how has this been overlooked



kirarahu  asked:

Nate/Sophie from Leverage?

There isn’t much I can say about this ship tbh. The way their romantic development is written in the canon, the viewers are meant to believe there is nobody these two can be with but each other. Even in season two, when Maggie (Nate’s ex-wife) kisses him in the heat of their near-death-experience moment, the viewers can overlook it and remember how much time has been dedicated to Nate persuing Sophie (both off and on-screen), how even in the latter’s absence, he considers her his conscience and confidante. Like he said during their proposal scene, she’s always had his back and he can’t imagine spending the rest of his life without her at his side as well.

I will say that season four’s treatment of the ship was really frustrating to me because Nate tried to treat it like a casual affair and Sophie was somehow OKAY with this (don’t ask me how) and played along in his little game. As a viewer, i felt that their relationship was already far too seriously developed for anyone to fall back on, “We haven’t defined what we are but we certainly aren’t dating.” I could understand if they left it undefined but at least have Nate be upfront about WHY that was, you know? (Which, in honesty, was simply him being a commit-o-phobe after everything that had become of his last attempt at playing family man.)

Now I have to utter a futile howl of rage and pain on behalf of that wonderful film Carol, directed by Todd Haynes, adapted from the Patricia Highsmith novel by Phyllis Nagy and with sublime performances from Cate Blanchett and Rooney Mara. How on earth has this superb movie been so overlooked by the Academy? I now hope that Carol has a kind of One Direction career: snubbed by the awards establishment, it may get an underdog bounce as everyone realises that it is better than most of the films being showered with praise.
—  Peter Bradshaw on Carol getting snubbed at the Academy Awards

In Men, Women and Chain Saws: Gender in the Modern Horror Film, Carol Clover advances the idea that the primary pleasure for male viewers of the [horror] genre is a masochistic rather than a sadistic one, but her concern with gender is strictly limited to male viewers. In The Monstrous Feminine: Film, Feminism, Psychoanalysis, Barbara Creed, who turns her attention to female monstrosity, maintains that the monstrous-feminine in the horror film speaks to men about their fear of women, but she has little to say about how it might speak to women about female power. Both books center the male viewer and neglect the question of female audience pleasure in the horror film. This question has by now become a structuring absence of horror film criticism. 

My discussion of the horror film is motivated by a desire to disrupt the facile assumption that the genre does not speak to women but only about them, and that it does this in a degrading manner. The postmodern horror film’s routine staging of the spectacle of the ruined body, particularly the female body, calls for a feminist analysis. Moreover, the historical conjunction between the emergence of the postmodern horror film and the advent of the second wave American feminist movement in the early seventies begs the question: How have feminist protest and antifeminist backlash informed the character of the contemporary horror film?  


Although I agree that it matters what representations of women abound in culture, the tendency to see the horror film as monolithically destructive of female subjectivity overlooks the contradictory dynamics within the genre as well as the complexity with which audiences respond to it. The antihorror discourse sees only how the genre has been formed by antifeminist backlash but overlooks how feminism has informed the genre. The horror film is a contradictory form that must be understood in all its complexity lest we misinterpret popular culture or underestimate its subversive potential.

Isabel Cristina Pinedo, Recreational Terror: Women and the Pleasures of Horror Film Viewing

Now I have to utter a futile howl of rage and pain on behalf of that wonderful film Carol, directed by Todd Haynes, adapted from the Patricia Highsmith novel by Phyllis Nagy and with sublime performances from Cate Blanchett and Rooney Mara. How on earth has this superb movie been so overlooked by the Academy? I now hope that Carol has a kind of One Direction career: snubbed by the awards establishment, it may get an underdog bounce as everyone realises that it is better than most of the films being showered with praise.

so i haven’t heard anyone talking about how in sherlock’s mind palace watson was asking him about past relationships and about the idea of future relationships and how this is on sherlock’s mind and how that’s not a little thing and also that in the past how much he has overlooked molly and been unfeeling towards relationships and how he has a desire to change and is processing all this and you guys THIS IS NOT A LITTLE THING

Explaining the Nightmare Creations in FNaF 4

So as most know, recently, Scott’s website has recently had the two following images promoting FNaF 4.


and this.

Now, if most of you are like me, and I know you are, we’re all freaking out about that these things are monstrous versions of the “loveable” characters of the Fazbear franchise. But, if you’re, again, like me, then you want to know why are they so corrupted and destroyed and mechanical than the originals. Well, we need to look at a the bad ending of FNaF 3.

As described in the wonderful Game Theory episode, explaining that the animatronics are still restless in the bad ending and go on to live and terrorize the night guard in FNaF 1. The souls of the dead children are not satisfied and want revenge.

