I would rate The Distance as one of the great Richonne episodes of the series. I love it dearly for the way it shows Rick and Michonne moving in and out of sync, and for the way comic and dramatic elements bleed into one another. Even within this single scene, that’s what we see. For much of it, Rick and Michonne’s body language suggests they’re on the same page (e.g. the way they move in time in the third and fourth gifs). The blocking firmly places Michonne within the Grimes family fold; every shot of Full Beard Rick posturing threateningly at their visitor has him fixed in front of Michonne, with the children beside them. It’s a little extra on Rick’s part to say the least - but, y’know, he’s terrified that his fam is under threat. Nevertheless, he’s being unusually macho even before the punch arrives. Never the best at first impressions.
As Aaron’s powers of persuasion work overtime to break down Rick’s heightened defenses, Michonne moves even closer to his side. They then have my favorite silent conversation they’ve ever had. It’s old marrieds. It’s partners in crime. It’s any fucking trope you want it to be. And then, with comical machismo, he consciously ignores Michonne’s silent advice and punches poor, sweet Aaron in the face. Oh, Richard. Given the dire straits Team Family are in, I’m going to put this down to a combination of extreme over-protectiveness and serious hanger. But you’re on a warning. Walking Dead 101: Michonne is always right. You’ll learn, babes.
Andy: He’s on hyper alert and hyper vigilant at this time because of Terminus, and all of the people he’s met since the prison have either been dangerous, organized or brutal people – or a combination of all three. The whole thing with the punch is it’s nothing personal. It was a terrible call to bring a stranger into where they were staying, it’s bad protocol; all Rick is doing is saying to wait, start again, interrogate the guy and see who he is. I don’t think it’s important to Rick that he makes friends. He’s got all he needs around him.
Danai: They can talk to each other with a glance.
Denise Huth: Michonne is one of the few characters who can really call Rick out.
Time to share with you one of my all-time favourite paintings! Now the 19th century was, in terms of artistic endever, a truly beautiful time. You cannot deny the artists of this period could certainly appeal to the viewers eyes. Of all the artworks of the 1800′s, I don’t think any really come close to this one. ‘Vengence is Sworn’ (1851) by Italian artist Francesco Hayez (1791-1882), depicts a tragic tale.
The artwork was originally part of a series, it’s sister portraits named: ‘A Secret Accusation’, and ‘A Rival’s Revenge (The Venetian Women).’ The former shown below.
And what, pray tell, is the story being told in ‘Vengence is Sworn’? A devestated Venetian woman just told by her servant that her husband has been unfaithful. It shows a hurt woman. I love the poses here, the servant so close to whisper her the truth, written on that letter. The married woman pushing her away so you can almost feel her trying to reject the truth. When seeing their poses,
Wallace Stegner’s ‘Angle of Repose’ comes to mind:
“Touch. It is touch that is the deadliest enemy of chastity, loyalty, monogamy, gentility with its codes and conventions and restraints. By touch we are betrayed and betray others… an accidental brushing of shoulders or touching of hands… hands laid on shoulders in a gesture of comfort that lies like a thief, that takes, not gives, that wants, not offers, that awakes, not pacifies. When one flesh is waiting, there is electricity in the merest contact.”
I feel it is same for the opposite, to deny that comfort. I feel that is what is shown here and certainly relevant to the time it represents.
The background is so simple, letting the attention to be drawn where it should be. It makes the characters that more dramatic.
Another element I just love is the woman’s eyes. They way they are turned make it seems she has none at all. I believe they represent her blindness to how her husband has been loving another. They appear ghost-like, which I think reveals her own feelings also.
You can pick at this painting all you like, and no matter how much I’ll pretend to know about this painting, there is one reason above all others for me to love it. That is, it’s just simply a fucking beautiful work of art.
I mean first of all, it’s a lighthearted, whimsical, colorful, romantic show about a necromancer who resurrects murder victims, asks who killed them, kills them again and then collects the reward money
And the color palette is so bright and jovial, and everyone has fun jobs like lighthouse keeping, candy making, dog show hosting, horse racing, scratch ‘n sniff book making… It’s such a fun world
Chuck and Ned have the most wholesome romance on TV, their entire relationship is just “Hi, I’m here to genuinely love and support you and discuss our problems in a healthy manner because I want you in my life”
And even though Ned can’t touch Chuck, that’s actually… not really a drama point on the show?? You would think that with their predicament, it would be a hugely angsty and dramatic element of the show, but they pretty much exclusively use it as a device to show how clever they are at overcoming their unique situation
The dialogue is just so fucking clever?? I still reference the show regularly, and it was cancelled in 2009! They took every opportunity for witty, unique dialogue and boy, did they use it
And we get the perfect balance of Ned not wanting to abuse his abilities and completely abusing them for mundane reasons. He totally uses his powers for money - both by the aforementioned murderer catching and by buying rotten fruit on the cheap to “resurrect” into ripe fruit for his pies (what a clever man, bless)
And you could easily argue that Ned is asexual (b l e s s)
Revenge of the Sith | Deleted Scene | Othello and Iago
Supreme Chancellor Palpatine’s subtle but deadly turning of Anakin Skywalker to the Dark Side of the Force was originally even more multi-layered than what was eventually shown in REVENGE OF THE SITH. Darth Sidious’s use of jealousy, like Iago’s deliberate and vicious fracturing of Othello and Desdemona’s tragic love in William Shakespeare’s classic play, was expected to be one of the main dramatic elements to have been seen in EPISODE III. In fact, a similar sub-plot was filmed in which Anakin, meeting Palpatine on the landing pad outside the senate building, is told by the Chancellor that Obi-Wan’s decisions are being influenced by a “female senator” (whom an anxious Anakin realises is Padmé Amidala). An earlier scripted element of jealousy by Anakin was cut from a prior scene in the film just before Padme tells him that she is pregnant. Unfortunately, this filmed scene, which also featured a brief cameo appearance from Ahmed Best as Jar Jar Binks, never made it to the finished movie.
