to cover. Let’s begin. 

 Exhibit A: Our beloved “Harry” has regularly been seen out and about on coffee runs. And in the past, the cups he’s been spotted carrying have contained normal enough drinks - smoothies, iced tea, etc. He was even seen with the occasional frappucino.

 However, in more recent photos, the only drink he’s been seen carrying is an ominous, dark liquid. 

Now, some might say it’s just iced coffee, but a trained eye can obviously see that the liquid in these cups is, in fact, oil. I know, it sounds odd - but if you take a look at these photo of a similar type of oil, you can see how easy it would be to mistake it for iced coffee if it were poured into a cup over ice. 

 There have even been instances in which “Harry” has been directly questioned about the liquid in his mug: 

 Is it tea, though? Really? 

 Moving on. 

 Exhibit B: We all know the beloved LiLo water fights very well. It didn’t take long at all for them to become a staple in 1D’s onstage activity. But have you ever stopped to ask yourself why Harry would never take part in these playful water wars? I bet you haven’t. 

 Here, we can clearly see LiLo having a bit of carefree fun on several different occasions (no Harry in sight, of course). 

And here, on one occasion, we have Louis tossing a bit of water in Harry’s direction, but seemingly hesitating at the last minute. 

Why? The answer is simple: water would rust RoboHarry’s body and fry his circuit boards. And they couldn’t have that. 

 That brings me to Exhibit C: The regular glitches that RoboHarry seems to display, both in speech and functionality. I mean, the footage speaks for itself, really. 

 And all of that aside, I’m sure you’ve all noticed that “Harry” will occasionally blurt something out that seemingly has no context at all; as he does here 

 and here. 

 Sometimes the boys will make light of it as an effort to cover up the glitches in RoboHarry’s speech components, and other times our quirky robot will fumble to make sense of what he’s just said. Either way, the fact remains that these are not the actions of a human being. 

 So, does HarrDuck truly have a robo double? However much evidence we think we have, there is no confirmation of this theory by Harry, his reps, or the Starbucks that serves him his “coffee”. We tried calling multiple times and they blocked our number… Awkward. 

 Therefore, this mystery of “RoboHarry” remains 


 -The Bitter Latte

is “is” a verb

it’s used as a conjunction but also it can be used as a state of being

“Are you going to prom? Gerald is.”

i guess that doesn’t really count because in that sentence it’s used as a stand in for the implied full response, which would be “Gerald is going to the prom.” but even so, the fact that it has become such commonplace to shorten sentences like that has essentially written “is” in as an artificial verb.

but that doesnt really make any sense because if you were to replace it with any other present-tense verb, for example “running”, then it’d be “Gerald running” which doesn’t make sense.

but i guess it could be used as an adjective? depending on the context?

would “going to the prom” count as a really long adjective? because it does describe a characteristic of something.

man. i feel like i have a pretty strong grasp on the english language but at the same time sometimes it just makes no fuckin sense.

like, i get the rules, but when i try to dissect the rules it’s like opening up a really old car’s hood and then having a raccoon hiss and spit in your eyes before slamming the lid back down


I don’t know if this is common knowledge or not, but this scene here is the first, and only time Edward cries in the series. From the day he and Al burned down their home until now, this is the only time.

Ed didn’t cry when he and Al discovered what had become of Nina. He didn’t cry when she was killed. He didn’t cry when Scar destroyed most of Al’s body, or when Scar was moments away from killing him. He didn’t cry when Al accused him of creating a fake soul and binding it to armor, of inventing a brother as some kind of sick joke. He didn’t cry when he learned Hughes had died, or when he confronted Gracia and admitted the murder was likely his fault. He didn’t cry listening to Al admit that he was at his wit’s end, that he couldn’t stand all the nights alone anymore. 

He didn’t cry when he learned Scar had killed the Rockbells after saving his life, or when Hohenheim accused him of running away. He didn’t cry when he discovered the thing he’d transmuted wasn’t actually Trisha, or when Envy told him they were doomed to die inside Gluttony’s failed portal, or when Bradley took Winry hostage, or when the fight with Kimblee left him with a ten foot steel beam puncturing his side. He didn’t cry when Pride hijacked Al’s lifeless body, or when he let Al be locked up in total darkness with Pride, or when Father took them captive and used them to kill everyone in Amestris.

