especially narratively

I pray we all find jobs after graduation.

Between volunteering, interning, working full time, going to school full time…these 4 years have flown by so fast. I know i’m not the only one with the same story, but with May literally around the corner I can’t help but begin to get nervous. We’ve all heard the post-graduation job search stories, I pray we don’t become part of that narrative.  Especially those of us in the social sciences…it’ll be hard but I hope luck favors us all.

I’m slightly bitter and going to make a slightly bitter post: anybody who wants to come specifically onto my blog/posts and tell me why Keith/Lance/Allura should be Black Paladin needs to first explain to me in detail:

  • Why Shiro is a bad Black Paladin that needs to be replaced in the first place (and no, “he’s somehow totally never going to come back even though him disappearing under mysterious circumstances is the cheapest and most anticlimatic way to kill off a main character and all these other dang reasons they wouldn’t” is not an answer)

  • Why bolstering your fave is important enough that you want a traumatized guy to get the message that he was right, he really isn’t worthy of leading, Sendak was right saying he’s unworthy of being a paladin, and that the people he cares about don’t need him

  • Why bolstering your fave is more important than the Black Lion, as a traumatized entity, being able to connect and relate to another party who has experiences the closest to her trauma

cause like. everything about the other paladins aside I see so many theories of Black Paladin whoever and I understand if it’s just a temp thing until they find Shiro but people act like it’s a permanent arrangement, golly, who possibly could be worthy of the Black Lion

and it’s like- what is Shiro? Chopped liver?


My top 10 favorite Skater Family images in no particular order

because the official illustrations spoil us so much :’)

its completely right and valid to be angry about what jeremy and the other cast members did at sdcc, but dont pretend like supergirl wasn’t cancelled from season 2 with floriana’s brownface, the abusive misogynistic narrative, and especially the bland white ship being prioritized over the interracial one. if this was the last straw for you, please consider that you’re a white sapphic who was ignoring racism and brownface until now.

It’s an odd kind of sadness that creeps in as you lay in an unmade bed that’s too hot and too cold, too small and too occupied. Your arms ache to wrap around another, soft and warm in the darkness of a 2:15am in June. Your chest has felt hollow today, and your heart you’re sure is slowly drying like the leaves of the parched tomato plant trying to grow in its 79 cent pot on your windowsill. Perhaps one day its stem will snap and it’ll float like a feather to the bottom of your lungs and make it even harder to breathe.
It hurts, this sadness, but it’s familiar and comfortable and part of you doesn’t want it to heal. Because healing means leaving your broken bits behind and trading them in for shiny new scars, and you don’t think you’re ready to bury this pain you’ve been nursing and feeding until it’s become a part of who you are.


Dex struggles to breathe as he reads the words written so neatly in the little black notebook Nursey usually kept in his pocket, the one only he was allowed to read.

Dex’s eyes flicker to the top of the page where Nursey had written the date and sure enough, it had been written in the middle of June. It had been written toward the end of that week, the one when Dex had noticed that Nursey hadn’t been active in the group chat or on any of his social media accounts. The week when he’d driven his brother’s truck down to New York to check on him and found him camped out in the living room with the TV and radio on, his laptop balanced on the coffee table in the middle of playing one of Bitty’s vlogs.

Nursey had looked bright eyed and feverish, and Dex couldn’t remember a time he’d seen the other boy so apathetic. He’d stepped right in and shut off all the electronic voices to sit on the couch with Derek in his arms, just to talk to him as Derek sobbed into his shoulder.

Dex is pretty sure he’ll never forget the feeling of Derek clinging to him like he was afraid he would be lost forever if he let go.

“Turn the page,” Derek murmurs quietly from behind him on the bottom bunk they now share as he rubs Dex’s back with one warm hand. Dex does as his boyfriend instructed, turning the page with tingling fingertips and taking a deep breath as he starts to read. This is dated after that night when Dex had pulled Derek into his chest and told him that he loved him for exactly who he was, sadness and all.


There is a certain warmth about a boy
Who laughs into the sunsets
Rages tenderly against the sadness in my eyes.
There is a love that fills the arid waste of my romantic heart
When my laughing boy with his hands and arms and lips and eyes
Holds me close and begs me to come ashore and
Stay with him the long night through.
There is a boy of fire
Who means love and warmth and life and he is mine.