The Chancellor’s Transport races through the city and heads for the Senate Office Building landing platform. Waiting on the landing platform is a LONE JEDI. The Transport lands, and CHANCELLOR PALPATINE emerges with FOUR ROYAL GUARDS and MAS AMEDDA. The FOUR ROYAL GUARDS move off in another direction as PALPATINE greets ANAKIN, who has been waiting for him.
PALPATINE Well, Anakin, did you see your friend off?
ANAKIN He will soon have Grievous’s head.
PALPATINE We can only hope the Council didn’t make a mistake.
ANAKIN The Council was very sure in its decision.
They exit the landing platform.
101 INT. CORUSCANT-SENATE OFFICE BUILDING-MAIN HALLWAY-DAY They enter the main hallway of the Senate Office Building. They pass SEVERAL SENATORS, including REPRESENTATIVE JAR JAR BINKS from Naboo.
My mind is finally clear enough for this. And yes, my eyebrows went through a lot in 2012, let’s not talk about it right now.
Top 10ish Chris Cornell Songs: 10b) Birth Ritual Anyone whose ever relied on their own pipes to make music will know what it sounds like to struggle with a high note. Even when the note is still within your range, but touching its limits, it becomes difficult to sing the note loudly with the same control. Not a problem for Chris in Birth Ritual. The higher notes in this song are sung even louder than the notes that sit more comfortably within his range. Not only does he hit these notes with precision, he’ll drop one or two octaves within the same few bars comfortably. Power and control at its finest.
10a) Cochise Say what you want about Audioslave, even I’ll take my personal jab at Chris’ attempt to cover ‘Sleep Now in the Fire,’ but like them or not, Cochise storms out of the gate. The song takes Chris’ vocals from his coarse belting in the chorus to the hauntingly smooth verse into a full on gravel-rolling-down-a-hill scream at around the three minute mark. It’s complemented well in the video where you see Cornell’s silhouette lean back to unleash the scream.
By this time, Chris’ voice hardly sounds like it did in Ultramega OK or even Louder than Love. Hell, it’s even pretty far from Superunknown. Thing is, he didn’t let that stop him, he let it challenge him. Cochise isn’t the kind of song you’d give to a younger Cornell. It’s the older, matured, and weathered sound of his voice with Morello’s guitar that really lights the candle under this one. It shows Chris’ adaptability, versatility, and evolution as a musician and vocalist.
10) Smokestack Lightning Following his passing, I saw a lot of songs being passed around in honor of Chris and his voice. This is one I expected to see, but didn’t. One of the great things about Chris and Soundgarden in general was the exploration and incorporation of other genres into the music. In this cover, you get a bluesy side of Cornell. Although he’s quite young here, you hear those tinges of maturity in his voice we’d go on to know later on in his life.
Chris’ vocal control as he exits certain notes in this song is impressive. I’ve seen it argued whether or not the extremely high notes towards the end of the song are technically falsetto. Some argue he’s not even there in these notes, but whatever you want to call these otherworldly notes he belts at about the four minute mark, they’re blistering, intense, and unforgettable.
09) Fell on Black Days A lot of the songs on this list celebrate Cornell’s range, especially on the higher end. But that’s not to say his mid-range isn’t wonderful and almost viscous in its tones.
When listening to the discography in order, I imagined that few saw a song like Black Days coming. Fans of Screaming Life EP and Ultramega OK might not have known a lot about this version of the band; the version that loves the darker iteration of the Beatles, the version that borrows from sludge. The version that steps away from metal and into…this.
No exaggerated screams to be found in this song, no seam-splitting falsettos, just an occasional burst of 800 grit here and there.
Ben’s haunting bassline crawls under Chris’ melody. Black Days is a wonderful demonstration of the quality and depth of Cornell’s voice, never mind the range, never mind the control- just the quality of his natural voice shines completely on this unforgettable and wildly successful Superunknown track.