And he didn’t cry when Al sacrificed his own soul to save Ed’s life.

No. He’s gotten angry; he’s yelled; he’s exploded, but he’s never cried. This is the only time, and it’s when Hohenheim tells Ed to his face that he loves them, more than anything in the world, and only wants for them to be happy—that everything that happened had been his fault, as their father, as an adult, as the one who should have been protecting them, and not Ed’s.

And Ed bawls.

Here’s why: Ed hates Hohenheim, and will easily admit it, but he doesn’t hate Hohenheim in the way he hates other people. Ed enjoys talking smack about those he genuinely hates—he’ll talk about wanting to beat Scar bloody for everything he’s done, and wanting to kick the homunculi’s asses for trying to use him and Al as pawns. Hell, he even enjoys jabbing at Roy for the personality traits he dislikes. Hohenheim is different though. Hohenheim is the only person Ed hates that he also hates talking about. Every time Hohenheim is mentioned, Ed responds with a quick, scathing comment about the man and desperately changes the subject.

And this is all because Ed doesn’t feel right about his hatred toward Hohenheim. For all the others, Ed hates them from a blameless position. The homunculi hurt innocent people, as does Scar, as does Kimblee. Ed securely knows he’s the good guy who hates these bad guys. He’s the moral one, the blameless one, pushing back against a truly antagonistic force. And this is what Hohenheim is not. All of Ed’s hatred toward Hohenheim stems from a place of projected guilt and self-loathing. Ed decided to try to bring Trisha back to life. Ed performed the transmutation that got Al’s body taken away. Ed burned down their home and enlisted in the military, and Ed agreed to do awful things in order to try to fix what he’d done to Al. But, if Ed dials everything backwards, he can almost justify rooting this in the fact that Hohenheim left them first.

If Hohenheim had stuck around, maybe Trisha wouldn’t have died. And if she had, Hohenheim could have stopped Ed and Al from doing something so reckless as human transmutation. He’s their father after all. He’s supposed to be responsible for them. But he left, so Ed can almost rationalize the idea that it was Hohenheim’s leaving that led to everything bad in the brothers’ lives.

Ed knows this is grasping though, and he clings to it in part because he’s convinced Hohenheim hates him too. The clearest memory Ed has of his father is from the morning he left, standing stiff at the doorway, glaring down at Ed before heading out the door and never returning. (A glare which we later learn was the result of Hohenheim furiously holding back tears). Clearly, Hohenheim hated Ed and Al and Trisha enough to just walk out the door one day without saying goodbye. Ed’s probably spent a lot of sleepless nights wondering what they’d done wrong as a family—what he’d done wrong as a son—to make his own father not want him anymore.

So when Ed talks about how he hates Hohenheim, it’s 100% intertwined with a hatred he feels for himself. And it’s an insecurity Ed would never, ever admit to.

Meeting Hohenheim again in episode 20 only works to confirm Ed’s fears. Hohenheim is unbelievably cold to him—Hohenheim confirms that, yes, all of this was Ed’s fault. Ed committed the taboo; Ed burned down their home as a means of hiding the memory. He’s disappointed in Ed. He hates him as a son. And he leaves, again, without goodbye, because Hohenheim didn’t return home with any sort of change of heart.

Learning the truth about Hohenheim only serves to scramble Ed’s feelings. He’s confused; he’s uncertain. He can rationalize Hohenheim’s departure in the context of preparing the counter-transmutation circle, but what about his memories of the man who glared at him, filled with hatred, and left? What about the man who accused him of being a scared, stupid child who’s to blame for all his failures? What about the man who—if only he’d stuck around—could maybe have stopped Ed from doing all of this? The truth makes sense, but it does nothing to alleviate all the guilt and self-hatred Ed feels in relation to Hohenheim, so he doesn’t soften to his father like Al does.

Until this scene.