“Disney princess stereotype where a woman waits her prince to save her”

Snow White - saved by dwarves
Cinderella - saved by fairy godmother and animals, prince has like zero lines
Aurora - saved by surrogate mother fairies and Philipp (who didn’t talk in the entire finale of the movie)
Ariel - saved Eric, helped by sea creatures
Belle - technically saved by a teapot (when imprisoned with her dad)
Jasmine - saved by Aladdin (the main character)
Pocahontas - saved the day
Mulan - saved her country, saved Shang, helped by a dragon
Tiana - saved herself and her man
Rapunzel - saved Flynn and wanted independence even before she met him
Merida - nuff said, no prince in her story
Elsa - saved by Anna
Anna - saved by Elsa
Moana - saved the islands, hepled by a demigod

Of all these ladies, technically only Jasmine and Aurora was saved by their love interests, while Snow White was saved by a bunch of men who have no romantic interest with her. And are those stories really bad?

I hate how the media hypes every new action female heroine as “anti Disney princess” ughh. The real Disney princess stereotype is the ability to sing and being good with animals.


you can’t believe every story you’re told

not even the ones you tell yourself

anonymous asked:

Why's everyone so crazy about StarCo? It's so boring, «perfect» and damn cliche, that I don't think that rel-p can bring sth new to show. If they be a couple, it totally would ruin a all the story about best friends

As with many many things, it all boils down to personal preference. Star and Marco have an incredible chemistry together, with several episodes showing the viewers how well they interact, how much they improve and help eachother grow, and obviously how much they care for eachother (something that is not shown just every X episodes to make a sappy scene, it’s a constant in every single episode). This makes for an extremely convincing and well written “friends to lovers” story: lots of shows pair up the main characters, and just tell the viewers “They’re perfect for eachother don’t question it”. But SVTFOE doesn’t just tell this, it explains and shows in (almost) every episode WHY their relationship being more than platonic would work, making it one of the focuses of the show, deeply linking Marco and Star’s interactions with their growth, and with the plot.

(Pic by Moringmark)

“It’s boring” is perfectly legimitate objection when it comes to the individual opinion, because as I said Personal Tastes > Everything (the same way I could say “No I hate this show because the main character wears red”), but it can’t work on a general or more objective level. Almost every form of narrative ever, especially when it comes to cartoons, is based on the concept that what matters is the journey, not the destination. We all know that in the end Good is going to win, it doesn’t make the show any less enjoyable, nor it doesn’t make us worry when we see Toffee sucking Moon’s magic or Star leaving Earth.

anonymous asked:

Do you ever feel like there's a conflict with modern science and polytheism? Like that it's impossible to hold a polytheistic belief system in light of our knowledge of the world?

Nah, science and religion are simply two different languages used to explain the same phenomenon. The Ancient Hellenes believed in science themselves, observing and measuring the world around them and attempting to make sense of our place in the universe. This hasn’t changed. Matters of the physical universe and the spiritual universe do not necessarily conflict with one another, unless you let them.

For example, I believe that the gods created the universe, via the Big Bang, that resulted in the formation of every structure, every star, every planet that has ever existed. Our world formed out of a messy cloud of atoms that was pulled together by nuclear forces, electromagnetism, and gravity. Sounds an awful lot like the primordial deity Khaos from which the earth (Gaia) eventually sprang. I see no problem with overlaying the two narratives, especially as a scientist myself.

To quote the netflix show Sense8: “Science does not preclude my faith. For me, science is another language we use to talk about the same miracles faith talks about.”

pomrania  asked:

Re your recent Aizawa post, he's like the polar opposite of Stain then. Even their quirks are similar-but-different. Also, making a change by directly acting on the world vs influencing others.

[in reference to this post]

that would make a really cool parallel!!! Stain, obviously, went for the more drastic, extreme route– tho he wasn’t technically wrong in his convictions. he just went about it in the…….. very very very wrong way.

Aizawa, on the other hand, would’ve taken the opposite approach, and gone into the system so he could change it himself, gradually, instead of forcing it like Stain did.

i kinda hope i’m right in my headcanon now, because that would be such a great parallel to show in the narrative, especially when Stain returns to the story

Sanji in chapter 880

It seems that many people are celebrating the moments between Sanji and Pudding this chapter, like it settles the deal about Sanji’s future love life (it’s not a coincidence that many of those already celebrated several times before, just to have Oda denying it in the next chapter, due to the unpredictable pace of the narrative, especially revolving Pudding). 