Even in the extra night, we clearly see that Springtrap (and thus, the purple guy) are not dead. “But Aerista!” you cry, “The building burned down and we saw the purple guy die! How could he be still alive??!”

That, dear friends, should be answered by these three videos. Caught up? Good. I’m going to refer to them in the rest of this post. Now look at this picture.

Who do you see? Springtrap, right?

As MatPat explains, we never see the purple guy actually die in the old facility, only struggling in the locked springlock suit. So, even if the nightmare attraction had the guy alive and then burned down, this man could still be alive. The fires of the “faulty wiring” (in quotes because if purple guy survives in that suit, there’s a big chance he wanted to rid the puppet by burning it as the other suits had been) could have possibly dried the suit out enough for the killer to escape with it and run before anybody showed up to check out the fire. Even if the owner of Fazbear Fright talks about the faulty wiring just acting up on its own, if the purple guy knows that abandoned place well enough, there is no reason why he couldn’t use the suit and destroy the place.

So, by this reasoning, there is a high chance that Springtrap could end up being seen again in FNaF 4 along with his monstrous creation.

Speaking of those…

Now, from here the theory breaks down a bit because I got this screencap from the ending of Markiplier’s final FNaF 3 video, so I don’t know how accurate this actually is. But, this has apparently been the most overlooked part of the FNaF fans otherwise.

That, friends, says “They WilL kNoW tHE joY of CREATION”. This, too is the screen that reflects the bad ending you get at the end of the game, the lights on in the masks and symbolizing that the spirits are still there and still wanting to get revenge. And what, exactly can the spirits, and more likely, the Puppet, create? Well, nightmares for those who ridden them of a chance to live as they should have. Thus, the word NIGHTMARE that is seen in the new teasers on Scott’s site.

Even with the brightness so far up, it’s still a bit hard to see it, but look in the FNaF 4 tags. You’ll see someone point it out better than I can. So how does this connect? Well, as I said, the spirits are restless and want to take revenge on those who put them there. Clearly, this is going to be taking place AFTER FNaF 1 in the timeline as this would be the only logical reason since it would be after the burning of the attraction and the “death” of the purple guy. 

Following the “Bad Ending” timeline, my theory is that somehow, the suits deteriorate even more than they have, turning themselves into monsters with possible help from the Puppet, or even the purple guy. You are supposed to live in the nightmare that the spirits have created for you. And somehow, you have to free the spirits. Once and for all. And, somehow, kill the purple guy once and for all.

But hey, that’s just a theory.

A GAME THEO-*smack*

The hooded figure stood on top of the hill overlooking the castle. 

How long has it been since I’ve been here? How much time has passed for him?

He observed the dark windows and the quiet stables. How peaceful everything seemed for a castle that has seen many horrors.

He could seen a familiar blue headed figure walking around. How was he doing? Was he a master of the sword now or had he given it up for the peace he fought for?

The wool of his second hand cloak itched against his face. He should have let them heal for a longer period of time before setting off, but that was in the past.

I am coming.

He entered the castle through a secret passage that he had been shown as a child. There were few who knew of it and he had perfected the art of passing unnoticed. It was a part of his training. It was the easiest way to obtain information.

He made his way to the armoury. The most likely place to find his target. He could hear the pained grunting of fighting to remove the protective gear of training.

Should I help him? He may react violently.

He decided and made his way to the struggling teen. He undid the clasp that held the gear in place.

Time Gone By, Memories Refreshed (chillin-at-partys-bar)

“Thatch…how long has it been?” Sitting on the edge of a cliff overlooking the incoming tide, Cassandra found her fingers absentmindedly playing with the pendant handing from her neck. It had been a gift from the 4th Division commander when she’d joined the Whitebeards. It was a silver sparrow on a leather string. After Thatch’s murder, she’d decided to follow Ace’s lead and start searching for Teach. After all, two pirates searching would be much faster and more reliable. The day he was killed though was a day that Cassandra already had issues with.

It was the day her brother left her. It killed her knowing that she’d likely never see him again, but it hurt even more that he never even bothered to say goodbye.

“Of course you he had to die on the day you left. Selfish jerk.” She hissed, rising to her feet and heading back to the docks to start her search again. Little did she know this day would hold more surprises than she’d have liked.

“There she is!”

“The new 4th Division Commander of the Whitebeards!?”

“Red Hand Cassandra! Stop right there.”

Violet eyes drifted back over her shoulder to see a group of marines headed her way, drawing a frustrated groan from her lips.

“These guys can’t take a day off can they?” She said before turning and running for the docks. Normally she would’ve turned and faced them, but she had no time today.