Until finally, Hohenheim says everything Ed’s desperately wanted to believe for the past ten years. Hohenheim loves him. Hohenheim cares about him. Hohenheim blames himself for what happened—he should have been around for Ed and Al, he should have been there to stop them from doing the impossible, he should have been their father. He wanted to. More than anything in the world, he wanted to just be there for them. Their family was everything Hohenheim had loved in life, and he’s sorry, from the bottom of his heart he is sorry, for how he left them behind. So sorry, that he wants to sacrifice his life in order to fix what little of it he can.

And that’s what breaks Ed. He was strong enough not to cry at any other time, for any other reason, but in these few panels Hohenheim destroys the mangled, tortured sense of fear and guilt and self-loathing that Ed had been harboring for a decade. Hohenheim loves him. Hohenheim is happy to be Ed’s father, proud, and so so sorry.

For the first time, Ed cries. Because for the first time, he feels like he can call Hohenheim “Dad”.

Identical Cousins, Bitches.

Well, after reading this last night… I kind of can’t stop thinking about all the ways this makes sense. I’ve shrugged off a ton of twin theories, because over all the idea bores me. But placing the characters in context, it really does fit the most empty spots.

 If you didn’t follow the link, it’s a still from the official 7B promo. It very clearly shows Sasha walking with Jenna, both apparently blind. Both wearing sunglasses and carrying walking sticks, walking side by side. Thanks to @charleswkingston for catching it and posting it! And thanks to @a-rebel-boy for posting his suspicion that it was a sign they were going with the Courtney/Ali twin plot (from the books) after all.

 So since then, my mind has been putting together a lot of pieces, and as dull as I always found the idea, there are a lot of ways it can sew up some open ends.

 So, my interpretation, literally just based on that post, is: 

-Ali has an identical sibling. 

-I would assume to thread together all the plot holes, that twin is Bethany. Obviously this explains why we’ve never seen her face.

 -Bethany is not her birth name. She is actually (placeholder name will be Courtney) Drake. 

-Bethany is the daughter of Mary and Ken (Or this Drake guy, that Mary may have taken her last name from?). 

-Ali is the daughter of Jessica and Ken (Or this Drake guy.)

That makes Ali and Bethany both cousins and half sisters. It ALSO makes them biologically identical, as if they were actually sisters. Jessica and Mary have identical DNA as twins, and if Ken is both of their fathers (OR someone else, but the father is the same), that means they have the same DNA both paternally and Maternally. Which actually makes them identical twins, despite having different mothers. Which, P.S., makes a ton of sense in relation to the “ADA or Ardor” post I made.

So to be clear here, We are talking about the Courtney/Ali story, not being just identical twins. But actual Identical cousins. (yes, this is actually possible.)

Ashley Benson said about her reaction to A.D. That: “I would have never guessed that it was even a possibility, so I was very shocked.” That could point towards her not knowing the biological possibility that half siblings can be identical if the differing parents were identical twins.

 We’ve all pointed out how very easy it would be for Mary to have seduced Peter, since Peter would have thought that it was Jessica. The same could easily apply to Ken. Though, for all we know, it was Jessica who was pretending to be Mary. 

Ooooh! Remember that Bethany was angry at Mrs. Dilaurentis, because she had been having an affair with her father? Well, if they have the same dads, then, yes… someone was definitely having an affair with someone’s dad. 

Remember the entire thing about Jessica taking Bethany to the horse farm, and asking her to call her ‘Aunt Jessie?’ Well, if she is Mary Drake’s daughter, then that would be totally accurate. 

OK, so Bethany and Ali are identical cousins but also twins. from here the theory starts to ramble a bit… but I’m holding steady on the Identical twins things. 

Bonus: Remember when Yvonne and Toby revealed a fondness for watching Retro TV? This gives Toby the basis to acknowledge that it’s just like “The Patty Duke Show”. Which, if you’ve never seen it, is a mid-60′s TV show, where actress Patty Duke plays dual roles as cousins who are completely Identical. The theme song is iconic. “They’re cousins… Identical cousins, all the way…”

 Let’s talk about Jenna and Bethany. 

Remember when Jenna came to town, and she said she knew all about Ali? At the costume shop in the Halloween episode, she made it pretty clear that she learned all about Ali before she got to Rosewood. And then at Ali’s memorial service, Jenna says “My whole life, I thought I knew who Ali was.”