I understand that many people are eager to see Sanji finally getting a girlfriend or a wife, for many reasons. Some people legit like them together, others simply want Sanji x Nami to sink, for shipping reasons, despite not caring if that would be good for Sanji, Pudding and the plot. 

Honestly, this chapter gives us a taste of how a relationship between both characters would work. I would probably have found their dynamics really funny and cute if Pudding didn’t have shot Reiju or tried to kill Sanji and his friends (something that she still didn’t apologize for).

That’s the main thing that rubs me in the wrong way regarding these antics, it’s like Sanji doesn’t remember chapters 850/851 or Pudding gets a free card for being pretty, which is really shallow but Oda can’t help himself:

Sanji is acting like he is usual lustful self again. The same thing he did during the wedding, after Pudding flirted with him as a bride. Which is something he does with all pretty women, as we know.

Moving forward, since the cooks know that Sanji is an enemy of Big Mom, Pudding altered their memories so they think they got married, but surprisingly, Sanji doesn’t seem that thrilled (unlike Pudding):

No heart eyes, no Sanji being lovey dovey or anything like he would normally do with probably every pretty woman. Just remember how Sanji was all happy and blushing when he was acting as Viola’s bodyguard in Dressrosa. Of course, they are in a somewhat serious moment now, but even then, Sanji just replies with “I see.”, and quickly becomes serious towards his task:

Then we have this cook being a supportive “shipper” and points something that would probably make Sanji react the same way Pudding is behaving now:

But he grins and lies (he is not blushing). He is acting as the “husband”, following his role and scratching his head.

Notice that Sanji ignores Pudding for the rest of the scene (and that her third eye appears when she is in her “evil” mode):

Yeah, that middle finger kinda ruins the romance moment. Oda is certainly having a good time playing with Pudding like this. I don’t know what he is planning to do with them, but, so far, I see Pudding infatuated with Sanji, but still very instable and being treatead as a gag, while Sanji is still not getting any real feelings over her (more like he was lusting because she was wearing the cook outfit). 

We had already Pudding clearly falling for Sanji and he didn’t react to that. Actually, he did, this was his reaction:

Now we have everyone calling them husband and wife and he didn’t seem to care about that. Which is interesting if we compare to how excited he was when he thought Nami was proposing to him:

Perhaps it’s the moment, but it doesn’t look like Sanji is really in love with Pudding. In other hand, it looks like Pudding is willing to let Sanji and his friends escape without regrets. Still unsure about the extension of her crush/feelings on Sanji, we know that Pudding saw him with Nami in the tea party, but she doesn’t seem to regret him leaving and escaping with her:

Would she get jealous if she sees Sanji with her again? Or maybe, when she is being serious and not a gag, she believes Sanji and Nami like each other and she accepted it, like Viola apparently did in Dressrosa? I am still waiting for Oda to explain the meaning of Pudding and the Sannami carrying scene.

Apparently, it seems that Pudding will remain as an ally until the end of the arc. She genuinely cares about Sanji and wants to save him and his friends. That’s good for the people who ship them, and it helps to redeem Pudding for everything she did, making them a possible couple.

But as a Sanji fan, it’s still hard for me to forgive this and it’s more baffling that apparently Oda forgot that he ever draw this:

Yeah, it’s interesting that Pudding got some “karma” out of this. She humiliated Sanji but now she is the one “in love” with him and behaving completely pathetic. That could end there and work as some sort of “Sanji’s way to defeat Pudding with kindness”. It’s clever and I’d be glad with that. However, that can be a boost to some shippers that like that kind of story and irony, I understand. But honestly, even if she helps him now, I don’t think she deserves to be with him. It cheapens all that happened during those chapters, and I’m sure all Sanji fans got emotional when they read those pages back then.

It would seem like Pudding is being rewarded for all her evil deeds with the kind man she mocked and humiliated, just becase she had a sad past. But what Pudding did to Sanji other than help to fix the mess she created?

Of course, real love isn’t about merit, but Oda has the control over his story and he could make something better with both characters instead of making them a thing just because of gags and because both are cooks. I wouldn’t have anything to complain if Oda didn’t have to go so far to make Pudding evil and disgusting, just for the sake of a twist that felt forced.

totallynollie10  asked:

Can you do #49 for BBRae pls and thank :)

Disclaimer: Don’t own Teen Titans. Not making any money.