08) Incessant Mace A song for villains, Incessant Mace has this malicious sensuality about it. Chris voice wears a silk red spaghetti strap dress and feels its own curves during the first half of the song. The notes meander hypnotically, allowing Chris’ voice to slither from note to note in a slow burn of seductive prowess. The extremely present reverb in the song makes it sound as though his voice is traveling along the rails from hell to earth. As the song reaches its climax, these meandering notes go from a feral caress into a vicious chopping. As we reach the end of the song, it’s as though Chris shows his fangs and spits venom. It’s the moment the skirt is hiked high enough to show the blade concealed beneath.
The end of the song, when Chris just bellows, “Mace, mace, mace, mace” spits absolute aural venom as the song slithers out of reach.
07) Wooden Jesus Whether it was the slight change in musical styles, the chemistry with Eddie Vedder, the personal bearing this project had on Chris, or the hand of God itself, something motivated Cornell to perform like never before on Temple of the Dog. His voice hit like fists in Hunger Strike and would do so again on Wooden Jesus, where Cornell goes from a soft, hymnal style singing, straight into a mountain-moving belt.
06) Reach Down We again find ourselves in an interesting and atypical application of Chris’ voice in Reach Down; gospel. A bit inspired by Andy Wood’s style, Chris leads the choir-like ensemble of voices that make up the rest of Temple of the Dog.
Some of Chris’ vocal fills and humming sections add so much color and character to the song, moving the almost twelve minute opus down a flaming track. The instruments fall away at about 8:50 and make room for the almost apocalyptic sounding harmonies and eventually lift Chris’ voice into the foreground, where he grabs the song and doesn’t let go.
05) Slaves & Bulldozers Slave and Bulldozers is a tense push-pull of a song that appears on Badmotorfinger and thrashes the listener through about seven minutes of pipes waiting to burst. A real tug of war on the loud/quiet/loud front, it’s when the song completely lets Chris go where the song goes from good to amazing.
It’s particularly noteworthy that Chris doesn’t just scream the end of a syllable through the outro of a song like he would go on to do in song like Cochise, but in Slaves, Chris is screaming complete words, complete phrases, abandoning notes and vocal control for something more primal, something more visceral.
04) Black Rain What makes Black Rain particularly interesting was the challenge it presented on a recording basis; half the song was recorded near to the Badmotorfinger era in the 90s and the rest was filled in around the time of Telephantasm in the 2000s.
Chris’ voice sounded expectedly different for the second half of the recording. Rather than re-recording, Cornell opted to perform the missing sections of the song and pair them with the original performance. Knowing this, I could personally tell you exactly where the old Chris ends and the new Chris begins. But it’s not as jarring or disturbing as you’d think. In fact, it’s sewn together very well and the band was able to pull it off completely. I was surprised again that the band would perform the song live without issue, something I thought they’d avoid because of how this particular song sounded on wax.
Another testament to the timelessness and skill of Cornell, Black Rain reaches into early Soundgarden and late Soundgarden without skipping a beat.
03) Jesus Christ Pose Unlike a lot of the other songs on this list where Chris goes from low notes and gradually to high notes as a release in the third act of the song, JCP starts and ends at the exact same intensity. The 4/4 driving rhythm of the song keeps the song going at a breakneck pace, pushing Cornell to the top of his performance and making him stay there.
02) Beyond the Wheel A performance worthy of demon worship, Beyond the Wheel begins with a cult-worship like chanting verse in Chris’ lower register that makes absolutely no effort to create a smooth transition right into his upper register. It just happens. It happens without warning, without apology, without giving a shit. In a song where I hear some of Chris’ highest and lowest notes on record in the same few bars is downright astounding. Chris’ shrill scream is damn near blood curdling as it belts out into the empty spaces of the song, isolating him between notes in a beautiful love song to the void.
01) Hunted Down I’m as surprised as you are that my number one vocal performance comes in the form of Hunted Down. But something about this song always got to me. Chris’ voice digs its nails into your flesh and drags for about three minutes. My favorite aspect of this song in particular isn’t like other songs where i’m in awe of the range or power; it’s the annunciation of the lyrics.
The syncopation of the lyrics with Chris’ short bursts of energy read like a theatrical performance. It singles Cornell out as both a singer and a performer. From the first “HUUUUEUH” at the beginning of the song all the way to the bursts of notes that fade into the end of the song, Hunted Down has such a dramatic, theatrical element about it that the song itself is a character simply based on the way Chris chooses to sing and annunciate each word and note.
What do you think of Viggo´s supposed death? The noise he made when falling and the complete lack of dramatic element regarding it make me think he is as dead ad Dagur. It would not surprise me to watch Hiccup attending that Maces and Talons match only to find Viggo has already won and greets him with open arms and something in the line of "My dear Hiccup, it is such a pity you couldn´t arrive earlier. I truly was hoping to compete against you"against you"
Hello, hello! Thank you so much - I’m doing well! I’m moving into a new apartment and it’s slowly coming together. :)
[Quick note on the damselstrid (continued from this post) before I chat about Viggo: The way I usually see Damselstrid dialogue occur within the Hiccstrid community is that either the individual doesn’t mind or they are very frustrated with the portrayal (I see much more of the latter on my dashboard). So I understand what you mean, yeah! It’s frustrating for all of us. As you saw in my previous post, I agree that it’s something that should be addressed and corrected in later seasons. I also guess I’m glad I helped illuminate the sexism within RTTE? The sad thing is I could continue elaborating with many more points… but I hope that, at least with pointing out some of the things, people can be aware it’s there. As much as I love the show, and as much as I will continue to love the show, it’s always good to be aware of the areas in which the show could use improvement, especially in areas of representation.]