  So imagine that Bethany and Jenna met before Jenna came to Rosewood? Maybe Jenna knows her from Radley? She would know as much about Ali as Bethany would’ve learned. And she would, of course, be a line to Bethany with info from that point on. 

In the promo, we see Ali and Jenna walking side by side, both seemingly blind. So we can assume that this is happening after 'the Jenna thing’. I don’t imagine that Ali will be going blind and hanging out with Jenna any time soon, so it sort of stands to reason that this is a flashback? 

So what if Bethany was actually in the shed with Jenna? So both Bethany and Jenna sustained eye damage, and would both have gone through education and recovery at the same time. This makes sooo much more sense of why 7x10 took place in a school for the blind. Maybe Bethany only lost her sight temporarily. Maybe her eye surgery was successful. Regardless, I think she’d have to have regained her sight almost completely to be carrying on in any 'A’ shenanigans. It would be hard to be blind and pretending to be Ali. And unless Bethany really did die that night, then yea, she would be pretending to be Ali at least some of the time. 

Bonus: In Ezra’s lair, as well as, I believe, several ‘A’ lairs… there is a picture of Ali, with eyes cut out. Clue towards Bethany having lost her sight?

It starts to seem like this entire story revolves around 'the Jenna thing’. But it’s really 'The Bethany thing’ the night that Ali showed her true colors to Bethany. 

OK, so fast forward to ‘That Night’: The part about Bethany being lured out by Ali would be true. It’s hard to say what Ali’s plan would’ve been? To stop the A notes? To kill Bethany so everyone would think it was Ali’s body? I definitely do think that it was always Ali’s intention to fake her death. “That’s immortality my darlings.” I’m just not sure what kind of timeline that would have had. If Grunwald definitely pulled Ali or Bethany out of the grave… then how were their remains found in the backyard? Someone would HAVE to have died that night, right? They can’t both have escaped, unless there was a third person buried there? Of course, Ali being identified as Bethany or Bethany being identified as Ali makes sense, So it’s possible that one of them died on 'that night’. But I don’t think so.

 I’d wager more money that Bethany was buried by Jessica, while Ali went on the run. And then Grunwald came by and pulled Bethany out of the grave. Leaving both Ali and Bethany alive. And perhaps a med school cadaver buried in THAT place, so that Ali wouldn’t find out that Bethany was alive? (Page 5 of Ali’s autopsy anyone? Perhaps a reference to it clearly being a medical cadaver?) 

After that night, we have both Ali and Bethany out there. Bethany knows Ali is alive, but at first Ali believes Bethany to be dead. (Or maybe they’re both playing together. But I think maybe not.) 

Now, fast forward to season 3. It seems sort of fair to say that up until that point, A’s plan has been to draw Ali out of hiding? It certainly seems that someone is bent on proving that Ali is still alive. And proving that the body buried in her grave, isn’t actually her goes a long way towards that. 

Premiere of season 3, Em gets seduced into leaving the house and to dig up Ali’s grave. Before she digs up the grave, she’s at a diner where someone has written the note “I’m sorry I left you.” That’s a very Emily to Ali message to me. So as of 3x01- this could very likely be Ali asking Emily to dig up the body, so that no one can prove she’s still alive. Or it could be Bethany pretending to be Ali, so she can use the body as proof and lure Ali out. Since Jenna is the one who was driving, I’d guess that it was Bethany having Ali’s grave dug up. (While she was there as Red Coat.) 

Mona was either working with Ali or Bethany. I would assume Bethany. This explains why when Mona was admitted to Radley after her A reveal, she said “Don’t they know that’s what WE want them to think?” And why we see her talking to Ali in a red coat while she is a patient. She’s actually talking to Bethany when she says “I did everything you told me to." 

There’s a lot more to think about with this. Because I feel certain that Lucas, Ezra, Toby, and and, of course CeCe are more deeply entwined with this. And I certainly have ideas, but I think this is enough for one post. But I for certain think that someone might have had a romantic link to Bethany. 

auricoma-deactivated20170720  asked:

Maggy's prophecy was "the valonqar shall wrap his hands", not "YOUR valonqar shall wrap his hands". Valonqar means "little brother", so any little brother can fulfill the prophecy by strangling Cersei. For example, Rickon. :-)

But why? Why would that happen in-universe, and why would GRRM write such an undramatic scenario? 