A/N: And… go!

#49: “Call me when you get home.” - BBRae

“Where are you?”

Her lips wove into a soft smile as her boots clicked against wet pavement. “Walking to the train, heading back the loft. Why?” She answered, hugging the cell phone tighter against her cheek.

“This late!?” He nearly shrieked.

“Well what am I supposed to do, Gar?” She sighed, looking around the empty street. “I’m supposed to be incognito. Being escorted around the city doesn’t really fit that narrative, especially here.”

He groaned. “I just don’t like you being there alone. Gotham is dangerous.”

“Jump City is dangerous, too. Any place has that potential.”

“I don’t like it.” Garfield huffed, knowing there wasn’t much he could do in Jump City. “You’re there alone.”

“I’m pretty sure the League would back me up.” She reassured. “Not to mention I’m a pretty powerful interdimensional demon.”

“You’re still my girlfriend.”

“Of course.”

“And I worry about you,” He confessed quietly. “Walking home alone at night in Gotham.”

She stopped at the corner, watching cars whiz past her. “I know.” She spoke softly. “I’m being careful.”

“Call me when you get home.”

She could stop the grin. “Yes, sir, Mr. Logan.”

He chuckled. “I love you.”

“I love you more.”

His tone was light but completely serious. “Not possible.”

I hate how vaguely threatening the stories about two mentally ill people getting together and ~never recovering~ especially with like the narrative framework of “they deserve each other.” Not only is it unrealistic- mentally ill people are diverse and have different coping mechanism and obstacles to overcome- but it also only leaves the option to date a neurotypical that constantly complains about our not necessarily toxic behaviors, trope wise. Writers need to collectively realize mentally ill people exist in their society, especially with the rising rates of anxiety disorders and our toxic anti-kindness and compassion culture in the United States. Doing that, at least, would make for better stories.

The Destiel of It All: Part I

Briefly before We Begin

Hello. I’m new. I’ve not been in this fandom for very long, but I’ve loved Supernatural for longer. I’ve now read some meta and have found it so uplifting and enjoyable to read through thoughts that reflect my own so perfectly that I felt inspired to begin putting my own impressions into actual words and sharing them with you all. Being in this fandom is like stepping out of the cold and into a warm, lovely, welcoming room of kindred spirits - all kinds of wonderful - so I do apologise for the repetition I’m undoubtedly going to bring to the table, but hopefully I may bring some fresh angles as well. 

Part I of, well, I honestly have no idea.

That said - let’s start.

Romance or Bromance?

The core premise of a romantic coupling, the idea that makes the Love Story so powerful, is two people coming together to open each other’s eyes to what they really need, rather than what they think they want. It should be said that the bromantic coupling is also rooted in this idea: the completion of an emotional puzzle, where the character traits of the one help evolve and, ultimately, unless it’s a tragedy, better the other. However, I will argue my point in the following posts that the relationship between Dean and Castiel is, and always has been, romantic. Not only because of how the showrunners have chosen to write these characters’ dialogue, or because of the blatant use of romantic subtext, evident in how they’ve set up the shots and how the actors act out the scenes and how those scenes are then edited (more on all of that later), but because of how the showrunners have chosen to angle these characters’ joint journey of self-discovery.

Here’s what I mean: in many an example of the romantic narrative, two Opposites will argue and refuse to see eye-to-eye, but unavoidably they will learn from the lessons the other is teaching. This growth is what finally allows them to see past what they’ve always thought they wanted (the conscious external motivation for their journey) to what they really need (the subconscious internal goal of that journey), which is right in front of them: in the case of a romantic narrative this is their other half. Pairing up with their other half and getting what they need, in a well-written story, will usually result in the characters also being able to attain what they truly want, which is typically a variation of the external motivation they’ve been striving towards all along.

For example: In the romantic comedy Leap Year, the protagonist ANNA has one main desire, which is to marry her boyfriend, but she also wants to gain access to a prestigious apartment building in central Boston, which is made easier by the fact that she and her guy Friday are a successful couple, and they’ve both wanted to live in that particular building for a long time: an internal goal (marriage) going hand in hand with an external goal (apartment).