As far as Viggo is concerned, I personally actually really hope he’s dead. As much as I love the mind games that Viggo has, and as much as I think he is a unique villain within the HTTYD realm, I don’t think that bringing him “back from the dead” would be the best choice of narrative. Even though there is a point to be made that his death feels, in many ways, anticlimactic and lacking in drama, I also feel as though it would be a poor choice in other writing respects to bring him back. Here are my main reasons why:
1. Back-from-the-dead tropes get old fast. 2. Viggo might have a disproportionate number of screen time otherwise. 3. Still being alive would be unrealistic. 4. Viggo’s ending is fitting to his flaws. 5. RTTE S4 wraps up basically everything with the Viggo plot arc.
1. Back-from-the-dead tropes get old fast
Fake deaths are a common narrative device in fiction used to build tension and create audience surprise. When done correctly, it can evoke shock, excitement, or a host of other suddenly-jarred emotions. Correctly done faked deaths can really get the audiences excited. When done incorrectly, though, it can feel like a very worn-out plot device… especially since it is a common trope.
It’s to note that repeating tropes within a single story - especially tropes with these sorts of high-drama elements - tend to wear out and annoy audiences. It’s not a good plot element to recycle and keep redoing; if ever done, it should be done once for optimal effect. Otherwise, you cheapen both the first faked death and the second, make the plot of the story predictable and repetitive, and rely too heavily on tropish plot devices to carry the narrative “forward.”
RTTE writers have already implemented the back-from-the-dead trope once. It’s what happened with Dagur in S3 to S4. We never saw Dagur’s body at the end of his “death scene” in S3′s Family on the Edge, and indeed, he comes back in the fourth season alive and well. Now, if Viggo came back from the dead, not only would we recycle the same overdramatic plot device… but we’d be pulling the same stunt with two characters in back-to-back seasons. At this point, it would feel much like a worn-out, recycled plot device… rather than giving us some new, more novel twists and turns.
I would MUCH more prefer that Viggo - and Ryker - stay dead for that narrative reason alone.
2. Viggo might have a disproportionate number of screen time otherwise.
I’ve always found it interesting how long a character stays an antagonist in the DreamWorks Dragons shows. The writers tend to have a set time frame in which the villain interacts with Hiccup before we move onto some new enemy. To recapitulate how long villains stayed in conflict with Hiccup:
Mildew: 1 season (ROB; 2 seasons, counting brief appearances in DOB)
Alvin: 2 seasons (ROB and DOB)
Dagur: 3 seasons (DOB, RTTE S1, RTTE S2).
Ryker: 3 seasons (RTTE S2-S4)
Viggo: 3 seasons (RTTE S2-S4)
Now, it is to note that RTTE seasons are half the length of ROB and DOB seasons, and that he only appears visually on screen at the end of RTTE S2… but we still get about the same amount of screen time per villain. At the moment, we have a pretty decent pattern in which the villains come, wreak havoc, but end their plot arcs before their presence gets worn out. We don’t drag out the villain plot arcs in the DreamWorks Dragons franchise.
Now, if we have Viggo return in Seasons 5 and 6, then he would disproportionately dominate much of the narrative throughout the HTTYD franchise. It might feel a little odd that this villain, whose presence has been keenly felt since RTTE S2, would be so prevalent, while the other antagonists would have a disproportionately lesser time being the bad guy.
So purely from a sake of balance, it’d be better for Viggo to be dead, too.
3. Still being alive would be unrealistic.
Race to the Edge is hardly accurate in how it portrays volcanoes. Oh goodness, it is very inaccurate in how it portrays volcanoes. That said, having a character seem to fall down into a volcano still seems like a sure way to perish. We could suggest Viggo grabs onto the side of the cliff or something like that, but regardless, chances of survival are extraordinarily, extraordinarily slim for him. It’s extremely likely he dies here.
Now, people could point out, “We don’t SEE him dead.” Yes, that is true. Nevertheless, would this show actually show a dead character on screen? Would they actually show the character getting impaled or hitting the lava or something else horrendous and graphic like that? Probably not. They’re going to show a character falling down into what should be a sure death without showing their actual death. Sort of like what just happened with Viggo.
Especially given as we see Hiccup watch Viggo fall, and Hiccup’s right there with his eyes glued on the volcano… it makes it a little hard to say that Viggo made it out alive. Look at Hiccup’s horrified expression. It seems he witnessed something directly.
Of course, this doesn’t have to mean that Viggo is dead, but the most they will ever show on screen I believe - for a children’s show like this - is an implied death with the camera focused on the individual (Hiccup) watching it.
