evolving images

30 Day Writing Challenge - Day 1

Day 1: Holding Hands

Summary: You and Sherlock are forced to be friends after months of mutual hatred.
Author: Maddy (@laterthantherabbit)
Characters/Relationships: Sherlock x Reader, John x Reader (platonic), Mrs. Hudson
Words: 2070
Warnings: None






“Would you stop your moping and actually acknowledge John and I? You haven’t even moved since this morning!”


“Are you listening to me?”

“…” You heaved a loud sigh and glared at the man spread out on the sofa, as far from you as possible whilst still being in the room. You looked at John who just shrugged and continued reading the paper, bringing his tea up to his lips. You had finished yours and stood to wash out your cup which was when Sherlock spoke up, his irritation towards his afternoon having you in it clearly punctuated in his extremely childish tone.

“Don’t touch my experiments on your way out.” He turned towards the back of the sofa, waving his arm in a motion that said go away with as much annoyance as possible, and continued his sulk.

“Bite me Sherlock!” You rolled your eyes and continued to the kitchen.

Yours and Sherlock’s difficult and largely forced association with one another began on the day you moved into 221C. The move to the big city had not been as difficult as you anticipated considering your lack of possessions and the fact that John had selflessly helped you move box after box into the apartment. He introduced himself and Sherlock and began to talk to you about London and moving, forming a friendship swiftly. Sherlock however, hadn’t found you interesting at all and had deduced you immediately, hoping to send you off with his sociopathic tendencies. You weren’t fazed and instead, continued to talk to John, blatantly ignoring him for the rest of the move. Over the first few weeks of your living in the building, you became close friends with John, and had made friends with Mrs. Hudson, Molly and Greg. Even Mycroft fell for your charm and you two frequently went out for coffee together. Everyone loved you and you appeared to never leave 221B, always being present when anyone showed up and making everyone feel welcome. Sherlock hated it and took every opportunity to say so.

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anonymous asked:

do you know if there are any associations between dionysus and medusa? i got it into my head that there was but i think that had something to do with gorgoneions or something 🤔

(Floor mosaics featuring Dionysos and Medusa from Ephesus, Turkey. Source.)

Here are a few quotes of the Dionysiaca, pulled from Theoi.com alongside the details of the above mosaics (Tumblr keeps flipping them around for no good reason…):

“[Hera urges King Perseus to make war on Dionysos when the god arrives in the kingdom of Argos :] ‘Make war on the Satyroi too: turn towards battling Lyaios the deadly eye of snakehair Medousa, and let me see a new Polydektes made stone …  Kill the array of bull-horned Satyroi , change with the Gorgon’s eye the human countenances of the Bassarides into like images selfmade; with the beauty of the stone copies adorn your streets, and make statues like an artist for the Inakhian  market-places.’ . . .

Perseus of the sickle was champion of the Argives; he fitted his feet into the flying shoes, and he lifted up the head of Medousa which no eyes may see.  But Iobakkhos  marshalled his women with flowing locks, and Satyroi with horns. Wild for battle he was when he saw the winged champion coursing through the air. The thyrsos was held up in his hand, and to defend his face he carried a diamond, the gem made stone in the showers of Zeus which protects against the stony glare of Medousa, that the baleful light of that destroying face may do him no harm.”
- Nonnus, Dionysiaca (47. 478.)

“Persus shook in his hand the deadly face of Medousa , and turned armed Ariadne into stone. Bakkhos was even more furious when he saw his bride all stone…”
- Nonnus, Dionysiaca (47. 665)

(Apotropaic amulet featuring the Gorgoneion on one side, with Hekate Triformis on the obverse.)

And now a strange, weird, source that came to mind:

“Unlike Medusa, Dionysos is a male god. But as in her case, there is something strange about his sex. In his opening speech, Dionysos, masquerading as a barbarian introducing the new Dionysiac cult in Greece, says that he has assumed a human shape, ‘the nature of a man’ (andros physin, 54). Yet Pentheus, the unrelenting king of Thebes, in his attempt to outlaw the foreign cult and deny Doinysos the status of a god, describes the disconcerting strange as 'effiminate’, or literally having 'the form ofa woman’ (thelymorphon, 353). So Dionysos’s sexual identity is somehow indeterminate. The same goes for his appearance. In the first choral song, his followers say he is the 'bull-horned god’ that Zeus 'crowned with crowns of snakes’ . Later, the bewitched Pentheus chains a bull, believing that the animal is the stranger. Even later, when under the spell of Dionysos, he tells the wine-god that it appears to him that the latter has become a bull . So it is not clear what Dionsysos looks like. In a piece of choral lyric, his followers ask him to 'appear as a bull or as a many-headed snake to see or as a fiery [fire-breathing] lion’. In her commentary, Jeanne Roux points out that the many-headed snake (or dragon) is the Hydra, the monster sporting many heads that was finally killed by Herakles, and the fire-breathing lion is the Chimaira, the mythic mixed being that was part lion, part snake, part goat. So Dionysos’s own Meanads say that he can appear in many different forms, in shapes that are themselves 'contradictory’ in the sense that they are not found in one and the same natural beast – indeed that appear to contradict each other in a monstrous fashion.