When Anna goes to Ireland to surprise her boyfriend by proposing to him (since he’s seriously dragging his feet), bad weather leaves her stranded and at the mercy of Irishman DECLAN, who runs the small hotel she finds refuge in. Anna and Declan clash immediately, but as Anna needs someone to get her to Dublin, and Declan needs cash to pay off the debts on the hotel, their journeys intertwine. A battle of wills ensues as they go on the road and both clamour for control of the situation, questioning the other’s behaviour, challenging one another and, ultimately, growing to understand each other and lend each other support and encouragement. By the end of their shared journey, their joint external motivation: Dublin or bust, will lead them to call out truths about each other that has them see new truths in themselves, ending in them fulfilling their inner goals: Declan makes peace with his past and Anna let’s go of her expertly planned future. Their reward for learning their lessons and daring to evolve: sharing true love and finding happiness together.

Why am I outlining the plot of this romcom? Because this romantic structure is so applicable to the interlinked character journeys of Dean and Cas - to the point where it’s such an integral part to their narrative - that I cannot imagine it’s not used with every intent and purpose. I would go so far as to say that Dean and Cas being the central love story is very much canon, and have so been since Castiel’s epic entrance into the series, because visual and verbal subtext is every bit as important as the superficially stated - I’d argue it’s more important - to the intricate narrative of this show. When it comes to why the showrunners would need to, rather than outright choose to, keep this love story in subtext is something I’ll (also) discuss further on, so back to the topic at hand: the romance.

Let’s begin with the two most vital ingredients for any narrative, but especially for the romantic one - The Characters.

Keep reading

markhamillz  asked:

I always felt Azula's breakdown, while making sense from a broader narrative perspective (especially if you view her as a dark mirror to Zuko, who easily could have gone down a similar path), was disgustingly rushed. She went from Evil But Calculating to Evil and Crazy in the space of two episodes, instead of say, a subtle arc that has her steadily slip into it, as she grows more egomaniacal and self absorbed. Instead, it felt like Bryke was running out of ideas, and they just shoved it along

In a way, I think you’re right because I’m dead sure Bryke never meant for Azula to be as layered and complex as she comes off in the show. I mean, yes, they say she’s a very interesting villain but from what I could gather, they think Zaheer is super interesting too. Not great criteria in general, if you ask me…

As a curious example of how Bryke actually characterize Azula… these are the episodes that feature Azula, that were written by the creators: The Drill, The Guru, Sozin’s Comet Parts 1, 3 and 4.

While Azula is of course rather cold-blooded through all of Book 2, there are quirks to her personality that come through in all other episodes. In those Book 2 episodes they wrote, we see an Azula who’s following fit with her attitude from her first episode: we see her cold, conniving, virtually flawless. Yet this comes after episodes like the Chase, where she makes jokes at her brother’s expenses, or Appa’s Lost Days, where she makes a seriously bad pun. It comes after we see sides of her character that may have been unexpected, such as her conflictive relationship with her mother (she even seemed scared when Ursa wanted to have a serious talk with her). So we had indeed an initial product who was the flawless and cold Azula from episodes 2x01 and 2x03, but as the show progressed, she showed other sides of herself. Not in the episodes helmed by Bryke, though. Gotta wonder why (*cough* their perception of Azula is that of a static villain *cough*).

Book 3 is largely NOT written by Bryke, some people may think that’s good, some may think it’s bad. What I think? It explains why the most interesting aspects of Azula’s characterization shine during this season. Her social awkwardness, her strange, tug-of-war relationship with Zuko (one moment she’s helping him, the next she’s insulting him, and so on), many of the complexities about her are far more clear in this season.

Thing is… as you well said, if Bryke always wanted her to be clearly mentally ill, and to be coded as that, they could have used those episodes of Book 3 and instead of exploring her more humane sides, her other complexities, they could have explored her mental instability. They didn’t. And so, it can result in what happened to you: her downfall can feel rushed and forced.

I honestly like it fine the way it is, even if I’m not happy at all about how Azula ended up (as I’ve said many times, my problem isn’t that I thought her downfall made no sense, but merely that she was set up to fall from the start and never given an opportunity to have a different destiny than to lose against her brother). I like the way the other writers developed her because it genuinely makes her character more real, and not just another evil villain with mental issues. But I do understand your problem fairly well. While the fans said she’s a psycho or a sociopath through all the show, there’s really no signs of mental illness per se until the last episodes. Her ability to lie so well always struck me as a sign of how absurdly in control she is of herself, not of how much of a sociopath she is.