4. Viggo’s ending is fitting to his flaws.
One of the things I have always been curious about was how Hiccup and Viggo’s intelligence match would progress. I suspected that, over time, Hiccup would learn how to outmanipulate the manipulator and beat Viggo at his own game - though in a way that demonstrated kindness and mercy rather than a drive for one’s own profit. I suspected that Hiccup would grow from being extremely frustrated about Viggo, feeling as though there’s no way he can beat the villain, to the person making Viggo unsettled and worried. There would be a turn of tides, with Hiccup eventually gaining the upper hand. That was my prediction.
Nevertheless, the fact that this is not what occurred still doesn’t mean it wasn’t an interesting and fitting way to end Viggo’s role as a villain. In fact, Viggo’s ending is fitting to his flaws in multiple respects - both in terms of Hiccup’s interactions, and in terms of Viggo’s character itself.
First, the fact that Viggo never becomes overwhelmingly bested by Hiccup means that Viggo will forever remain as the character who could outsmart Hiccup. Viggo retains his legacy forever, this way, which is actually sort of fitting. We don’t have an all-powerful protagonist who can magically outdo people at their own strengths. We have a villain who still gets defeated, but retains his legacy of his strengths. Viggo’s identity never unravels.
Hiccup still manages to outdo Viggo by throwing away the Dragon Eye, but it’s not an “outhinking”, so much. It shows Hiccup doesn’t have to become Viggo to best Viggo. Furthermore, it shows Hiccup’s growth from being obsessed about the Dragon Eye to the point he endangers his friends (Dragon Eye of the Beholder Part 2)… to being willing to sacrifice it because of the people he cares about - it’s not Hiccup becoming better than Viggo, but Hiccup becoming better at being Hiccup. Then, this event could help Hiccup grow into who he is by HTTYD 2, someone who doesn’t believe he can do everything (since he never got to outdo Viggo at his own game, in full).
Last, what happens is that Viggo’s core identity - that of a manipulator - is what leads to his own downfall. Viggo leads to Viggo’s own fall. It’s Shakespearian. It’s nice. It’s fitting to have him end in the way where his own strengths becomes his undermining weaknesses.
Viggo’s greatest strengths are his control over the dragon hunters, his manipulative abilities, and his desires for profits (which in turn fuels him to hunt dragons, seek the Dragon Eye, and thus clash with Hiccup so adamantly). These are what make him a villain to be contended with against Hiccup. All these things lead to his downfall in RTTE S4.
Viggo’s gripping control is what makes him a leader. But Viggo’s gripping control is what sours his relationship with his brother and turns Ryker against him (debatably - we’ll never know how much of that incident was staged trickery and how much was genuine rebellion). But more obviously, Viggo’s desire for profit and ability to manipulate is what led to his direct end. Viggo tried to manipulate Hiccup with Astrid. That backfired. It led to a situation where Hiccup had to throw away the Dragon Eye. Viggo wanted to get hold of the Dragon Eye - it was his pursuit from start to end of his role as villain - it’s how he could extend his profits as a dragon hunter. But his own drive for the Dragon Eye, the very reason that he was such a contender and dangerous enemy for Hiccup… is what led to him trying to grab the Dragon Eye… and thus falling to his death.
Had Viggo not wanted the Dragon Eye, he wouldn’t have been an enemy to contend with. But had Viggo not wanted the Dragon Eye, then he wouldn’t have fallen as he did.
So Viggo’s ending is superbly fitting to his character. The reasons why he butted heads with villain and became a dangerous villain are what became his downfall. Viggo brought about Viggo’s own end there at the end of S4. And that’s very fitting.
Now, it’s true that it might have felt anticlimactic in its execution, and I agree, but the concept is really something I can get behind. REALLY something I can get behind.
5. RTTE S4 wraps up basically everything with the Viggo plot arc.
Viggo’s antagonist story doesn’t need to be continued. It is, in many ways, self-contained between seasons two through four. The main plot of Viggo bothering the youths through the dragon hunters and battling over the Dragon Eye is now done. The Dragon Eye is gone, after all. And even the problem of Hiccup needing to best Viggo to save the dragons is finished. Assuming Viggo and Ryker never come back, the dragon hunters won’t harm the dragons any more. The dragon riders have victory in all the areas that they need for the plot arc. They’re not going to be bothered by those dragon hunters again. Story closed.
So there’s no need to extend the plot arc with Viggo. We’ve gotten a full narrative arc with an ending that concludes just about everything that needs to be concluded.
Rather, I would prefer if we spent the next two seasons exploring the new plot device they’ve opened up with Krogan. If he becomes the main antagonist in the next two seasons, then that would make a lot of sense, have room for development, and make for a good lead-in to HTTYD 2 by the end of S6.