Thus the indeterminate Dionysos may epitomize those mythological beings whose shapes are so bewilderingly indeterminate. In this context, we cannot explore the interplay of double images that evolve in the play; suffice it to say that Euripides lets Dionysos turn his enemy into a powerless mirror image of himself, and that it should be noted that the chorus says that Pentheus must be the offspring 'from some lioness or of the Libyan Gorgons’. So the enemy of Dionysos may be the child of that most indeterminate of monsters, Medusa. Not only in appearance but also the nature of Dionysos is somehow unknown. When asked what Dionysos looks like, the disguised god says that he was 'whatever he wanted’. Dionysos is, in that sense, unknowable. He is the god 'most terrible’, and yet 'mildest’ to man. Man and woman, terrible and lenient, god and monster: Dionysos transcends those categories. Indeed, the unknowable nature of Dionysos is emphasised by several recurring phrases such as 'whoever he is.'”
- Johan Tralau, Leviatan, The Beast of Myth. (In Patricia Springborg’s The Cambridge Companion to Hobbes’s Leviathan. P. 71 – 72. About halfway through, I stopped transcribing his citations of the Greek. See the volume for full transcription.)

( Mosaic with Head of Medusa, Roman, AD 115–150. Found in Rome, Italy, 1910. Stone tesserae, 530 × 450 cm. Museo Nazionale Romano—Palazzo Massimo alle Terme. Source.)

“In Roman art, however, Medusa was humanized and more clearly female; at times she was even depicted in the form of a beautiful woman. During the Roman period, the image of the Gorgon often served a primarily decorative function in interior decoration, appearing, for example, on domestic utensils and wall paintings, but it continued to be regarded as a protective symbol. Representations of Medusa were often accompanied by imagery related to the god of wine, Dionysos, whose worship invoked pleasure and good fortune. The kantharoi found in the corners of the Getty mosaic are closely associated with the revelries of Dionysos. A Roman mosaic from Kisamos, on Crete, similarly depicts the central bust of Medusa surrounded by panels of masks and followers of Dionysos. An explicit connection appears in a late second-century AD mosaic pavement from a Roman villa at Corinth, which features the head of Dionysos at the center of the same pattern found on the Getty mosaic and a guilloche border with kantharoi in the corners.”
(Same source as the image above.)

The Last Airbender and Legend of Korra Break Boundaries: The Top Five Most Thought Provoking Moments in the Avatar Universe

When we think of children’s shows in America, often time’s images of bright anthropomorphic cartoon animals, large quantities of campy bliss, and simple, but entertaining, content often come to mind. While Avatar the Last Airbender and the Legend of Korra have their fair share of all three of those ubiquitous cartoon qualities, they evolve past the simple images, music, and themes in traditional American cartons and grow to become a truly impactful, thoughtful, critical, and subversive piece of work. How does it do this? Well simply put, both Avatar the Last Airbender and Legend of Korra treat their children and teen based audience with respect and pushes them to understand large concepts of equality, grief, pacifism, anarchy, order, spiritualism, justice, peace, marginalization, queerness, and much much more. In this list we will count down the top five most thought provoking moments in which Avatar the Last Airbender and Legend of Korra broke the mold for children’s shows and challenged its audience to think.

(In this list, I wanted to separate the ideas of thought provoking and subversive. Generally, I wanted to focus more on intellectual stimulation, and less social subversion and social justice. While this is an important topic, that is another list we must compile!)