All this is why, while I know people always will say Azula was mentally ill, and the show and comics insist that she is, I’ve always thought her breakdown isn’t really caused by a specific illness. Someone once wrote an essay about her breakdown, where they explained why most diagnosis don’t even match with the symptoms she displayed. I don’t have the link right now, but in short, it said that for a fourteen-year-old girl who came from such an environment, her breakdown can simply be a matter of circumstance and not a product of a major mental illness. Yes, clearly her mind was not alright, but it also may not have been caused by the kind of diseases most people are using to label her.

I’m not by any means a professional, but I think this is what makes most sense, not just because of the diagnosis, but because of what you’ve said too. Had she been suffering from serious mental illnesses from the get-go, there should have been actual signs of it, other than “she’s a great liar”. And this as well is why I think her breakdown is what it is, a breakdown. Breakdowns definitely can be the consequence of something bigger, but they can also be something that happens to people who lose control of their very minds when their circumstances become really harsh. At least, that’s what I think.

I can be wrong, but I do think you’re right to say they should have taken her mental illnesses more seriously if that was what they were. They’re handling a very serious topic in a very simplistic way, in show and comics. Mental illness isn’t something that manifests itself out of nowhere.

They never did write Azula as too megalomaniac through the show though (with the finale being the only possible exception), and while some of her actions came off as selfish, she always was working for her father and her nation, not for her own advancement and ambitions. When the finale arrives, her father betrays her, and even then she’s talking about how she means to become a great leader for the Fire Nation. She’s simply not a conventional villain, and I appreciate that quite a lot, or else she’d be a lot less interesting to me. But with all this in mind, the show didn’t do a great job at convincing me that she’s evil and needs to go down. 

And that’s really where Bryke and Yang have failed for me. They’re not writing her the way the show developed her: no actual jokes initiated by her (the few comedic scenes featuring her in the comics really aren’t like those the show gave us), many of her complexities are left untouched (makes a ton of friends out of nowhere, yet back in the day she couldn’t seem to do it without using her title to achieve it, according to The Beach, so an explanation would’ve been nice?), always seems to be using Zuko for her own ends without ever doing anything selflessly for him (which she did in the show, namely in Book 3). They’re trying very hard to sell the Evil and Crazy idea, when the “crazy” really wasn’t part of her character until the last leg of the show. They’re leaving aside everything else that made Azula who she is, and not even treating the matter of mental illness with the seriousness it deserves.

They really could have done better. In a way, I’m glad they didn’t because I love the sides of Azula that come to light in Book 3, but at the same time, I think their perception of Azula is stuck in that of Book 2′s initial Azula, just, with mental illnesses sparkled in whenever it suits the story, as it has been in all comics featuring her. And honestly, the complexities she shows in Book 3 could have been explored while delving into her mental instability from early on, too. It wouldn’t have been impossible.

I’ve re-watched Storm In The Room a bunch of times already and I will probably do so a lot more for the rest of my existence but I just wanted to write down my feelings on how it highlights once again one of my favorite things in Steven Universe’s storytelling: patience. 

As creators, it’s always difficult to regulate how you show information to your audience. You know a lot more than they do about your story and you’re most likely eager to tell them everything, so choosing how to present it and when is very important for the flow of the narrative as well as to generate whatever effects you’re looking for in your audience. I always looked up to Steven Universe because it’s one of the most patient shows I’ve ever seen, when it comes to exposition and narrative flow, especially for a kids’ show. It’s not slow, because the plot moves perfectly and information is released at all times, but it’s done in such small amounts that, when you reach an important point, you realize how much you needed to know to get there and how much you’ve already learned without even noticing. That shows great respect to an audience, from those who create, and great trust in the show, from those who distribute; especially when we live surrounded by content that is incredibly fast-paced and immediate, and even more so in kids’ shows (this is why I’m upset by irregular releases and how in some countries it’s aired out of order, that’s disrespectful toward the show and the audience, but that’s another matter). 

Steven Universe uses this patience with clear narrative intentions. For example, I’ve always found brilliant how Garnet was introduced as an individual character first (and for 51 episodes, at that) and an experience of Ruby’s and Sapphire’s love second, so people (especially kids, the true audience of this) get to know their love before they know them individually, before any sort of prejudice they might be carrying could influence their perspective. And by the time that arrives, denying their love would be denying Garnet’s existence, and who would dare do that? 