Now, the last thing I want to say isthat, just because *I* think that it is better plot-wise on many fronts for Viggo to be dead… doesn’t mean he has to be dead. It doesn’t mean that this is the route the writers will take. My comments are not predictive, they’re just what I think would be best for the story were I writing it myself. It’s totally possible for Viggo to make a reappearance. I wouldn’t be all that astonished if it happened. But for me, personally, I want this to be the wraps on the Viggo story arc, for the reasons I outlined above! XD
A/N: And, finally, here is the next request! Sorry it took me so long, anon. Hope you enjoy! Also, in this I made the reader not know that Barry is the Flash, just for more of a dramatic element. And, to make the relationships seem more real and less rushed, this ended up kind of, um, super long. Like, really, really, really long. Yikes.
summary: Your broken heart is put back together by someone you never thought you’d meet.
pairing: (earth 2) barry allen x reader
“Y/N, hey!” Barry said, smiling brightly at you. You’d just walked into Jitters and he’d turned from his place in line. You waved and smiled back, your heart skipping a beat at his radiant smile. He turned to speak to the cashier and paid before stepping away from the counter and toward you. He put his hand on your elbow and led you out of the line. Your skin tingled where his hand touched you.
“No worries, I ordered you a latte,” he explained at your confused look. You willed your cheeks not to heat up as you looked up at him while you walked
“You didn’t have to do that,” you told him, though your heart soared at the fact that he knew your order and paid for you without even asking. Barry waved you off and grabbed the two cups as his name was called out by the barista. He handed you yours while he took a sip of his own coffee.
“Um, Barry,” you started, your heart pounding in your chest. It’s time, you thought, I’m going to tell him.
There’s a post going around that is describing mulan being more badass than the disney version and that she dueled her father before going to war, the emperor offered her the hand of the princess when she came back etc etc but a lot of that is wrong.
okay I feel like I’m the only person who knows that Mulan was a real person and not talked about enough
Her story goes mostly how the Disney version went, except she didn’t go to war as a quest for self-discovery or because she felt as though she couldn’t make her parents proud. The sole and only reason she disguised herself as a young man was to take her Father’s place in the war.
So when she told her parents that she wanted to this, they were like wtf no you’re a girl and it’s chaotic out there. And you know what she did? She put on male clothes and challenged her own Father to a duel. Her dad was like ‘who the hell are you’ but accepted. When Mulan won and revealed herself as his daughter, he was like wOAH okay you can go. Basically she made sure to get her parent’s consent before going, so not only are her parents awesome, she was decent enough to not leave them hanging for 12 years.
Yes, she was at war for 12 years, but she not in fact meet a handsome general. Instead she BECAMEa general. Eventually the war was won, and the Emperor was so impressed by her he wanted to wed the Princess to her. It was only then that she revealed she was in fact a woman. Then she accepted the rewards and went right back home to her normal life.
There is now even a crater on Venus named after her.
Bolded parts are where OP is wrong.
The part where she only disguised herself to take her father’s place is correct, but she didn’t tell her parents and didn’t challenge her father to a duel lmao what, and didn’t tell her parents that she left. It’s also unclear whether she became a general or not, it’s only stated that she received high merits. The emperor didn’t want to wed the princess to her, he only offered her an official post in his court, which was a huge thing at the time, which she refused, and only asked for a camel that could travel a thousand (Chinese) miles, so she could go back home. She also didn’t reveal that she was a woman to him, because she would have been punished, as that was why she disguised herself in the first place. She did reveal herself as a woman to her war companions, once she got back home and put on her makeup and lady clothes.
I’m Chinese and I studied the original version of the ballad of Mulan, which is written in Classical Chinese and can only be read if you’ve studied Chinese extensively, and even I have difficulty with it.
I’m submitting this to you because that freaking post has come across my dash way too many times, and turns out to have 261788 notes and I really, really don’t want that many people to think that this is the true story of Mulan, and also I know that you understand the importance of preserving culture and folk stories, not embellished ones, but the original versions. Yes, OP’s version sounds cooler, but it is not the original, it’s a description of a Hong Kong movie adaptation of the ballad, which would obviously put more dramatic elements in it.
I really like that people on Tumblr spread more awareness about the original story of Mulan and other characters bowderlised by media, but please, please, please for the love of god, FACT CHECK. PLEASE. STOP MESSING UP MY CULTURE.
WOW. I studied this a little bit in college too, and the versions I keep seeing on tumblr don’t resemble the version I read about either? At all?
As far as I remember, the biggest point of the Ballad of Mulan was filial piety, and it’s actually really fucked up how Western feminists have stolen and warped the story to fit their OWN values while stepping on and erasing the values of the actual culture the story came from. It’s even more insidious than that, because as time goes on, records of the original will become more and more diluted by these completely inaccurate “retellings” of the original story of Hua Mulan.
one of my favorite things about Moonlight is the fact that events that would typically be used as dramatic plot elements are placed way in the background. Juan’s death, Black’s prison sentence, his mom’s rehab, and Kevin Jr. are all just things that are mentioned casually, all showing how masculinity in the black community forces one to just move past heartbreak or turmoil and take it as it is without letting it affect you in a way that’s healthy
By now everyone on this website has seen these images.