IMO you’re overthinking this. It’s Jaime. It’s Jaime, it’s Jaime, it’s Jaime. It’s the only choice that makes any dramatic sense: Tyrion’s the red herring that Cersei assumed was her killer, never suspecting it was her twin, and that’s what makes it a powerful use of prophecy as a trope. What, Cersei’s final thoughts are going to be “Oh no, it was [random character who had nothing to do with my story and no motivation to kill me] all along!” And we’re all “Le Gasp!” You gotta look at it in context: does this fit the narrative? Does this fit the characters? Does this seem like something, thematically/emotionally, that GRRM would do in order to affect his audience? 


So, a Water Tribe Betrothal Necklace is, traditionally, a hand-carved piece of jewelry given by a bride-to-be’s intended. It’s clear that a very traditional theme to have is a sense of roundness. This is shown by the first four necklaces shown.

The bottom two, Bolin’s, and Kya’s, differ highly from this, making them non-traditional. Now Bolin’s makes sense in the context we’re given from the show. Eska was shown to be slightly deranged and didn’t understand that Bolin wanted to get out of their relationship. The heavy-gothic themes help to show the dread, despair, and chain-like quality Bolin must feel. Despite this though, it still features a somewhat-round centerpiece like the traditional necklaces do.

But, Kya’s is also different. We found out via Word of God that Kya is LGBTA+. If she’s wearing a necklace, does this mean that her (assumed) wife carved it for her? Did Kya carve out one similarly for her wife? 

I like to assume that the design Kya wears also symbolizes how her relationship is non-traditional, just as her necklace is.

Also don’t picture Korra and/or Asami carving and giving the other a necklace.

“Can I See Him?”

I wanted to take a closer look at that scene in the hospital at the end of 520. The emotions between Oliver and Felicity that have been languishing in the background for so long really came out in this scene.  

When I initially wrote about it on Thursday, I was quick to jump on the Felicity bandwagon, feeling a little let down when she apologized to Oliver for…well, for feeling that she abandoned him and their relationship by walking away. The argument that Oliver did the same thing by lying about William is a valid one. He fucked up; he knows it and he paid the ultimate price—losing Felicity and William in one stroke.

When Lyla told Felicity that Oliver was asking for her, there was no hesitation. She went to him and there was purpose in her steps as she made a beeline to his room. When she opened the door and saw him on the bed alive and waiting for her, Felicity’s smile was one of relief—and quite possibly, one of happiness too. Oliver looked happy that she was walking again. She voiced her fear by saying everyone had a scare over his injuries. She also implied that him still living was more important than her being able to walk again. She came up next to the bed and Oliver tried to humor her by saying she should be used to him being near death. Felicity wasn’t laughing. She told Oliver she would never get used to it. Ever.

Then she took Oliver’s hand.

That casual, familiar and comforting touch reminded me (and maybe them as well) how natural they are when they touch each other. It was a small intimacy, one they had denied themselves for far too long. Then Oliver brought up his confession to her. He might have still been feeling a little apprehension by it, but he wanted to let her know that her response to it was appreciated. She didn’t react with horror or a need to get away from him. After telling her his deepest fear, Felicity did like she has always done whenever he loses himself in his darkness—-she reassures Oliver by reminding him she still believes in him. When she told him she wouldn’t have fallen in love with him or want to marry him if he wasn’t the kind of man she knew he was—my shipper heart was ready to burst out of my chest. Oliver always thought that if she knew the truth about him, If she ever caught one glimpse of the monster inside him—she would not love him anymore.

But there she was with him in that hospital room holding his hand. Because in spite of what they had gone through since the breakup, all the distance and anger and sadness and lack of communication—she still believed in him. She still believed in them. When he spoke of his appreciation, Felicity asked him if any of what she said to him in the Bunker stuck.