But the reason why I end up praising this again now is because this show is, ultimately, a coming of age story. It’s Steven’s story. That’s why the balance between human issues and gem issues is so important, that’s why every episode adds something. One of the issues I come across in storytelling (especially for kids) when a parent figure is missing is the simplification of the relationship that character has with the idea of the parent, especially when the parent/s are regarded as heroes by whoever is around the character. Steven’s relationship with Rose is never simplified and it’s detailed in breadcrumbs of information throughout the show, since the very beginning. When I imagined an episode like this back in season 1, I would have never known it would advance to such emotional complexity and moral dilemmas, but it all resulted from the sum of parts that where carefully placed in our way. I saw from afar the fandom itself going from seeing Rose as a distant and mysterious figure to intense moral arguments on what she had done and what point in the good/evil spectrum she was on. Because not only we learn things at Steven’s pace, we see how things affect him directly, not in a detached manner but in a close perspective. This is also influenced by the fact that Steven is a main character which people really like in general, which is something that doesn’t happen as often as it should. A lot of writers struggle when creating lead characters, they tend to end up with bland or simplified characters people aren’t as interested to read as the flamboyant side kick or the cool mysterious partner. Steven’s character development, the treatment of him as a complex individual and the way in which we see information as it’s presented to him, whether he interprets it the way we do at the time or not, is a winning combination. It allows us to be more than observers, to get involved

That is storytelling at its finest, that transformation of people’s perspectives, the moment in which you question what you thought and wonder and ask questions and don’t stand still. When you’re not just entertained but you’re actively participating in what you’re witnessing. And this would have not happened if we had known all this in seasons 1 or 2. If Steven had known from seasons 1 or 2. This crew is patient because it trusts its show and its audience and it has a handle on information that I admire as a creator and as a part of the audience. Their patience allows this level of complexity with an organic flow in narrative, taking subjects as heavy as war, political turmoil, social rights, equality, grief, identity and love and breaking them down to small pieces, which add up to a very complex scenario and pushes you to question your perspective and analyse everything you thought you knew or learn it for the first time. I just admire this show so much. 

Tripping Over the Blue Line (15/45)

It’s a transition. That’s what Emma’s calling it. She’s transitioning from one team to another, from one coast to another and she’s definitely not worried. Nope. She’s fine. Really. She’s promised Mary Margaret ten times already. So she got fired. Whatever. She’s fine, ready to settle into life with the New York Rangers. She’s got a job to do. And she doesn’t care about Killian Jones, captain of the New York Rangers. At all.

He’s done. One more season and he’s a free agent and he’s out. It’s win or nothing for Killian. He’s going to win a Stanley Cup and then he’s going to stop being the face of the franchise and he’s going to go play for some other garbage team where his name won’t be used as puns in New York Post headlines. That’s the plan. And Emma Swan, director of New York Rangers community relations isn’t going to change that. At all.

They are both horrible liars.

Rating: Mature
Content Warnings: Swearing, eventual hockey-type violence
AN: Once upon a time Colin coached a charity hockey game and video came out and my mind was, like, write the thing and it spawned this entire story, so Emma’s charity hockey game is super important. Also, this chapter begins my complete takedown of The New York Post all story. As always @laurnorder, @distant-rose & @beautiful-swan are the gifts that keep on giving. 
Hanging out on Ao3, & tag’ed up on Tumblr

“What’s the matter with you?”

Emma didn’t even bother turning her head – just glancing at Ruby out of the corner of her eye as she shifted the pile of papers in her hand. Again. She must have moved them half a dozen times now, certain if she moved them the right way she’d be able to get rid of the knot of anxiety that had taken up root in the pit of her stomach over the last three days.

Three days.

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thejabberwock  asked:

I absolutely loved your post about Cas and Dean and their misunderstandings with Dean worried sick while Cas thinks Dean just wants him as a tool. It's really given me a ton to think about it, and I think I'm even more heartbroken now about the finale which I didn't think was possible??? Wow.

Thank you :) Re: this post on Need / Love and the continuous I need you narrative, especially in seasons 11/12, leading to Cas’ death.

I’ve been thinking about it today and I’d love your thoughts on this actually, as to why in particular Dean is so clear on need being associated with love and why he feels it is obvious that need equates love (whereas for Cas it obviously is not, with his history as a tool, a cog in a machine, being needed for his usefulness, not for who he is).