I just want to point out how well Spy held it together while
playing Tom Jones. Performing and acting is one thing but, watching your son
die… Spy would have to had immense focus (Focus is a dramatic element something
all actors require to have) not to break character, not to let any emotion slid
through. That’s hard to do. It’s a small thing I know but as someone who acted
all through high school when your emotional compromised it usual slides into your performance.
(Then again I was a high school student not a professional actor.)
I think Ilum is my personal favorite for environment design. It’s so incredibly dramatic. In game, the elements in the sky even move. If you watch closely, you will occasionally catch a single shooting star.
a month: June (lol) a day: Saturday a planet: Saturn (it’s beautiful) a god or goddess: Hecate (she’s my fave) a sea animal: Seahorse (? a piece of furniture: Sofa a gemstone: Amethyst a flower: Tulip a kind of weather: Rainy a colour: Pink an emotion: Euphoria or melancholy a fruit: Watermelon a sound: A glass shattering (it’s so dramatic omg) an element: Air a place: Seoul, Korea a scent: Lavender a song: Alone again - Big Baby Driver a body part: Eyes a pair of shoes: Boots a direction: left a liquid: Juice (? a tree: Cherry tree a musical instrument: Piano or chelo a time of day: midnight a historical figure: Jane Grey (? Or Frida Kahlo a vegetable: Carrot a berry: Raspberry a movie: I origins (? a book: El amor en los tiempos del cólera (lol) a food: Ice cream a material: Satin a taste: Bittersweet a word: Lovely an object: Kaleidoscope a facial expression: Confusion a subject in school: Philosophy a cartoon character: Finn the human a shape: A circle (? a sin: Greed or sloth (basically I’m sloth) a car: A Volkswagen (lol) a natural disaster: Earthquake a season: Spring a virtue: empathy a mode of transportation: Car an item of clothing: Coat a phase of the moon: Waxing moon a number: 8
What’s that? After two seasons of nonstop hilarity and fun adventures, with only the very occasional, subtle step into the darker, dramatic storytelling elements available within the fictional setting, Rick and Morty had a second season finale that started with mostly comedy, shifted into hardcore drama and sad plotlines, and the upcoming Third season seems set up for nothing but heartache and despair if the second season’s ending has anything to say about it?
Golly, I wonder where this sounds so familiar from.
“You are the real Arya, my lady. Arya of House Stark, Lord Eddard’s daughter, heir to Winterfell.” Her name, she had to know her name. “Arya Underfoot. Your sister used to call you Arya Horseface.” (Theon to Jeyne ADWD)
My face is a dark pool, hiding everything, showing nothing. She thought of all the names that she had worn: Arry, Weasel, Squab, Cat of the Canals. She thought of that stupid girl from Winterfell called Arya Horseface.
Names did not matter.
theres a lot of contrast between these two, mostly in a dance with dragons, because they have almost opposite arcs. while arya has to forsake her life as arya stark, jeyne poole is forced to assume that same identity. which in turn effects other storylines. arya was taken from kings landing by an ally who meant to bring her home, though she hasn’t made it yet. but jeyne was taken prisoner after the stark fall in kings landing and used as a pawn in the game. this brings her back to winterfell where she becomes arya stark to give the boltons a claim to the north. as this happens the real arya stark tries to forget she ever was arya at the house of black and white. theon constantly has to remind the jeyne to be arya and the faceless men see through the real arya’s futile attempts at becoming no one. identity is critical to all of their arcs. arya and theon both know what its like to take on many names
She raised her eyes to his. Brown eyes, not grey. Are all of them so blind? For a long moment she did not speak, but those eyes were begging. This is your chance, he thought. Tell them. Tell them now. Shout out your name before them all, tell them that you are not Arya Stark, let all the north hear how you were made to play this part. (Theon, ADWD)
wyman compares the entire conspiracy to a “mummer’s farce” one that is going to come to a vengeful end. the theatrical elements are present all throughout this storyline. at winterfell; the whole wedding is a play, everyone has their assigned role: theon is the prince of winterfell and jeyne is arya stark but she’s really just a “a lamb in a direwolf’s skin”. they do what is required of them but ramsay tortures and abuses them both.
He’ll want me or he won’t, she thought, so let the play begin. […] See?thought Mercy. You know your line, and so do I. “Think so?” asked Arya, sweetly. (TWOW)
in braavos we see those same dramatic elements with a simialar horror movie vibe. arya actually has to use a new face (or skin) to become a mummer. but her apprenticeship is brought to an abrupt end when she seizes the opportunity to get revenge against raff the sweetling, a childkiller and rapist, with the same words he used against her friend years earlier very much embodying manderlys “the north remembers and the mummer’s farce is almost done” speech
“He’s to marry Arya Stark. My little sister.” Jon could almost see her in that moment, long-faced and gawky, all knobby knees and sharp elbows, with her dirty face and tangled hair. They would wash the one and comb the other, he did not doubt, but he could not imagine Arya in a wedding gown, nor Ramsay Bolton’s bed. No matter how afraid she is, she will not show it. If he tries to lay a hand on her, she’ll fight him. (Jon, ADWD)
there are a lot of connections between arya and the north even while she’s across the narrow sea. arya has history with the boltons; she was roose’s cupbearer in harrenhal but managed to escape his evil clutches. their plot with jeyne as arya ties all the northern stories together. stannis promises to save arya if he can, melisandre offers to help as well, mance and his spearwives try to do the same, the northmen (like house mormont) all follow because of “the ned’s girl” and then theres jon. jon’s heart is torn over his duty to the watch and his love for arya. in the end he decides to attack the boltons. there might be a lot of factors a play here but jon’s last thought before dying is of arya.