5. Wu Shi Tong’s Library

Avatar the Last Airbender, Book 2 (Earth); Episode 10 – The Library

“You think you’re the first person to believe their war was justified? Countless others have come here seeking weapons or weaknesses or battle strategies”

– Wu Shi Tong

During this mid-season episode, Katara, Sokka, and Aang set off into an ancient spirit Library to discover knowledge that can help them defeat the fire nation. However, during the latter half of this episode, the keeper of the Library, a spirit known as Wu Shi Tong, attempts to prevent the group from leaving the expansive collection of books and scrolls with knowledge of an eclipse which could help the group defeat the Fire Nation. With Wu Shi Tong’s words, he challenged the notion that the war that the Avatar was fighting was morally right or justified. He challenges the audience to think about war itself and asks the audience to confront topics about peace, justice, politics, and morality in a way no children’s show had done before. This line from Wu Shi Tong pushes the audience to think critically about the show’s central conflict and asks the Avatar to consider his own morals and methods. This theme would continue to grow and run throughout the rest of the original Avatar series.

4. Toph and Katara’s Day Off

Avatar the Last Airbender, Book 2 (Earth); Episode 15 – Tales of Ba Sing Se

“One of the good things about being blind is that I don’t have to waste my time worrying about appearances. I don’t care what I look like. I am not looking for anyone’s approval. I know who I am”

 – Toph Beifong

In this episode, we see Toph and Katara go to the spa for a relaxing day off. We see as they are leaving, a group of girls start making fun of Toph’s appearance. In this scene we see not only a character deal with issues of bullying and self-esteem, but the intersection of disability and societal expectations of feminine beauty. This seen employs the audience to think about beauty and self-esteem in an organic and thoughtful way that develops the characters into well rounded people that face common problems just like every other child. Not only does this scene send out positive messages about self-esteem and self-image, it represents disability in a show in a way that has largely not been done in any mainstream American television.

3. Toph’s Idea of Balance

Legend of Korra, Book 4 (Balance); Episode 4 – The Calling

“What did Amon want? Equality for all. Unalaq? He brought back the spirits, and Zaheer believed in freedom…the problem with those guys is that they were totally out of balance and took their ideologies too far”

-Toph Beifong

In this scene, we see Toph and Korra discuss the idea of balance, a central theme of the Legend of Korra. This scene asks the audience to critically examine its villains in a way that considers not only their actions, but their motivations. The show prompts the audience to understand its plot in a thoughtful way that seeks to learn and grow from past experiences. This scene employs its audience to use introspection to grow and come to a better understanding of how to use balance to become a more effective, grounded, and thoughtful person. Furthermore, this scene emphasizes the idea of balance as method to view past experiences in order to move forward from trauma and depression. This kind of critical examination is rare in T.V. in general, but especially uncommon in a children’s program.

2. Korra’s New Path

“I’ve realized that even though we should learn from those who came before us, we must also forge our own path”

- Avatar Korra

Legend of Korra, Book 2 (Spirits); Episode 13 – Light in the Dark

During this last scene in Book 2 Korra elaborates on the need to both learn from the past, and grow towards a distinct future which is actively and thoughtfully crafted. This theme is reflected throughout much of book 2 and employs its audience to think of history through a critical lens. Rarely do we see children’s show approach the past in such a critical way. Korra’s new outlook on past Avatar’s, and her literal separation from her past lives, sends the clear message that the future is not just a continuation of the past, but a critical evolution of it.

1.  Avatar Aang’s Pacifism and Conflict

Avatar the Last Airbender, Book 3 (Fire); Finale – Sozin’s Comet

“The true mind can weather all the lies and illusions without being lost, the true heart can tough the posion of hatred without being harmed.”

- Lion Turtle

In the finale of Avatar the Last Airbender, Aang is forced to confront the conflict between one of his fundamental principles (pacifism) and his duty to the world. This thematic conflict would eventually end in Aang using his perseverance and conviction to find another way to defeat the Fire Lord. This scene challenges the audience to critically understand what is important and when to stand strong on their belief’s and morals. The dilemma of killing the Fire Lord still presents the Avatar audience with critical questions around compromise, morality, conviction, and justice that resonate with all people. These are hard questions that often have no right answers. Avatar doesn’t look down on its audiences but rather presents this complex moral dilemma to enrich the story and prompt the audience to think about conviction, right, and wrong.  

daddyslittlestylewhore  asked:

what happened??? i need to know.

In the future, humans will be forced to leave Earth in order to survive, and in adapting to space travel will evolve into the images we so regularly associate with aliens.

At some point, the future humans will reach a breaking point, either psychologically or technologically, and will be forced to influence their current situation by returning to the past and Earth.