I believe no-one in the show has told Dean that they love him previous to season 10? Since then we had Sam in season 10 and Mary and Cas in season 12. But all were in a negative environment.

In terms of someone telling him kindly, gently, that he is loved, I don’t think this has actually happened? 

- Sam in the scene in 10x22 said they all love Dean, but it’s in the heat of a really dark moment, as well as Dean being so far into the Mark at this point I don’t think he takes it in a positive light. It’s actually reinforcing that bad things happen due to love as Charlie gets killed for it.

- Mary told him in passing on the phone in season 12 and in person as she was leaving - both of these have been with negative connotations, her leaving and her lying (and he knew there was something off on the phone), plus it being so casually thrown around like it doesn’t mean anything, because no-one HAS ever said it to him with deep meaning and in a loving way, this actually is even worse? 

- Cas told him he loved him in 12x12 but it was ambiguous, hidden, though I feel Dean does know or heavily suspect what he means here, it’s not clear and again it was a negative moment, a near death experience, one that Dean absolutely blames himself for too.

Every time someone has said they love him, it has shown that this love leads them to suffer, Charlie and Cas die and Mary ends up perceivably dead.


Need on the other hand…

Growing up, it seems John’s way of raising the boys and his way of showing that he cared about them was protecting them, teaching Dean to be a hunter, to defend himself, telling him that he needs him to protect Sam, that he needs him to chase down the YED, that he needs him to be strong.

Therefore NEED IS GOOD. Need is what got Dean from one day to the next. Need and protection, showing that someone is useful, that they can protect and help, is a good thing. Feeling needed is how Dean gets his validation in the absence of what he craves, LOVE.

Therefore telling Cas he is needed is his way of replicating what he knows, of trying to give him purpose, to help him feel loved, but it doesn’t work because of Cas’ own issues. Aside from this Dean needs to face that he is craving love and craving giving love, THAT NEED IS NOT A REPLACEMENT FOR LOVE.

Cas literally is the perfect person for Dean to be in love with, he is his perfect other half because Cas NEEDS Dean to flat out tell him he LOVES him in order to understand, forcing Dean to face this within himself.

Cas’ literal aspects is and will continue to force Dean to use his words and therefore face things about himself that he sublimates. He is already starting to do it in season 12, where it’s no surprise as that is the point of Mary being a disappointment in his story, to force him to face that he deserves better and deserves to be loved

*Insert all the meta about Crowley showing Dean’s sublimated side*

Originally posted by sooper-dee-dooper-natural

Now in season 12 Dean is sitting down and pulling himself together and telling Cas “I’m not mad I’m worried” “You’re not weak” etc etc etc. He’s started getting better, thanks to everything but in big part due to Mary and his path to self acceptance and self worth, particularly since he took the Mark, which was the point of that whole arc, it just dragged for a long time in the negative, but the outcome at the end was this

Meanwhile Cas continuously tries to do replicate what he knows, as a part of the cog in the machine, help Dean, protect him, even if that’s not what Dean wants (and yeah I could write a whole other post about Cas, but I’m focusing on Dean, but Cas absolutely has to learn that he is not only wanted when he’s useful and needs to learn to stay with Dean even when they’re not working a case, just because he is wanted and he also deserves to feel loved and to have nice things, but Dean needs to TELL him this, not hiding behind a case or Cas being useful…. because that’s just reinforcing the other side for Cas, ARGH).

Originally posted by subcas

Cas is a huge part of Dean’s pulling down the walls and his reason for doing it.

Cas completes Dean on so many different levels and this one, through his own issues with understanding need and love helps Dean to face his past and his issues with need and love in order to make these obvious and explicit to Cas and therefore grow and learn to be happy in himself. 

Being at opposite ends of the need/love scale are exactly created to force them both to meet in the middle and find happiness within themselves and with each other.

lemonyscented  asked:

Whenever I watch West of Loathing, I can't help but imagine the Host reading out the narrative, especially the parts where Mark insists on digging through the nasty spittoons 😂 it's funny to imagine the Host being disgusted and fed up with Mark's grossness

Oh my goodness, I never thought of that until I read this. Now I totally see it lmao!

Imagine The Host reading those parts, facepalming and shaking his head as he does it. poor guy xD