When I first saw the screenshots, I thought it looked like it was the type of kids cartoon that (for once) was better suited for kids. Maybe not teaching them to count, but around that level.
I thought the reason I’d never seen it paraded around the internet like The Loud House was because it was a Nick Jr. show (or close to it)
Then, after hearing something, I watched an episode and HOH MY GOODNESS.
My expectations, yo. They gone.
And I should’ve expected that, shouldn’t I? Even simple, slice-of-life shows like Wander Over Yonder, The Amazing World of Gumball, My Little Pony: Friendship is Magic, and The Loud House have captured my heart … even despite not tackling the heavier dramatic elements and more explicitly mature subject matter that we usually praise modern cartoons for.
Shows like Steven Universe and Gravity Falls in particular are hailed (and rightly so) for how they handle their subject matter, and usually I can point to that so outsiders can understand why I’d choose to watch cartoons at all.
So … what about the simpler shows?
Granted none of these shows never dive into deeper subjects and more complex plots (even Harvey Beaks, btw), but most of the time, they deal with just … simple slice-of-life stories with a bit of good comedy thrown in.
If these shows are mostly just simple … why do I love them this much? Do I just secretly not value all the more complex plotting and emotions in my other favourite shows, or is there something more to simple than just simple?
Watch the theme song.
Because that theme song is exactly my point.
It’s simple and sweet, but then you break into the wilder drums and it shows off the gorgeous style with drifting particles in the foreground, and ends on a under-stated heartfelt moment with Harvey, Fee, and Foo watching the sunset.
You can use this to tell someone everything they need to know about simpler cartoons
Style and Artistry
There’s something undeniable about that Harvey Beaks art-style. It’s actually a bit of mixed-media– some of the backgrounds built of textures, some more painterly style, but all to contrast the clean, digital look of the characters.
C.H. Greenblat, the creator of Harvey Beaks, also created Chowder (and if you didn’t know that before, I bet it’s making a whole lot of sense now). It’s a unique style for a show– like how the Amazing World of Gumball uses mixed-media to extremes with almost every kind of media you can think of all choreographed together.
See, you can talk about the techniques in depth, or you can admire the visuals without a word. All of my favourite simple shows have distinct and often gorgeous styles that show off colour and expression without a care, and every now and then it makes watching them a marvel in its own right.
Heart and Characters
Oftentimes, you get the best drama out of your favourite story-driven cartoons, but a well-earned moment is a well-earned moment. Even if it’s in a simple story.
And usually to earn a moment, you need good, identifiable characters to earn it with. That’s what we have here. This particular video is all visual, but even then, you can see their characterizations, can’t you?
A moment I especially loved out of this intro is the firefly scene. Their designs tell you a bit about them, and the eye-catching visuals capture what they’re feeling immaculately. Even a simple scene like that, as brief as it was, can give you a strong surge of feels if executed right.
And look, following characters is what other forms of media like the comic industry are based on. It’s what keeps a lot of us coming back week after week to watch silly stories– an undeniable love for (often) extremely loving characters.
Getting to see characters we love in genuine heartfelt moments can be surprisingly addicting (TRUST me), even if that moment and those characters are just occupying a story about to be wrapped up by the end of a half hour or so.
Simple and Sweet
Like I said, with a lot of these shows, you can point to their deeper moments for proof that deserve to be as respected as other modern classics.
Even here, I could’ve been talking about how Harvey Beaks is like a modern Peanuts– with a great sense of humour that’s not afraid to go dark places.
Or how it has dealt with heavier subject matter in a way, and references some really cool stuff– like the two part special SteamPunks that basically has Harvey deal with an old friend of his dad’s telling him, “You’re the reason your dad and I aren’t friends anymore” via steampunk-inspired dream sequence.
Or even little awesome things, like how in the old ‘life-debt’ plot episode [in which character A declares themselves indebted to character B, usually for saving their lives, and now has to be their servant], one of the boys tells his dad he’s going to live with Foo forever now (context: Foo’s a dude) and his dad responds by telling him he’s kinda surprised, but that ‘your parents both support you, and Foo is always welcome by the house.’
All of that stuff is really awesome and enticing, isn’t it? The things we usually like to see in kids cartoons today!
But, even without all that, I’d probably still watch it.
I think what it comes down to most of all is the tone, or really the feeling of the show. Every show has one. And when I watch a show and it makes me feel good and happier and uplifted for having seen it, that’s actually worth a great deal to me.
So, yeah, I’ll take all the mature episodes I can get, but if it’s done right, I’ll still find something to love in the simpler things in life.