Oliver said he was hoping it did. Maybe there was a part of him still thinking about that conversation they had the morning after their sexual encounter last summer in the Bunker. She told him she wasn’t ready yet to have “the talk” with him, (the sex they had looked like she was.) About the sex—it wasn’t what reawakened their need for each other. It was an emotional and spiritual connection that only death can break. It is a natural attraction that is never going away. Okay, maybe the wine helped a little bit. Felicity was the one who initiated it because Oliver wouldn’t make that move on her. He still respected her need for space and intended to keep his distance. Flirting and heart eyes were okay, but touching her, kissing her, making love to her—that was no longer left between them.

When Felicity acknowledged to him that it had been wrong to walk away and that she was sorry, Oliver didn’t know what to say. Was he thinking that she didn’t have to apologize, that he is the one who lied to her? Would she understand if he told her he was being devoured by the monster? Does he ever think about that early conversation with John after Felicity joined the team? He would protect her and ensure her safety. She would never get hurt. Maybe that is why he didn’t say anything to her that day in the loft, didn’t go after her. Not only did he betray her, he betrayed himself.

Which brings me to Felicity’s second apology.

           Felicity: “I’m sorry.”

           Oliver: “For what?”

           Felicity: “For being a hypocrite.”

I think she was acknowledging her dark spiral and how she saw herself becoming like him. I am still hard pressed in believing that it was solely Billy who pushed her down the rabbit hole. Helix, her unwavering need for revenge against Chase, the lengths she was willing to go and the sacrifices she was willing to make—all of it was a macrocosm of everything Oliver had gone through over the past ten years. She told him her experiences gave her a tiny taste of what he went through.

Billy is dead. Susan is out of the picture. So is Helix (for now.) All of this was in the Bunker with them. But there was something else happening between Oliver and Felicity down there in the dark; they put aside their differences and worked together to survive. There was the subtext of the episode—trust. Not only in overcoming the physical and tactical obstructions in their way, but also looking for common ground they both could stand on with it’s time to be in each other’s lives again.

There was no ‘I miss you’ or ‘I need you’ declarations spoken. But there really was. It was through the actions they took in helping each other. It was Felicity still pointing out that Oliver needed to listen to her. It was her patching him up when there would have been no need if he had listened. It was Oliver willing to try her suggestions and plans. It was him literally carrying her on his back. It was both of them understanding they worked better as individuals when the worked together. It was Oliver telling her about his monster and Felicity still accepting him. They had each other’s backs and that is the foundation of their love.

Felicity told Oliver that she gets it now. What is it? Well…it’s Oliver she gets. What they went through together in the Bunker was an obstacle course in making decisions. It was also clear to both of them that those kinds of decisions are not always going to be the right ones. No one is perfect. Oliver made a bad one lying to Felicity about William. Was it enough to kill their realationship? Maybe. Felicity thought it was. She talked about inclusion and trusting your partner when the shit hits the fan. They’ve both trusted each other before over the years. Felicity always knew that some of Oliver’s actions were influenced by his tortured past and how it shaped him into who he was. But he was able to overcome a lot of that trauma and set a heroes example, not just to her but to a whole city. It brought their hearts into alignment.

So I think when he lied about William it wasn’t about not trusting her. It wasn’t about him discounting everything they built together. It wasn’t about protecting anybody. It was about fear. Oliver was afraid that if he brought Felicity into the part of him that felt the need to keep her away from William—he would have to let her all in. He was afraid of the darkness, and if it touched her, he would lose Felicity forever. It was a conundrum that he lost himself in. He thought he was doing the right thing in keeping his son safe, but he had to lie to Felicity to do it.

So maybe Felicity telling him she “gets it” has to do with the decisions she made with Helix, with hooking up with Billy instead of trying to fix her life with Oliver. Maybe it had a lot to do with Havenrock as well. Maybe, that’s why she understands the William lie. Her apology for judging him might not have been warranted, but Felicity, I think, was coming to terms with herself. She was vanquishing her darkness before it could take hold, like it has with Oliver, and not let her go.

But Felicity does know one thing in her that won’t let go—her love for Oliver. He is a part of her. He gives her life purpose, (her words, not mine.) He makes her the best version of herself. When Oliver told her he didn’t know what kind of person he is, she still did. He is not a monster. He is the man she chose to stand by and continues to stand by. If he is broken, she is too. If he makes mistakes, so does she. They’re imperfections and both have them. So when she suggested to Oliver that he should figure out what kind of person he is, I heard the door she closed on him last year swing open. I saw the love for him in her eyes and the smile on her face.