So, they send a manned probe through time and space, but because their technology, as well as the realities of time travel, is not perfect — they end up crashing in Roswell, NM, 1947, ending in the capture of the survivor(s) by the US Military.

The ‘aliens’ try to argue the connection the two parties have as well the intent of their visit, but the military officials in charge cannot comprehend that these creatures are part of the human race, and instead assume that they are scouts or spies for an impending alien attack. So, the military holds the survivors hostage until their death, steals their technology, and covers up the incident. Since 1947, the United States has been making preparations to combat the aliens who will one day reach Earth and destroy all humans, not realizing that they, in fact, already destroyed all humans.

kbrockstreeter  asked:

What do you think of the S6 spoilers of Emma and Hook getting married???

Considering the wedding dress scene, a proposal or a wedding seem likely. I’m assuming that article was unconfirmed speculation, unless it’s such an unimportant plot point they don’t mind giving it away. If it were to happen in the first episodes of the next season for example, it would change the meaning, because then it’s not where the weight of the season lies.

Also doesn’t worry me one bit.

If you check out this post by @malefistache, you can see how they’re subtly shown to be the anti-Snowing couple. We’ve already had the anti -True Love Kiss for them, the anti-heart split. The “I will always find you” mission Emma admitted she regrets.

So are we getting the anti-wedding?!! Seriously, bring it on, please!

Originally posted by gif-weenus

Especially with the return of this precious dark angel.

We all know what her hobby is.

Maybe she gets to win, just this once? Maybe sometimes we need a Dark Queen to make the difficult decision for our own self protection? Who knows. Plenty of stories could unfold with all the players brought on during the Season finale. Somebody needs to protect Emma from making a mistake, after all. I’m counting on the Queen.

On a more serious note, though, I’ve been looking into Hook, trying to figure out what he stands for. I’m still researching, and I’ll do a proper post about it after I’ve read more, but I think he may be what Jung called the archetype of “The Animus”. You have to see him in relation to Emma.

From what I gather, a man has an anima, a woman has an animus. So if Hook is the Animus, he is Emma’s inner masculinity. Except it’s far more complicated than that. Essentially the Animus is some sort of compilation of the men we’ve encountered in our life, it’s our view of men. Generally the relationship with the father has a very strong influence on what the Animus is like, but with Emma being an orphan, you can imagine it’s made up of different men - many of them not so great.

When we first meet Hook, he’s a sexual predator, an opportunist. She has a very negative view on men, but as a result, she also has a negative view on the masculinity within herself, because we all are both. So for Emma to grow as a person, her relationship with the Animus needs to evolve. Her image of men has to evolve enough so she can accept that part of herself. So I think that’s what we’ve been seeing. It’s Emma who is starting to heal, in a sense, by having more positive relationships with men, like Henry and Charming.

So along with that view is also an acceptance of the more masculine aspects of who she is. They are now split off from her into Hook, but they should become part of her again eventually. We saw that she expressed more characteristics that we would call masculine at the beginning of the series. After she found her parents, Hook appeared and the masculinity became less and less pronounced. I suspect what it means is that by having this separate character act out that side of her, she can work on it. It’s probably also why there’s a strong connection between Hook and Charming, for example.

So as the possibilities of what her inner masculinity can be improve, she becomes more ready to accept that part of herself as well. IF they decide to go ahead and actually give them a marriage, I would think it would symbolize Emma finally accepting that part of herself and making him part of her again, literally. So a successful marriage would somehow mean Hook would have to disappear and Emma becoming whole again.

Anyway, just started reading, so I’ll elaborate - or correct - once I’ve read more.

anonymous asked:

Do you think pix can grow more than 6 tails??? Or will they evolve soon???

(image taken from bulbapedia)

Normal Vulpix have only 6 tails, I don’t think he’ll be growing anymore tails than the six he already has. Considering evolution and the image above, he would need a certain stone to evolve, and the wotts can’t exactly just stumble onto one in the wild. Plus I feel like it’s too early for him to evolve right now, especially since he only just got all six tails.

The GIF is 30 years old. It didn't just shape the internet — it grew up with the internet.
Here’s how the internet’s favorite image format evolved into a cultural staple. The GIF is officially 30-something, and in the prime of its internet life.Three decades ago, on June 15, 1987, the most beloved image file extension on the internet was birthed by a team of CompuServe developers seeking a way to compress images with minimal data loss. The solution: the GIF, a simple, flexible file format for lower-resolution pictures. My, how far we’ve come since those inauspicious beginnings. … Read more