I saw her forgiving him and herself.

So in this context, maybe what happened in that hospital room makes a little more sense to me. Felicity was right. Oliver needs to shake loose from Chase’s influence and find that belief in himself. And now that he knows Felicity will be there waiting for him when he does—he will embrace the hero in his heart.

Oliver and Felicity are still moving on. But now it’s towards each other. They rediscovered their purpose—working together and loving together. It’s comes with all the faults and disagreements and arguing. It’s the thought of losing each other. It’s the darkness and the light. It’s the pain and the tears and the comfort they bring to one another at the end of the day. It’s the life they’ve chosen.

Some have said they should have told each other “I love you” when they were safe in that hospital wrong. They did.

When Felicity opened the door and they saw each other. Perhaps for the first time.

@hope-for-olicity @louiseblue1 @almondblossomme @tdgal1 @dmichellewrites @wherethereissmoak @lovelycssefan @jaspertown @memcjo

anonymous asked:

people always say that great movie ride is so outdated but i love it. i'm curious about your perspective: how could they effectively "update it" while still keeping it's original intent/purpose the same?

I think the Great Movie Ride’s issue is that it prioritizes the movies over our experiences.  Like, Disney was so thrilled to get the rights to adapt MGM’s movies into a park that they forgot to actually adapt ‘em.

For example, if you’ve seen Casablanca, and you were assigned to adapt it into a park, you would ask yourself, “What does the movie make me wish I could do in real life?”

For most fans (including myself), the answer is, “I wish I could hang out at Rick’s.”  And lo, a Casablanca restaurant becomes a no-brainer.  Everyone who’s seen the movie gets to live the fantasy, and everyone who hasn’t seen it can get a sense of its tone, which may persuade them to watch it someday.

The Great Movie Ride, on the other hand, is designed as if we’d said, “I wish I could watch just one scene, out of context!”  It’s bad show, because it alienates the illiterate, and it’s bad form, because it’s two-dimensional content in a three-dimensional medium.  EARN DAT REAL ESTATE, BOI

The ride loves making anti-climactic choices like that.  How many generations of the audience do they expect to be impressed by the mere presence of John Wayne?

There’s only so much mileage they can get out of, “Hey, look, a celebrity!”  Oh, yeah?  Then tell that hotshot he can either help us against the bandits or get the hell off the set!

An attraction that’s about history must let us interact with the history, or else it’s history.  This is the same sad lesson that EPCOT keeps teaching us.

And to be fair, when the Great Movie Ride calms down long enough to focus, it works well.

For example, if we asked a million people what happens in the Gangster Scene, I bet all of them would talk about getting caught amid crossfire and kidnapped by a gangster, and none of them would talk about passing by James Cagney and hearing some of his movie titles recited.

It’s a good indication of what we, the audience, actually want:  a ride that happens to be about movies, not movies that happen to include a ride.  Designers who want to scratch this itch should pick a genre or film, and then ask what they make us wish we could do in real life.

For example, I’d love to ride into a slapstick comedy film and have this happen to our ride vehicle:

Or how fun would it be to ride into a musical spectacular, along the lines of Singin’ in the Rain’s “Broadway Melody?”  Our ride vehicle could dance along with the ensemble!

This is the sort of approach that I think would not only deliver upon the premise, but also satisfy the broadest possible audience.

It’s not just a good idea; it’s a necessary one.  The Suits will take any excuse to replace a non-fiction attraction.  The designers must defend against that.

I feel like people are misunderstanding something

People tend to see this scene in CW season 6 as another example of Anakin being extremely defensive and angry controlling Padme. Which does make sense in context with the previous scene (where he demands Padme to stop seeing Clovis because he is her husband) making you think his anger is coming from jealousy.

However, I think it should be noted that when Anakin enters the room all he sees is Clovis forcibly tries to kiss Padme without consent

He walks in and Padme says “Clovis No!”

 In other words, he sees someone trying to sexually assault his wife

what else is he suppose to do?