hug theory

Funny story: I promised myself this go ‘round that I was under no circumstances going to analyze the Holby City: Winter Trailer.  At all. I was going to be very mature and watch the Trailer one time like all the normal people in the GA general audience who have watched it the way it was meant to be viewed. Once.  And that was going to to be that.

Apparently the actual, literal translation of I’m not going to analyze the Holby City Winter Trailer this time around is: Imma gonna watch that sucker 75 times, backwards and forwards, in slow motion, frame by frame, screenshot Serena’s scenes, catalogue and label blouses, earrings, hair-line and makeup, cross reference with spoilers and official synopses and a preview video to come up with some ideas.  Forget one theory. I’ve got six. I could blame @nicolaruth27 because she tagged me this morning and asked for some CSI level investigation, but that would be unfair as we all know I would have done this anyway.  In any case I’m shoving it all under a read-more, mostly to save my six, I can’t believe you’re hanging in you precious people followers who don’t watch Holby City and obsess over Serena and Bernie and anyone else in the tag who simply like to watch the pretty gifs and have no use for the rambling prognostications of the obsessed theories.

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  • Fans of Yuri on Ice: Oh no, Victor's going to leave him, he's just using Yuuri, Victor's dying! DO YOU SEE THIS PROOF? CONSPIRACY THEORIES EVERYWHERE,As you can see by this evidence in 20:30 minutes on episode 4, This scene is foreshadowing death, can you feel it? ANGSTANGSTANGSTANGSTANSGTANSGT

I don’t normally post on here.
But TLD really messed with my head. Almost the whole episode was from the perspective of drug-driven Sherlock, but that’s not the point. I rewatched it and I’ve got a theory. Eurus is the East Wind from Greek mythology, right? So that would make the siblings personifications of the Winds. We’ve got the sister, Eurus Holmes, East Wind. We have extremely cold, logic-driven, most powerful man in Britain, Mycroft Holmes, or the North Wind, Boreas. Then, Sherlock Holmes, most important in his life is emotion, not thinking (as Mrs. Hudson said), he is Zephyrus, West Wind, connected with spring, gentlest of the Winds, who fell in love with the mortal prince Hyacinth, Apollo’s lover. (Zephyrus’ interference in their relationship caused Hyacinth’s death, but homosexuality stood out to me.)
Now, the Winds are four. And people always stop counting after three. Maybe there is a fourth sibling, this could be Sherrinford (Notos, South Wind), but we know nothing about him now, except that he had to look after Eurus.
So, the four Winds.
I can’t wait for TFP.

“I can’t say anything about it for now

“I can tell you that Daron is open to the idea of LGBT characters but beyond that the situation gets complicated.“

“ Part of why I feel so honored to be on the Star crew is the fact the everyone is so eager for the inclusiveness that you guys deserve! “

I can’t speak for any other writers or artists, or the show’s intention, none but my own– but lapis and peridot, I wanted to create the experience of a growing queer relationship.” - Lauren Zuke

“[Lauren Zuke] took three characters and made them into a little pet project” -@beatcopdot

what if the reason why Marco’s representation status is so complicated, and why they’re encouraging people to headcanon them as trans so much, is because Marco being transgender wasn’t planned from the start and explictly confirming is out of their hands (”we’re all so open and want to represent lgbt characters so much, a lot of times though the decision’s out of our hands.”)

and everything we’ve seen so far is a Lapidot/Zuke scenario, where individual writers are coding and characterizing Marco as transgender in order to give us something we’d be able to relate to. (And GOOD LORD have they succeeded)

Thoughts from a Mini Thrones-A-Thon

So I just spent the better part of the last hour torturing myself by watching clip after clip of Sansa Stark being treated horribly in Game of Thrones, starting with Joffrey showing her Ned’s head and ending with The-Scene-That-Shall-Not-Be-Named that happened on a certain wedding night in season 5.  It was awful, but there’s a method to my madness, I swear.  I wanted to get a sense of how Sansa’s troubles have changed her and made her perceive and interact with Jon differently from how she may have done had they been reunited after many years in which nothing bad in particular had happened to her.  

Instead, I found myself focusing on the different ways the various men in Sansa’s life treat her, and I’m not just talking about the differences among rape, creepy groping, and sweet hugs and forehead kisses.  I noticed right away how different Jon’s body language and tone of voice are from those of the other men.  From Joffrey to Petyr to Ramsay, and even Tyrion to some extent, all of them step into her personal space and take charge, leaving her with little to no agency or choice.  Joffrey bullies her and has her beaten; Petyr gropes her and verbally strong-arms her; Ramsay, even before he starts raping her, uses his torture and domination of Theon to show Sansa that he, and not she, is the one in charge; and Tyrion, while he treats Sansa very decently, guides her around within the perimeter of the gilded cage in which his family has imprisoned her.  (Granted, she was very young at the time; had she been older, the dynamic between them may have been quite different.)

Jon, however, is the opposite.  From the moment they meet at Castle Black, he (literally) steps back and lets her have the agency she’s determined to recover.  He even lets her approach him when they first hug!  And during both of their disagreements later in the episode, he argues with her from a distance; he doesn’t touch her or step up in her face, so to speak.  She’s actually the one grabbing his hand at the breakfast table and insisting on taking action, rather than the other way around.  And throughout their journey around the North, he respects her and her boundaries, especially her physical boundaries.  Even when they argue, even when he raises his voice, even when he’s annoyed as heck with her, he never lifts a hand to her (not even to within a foot of her); he never grabs her arm; he never tries to force his own opinions on her “because I’m the man”; and he never pulls a Petyr by trying to gaslight or manipulate her.  The one time, as many other Tumblrs have pointed out, when he initiates physical contact with her, it’s to give her a very gentle, non-threatening kiss on the forehead - i.e., positive physical contact, which she hasn’t had with another man since she lost her father. (Just to be clear, I’m talking about positive physical contact in general, not in a sexual context.)  In short, he treats her with utter kindness, gentleness, and respect.

Which brings me to the last part of my theory.  I haven’t seen all of Season 6 yet, but I’ve watched most or all of Sansa’s scenes in it, and I’ve observed that she acts markedly different with Jon from the way she acts with other men.  She puts a mask on around them that she loses when she’s with Jon.  With other men, she’s the shrewd strategist (i.e., council scene with Davos and Tormund), the brittle, wronged ward (i.e., the Mole Town scene with Petyr Baelish - and notice how she shows almost no emotion when she first rides to the battlefield near Winterfell with Baelish and his army in “Battle of the Bastards”), or the commanding Lady of Winterfell (i.e., the disastrous attempts to get Houses Mormont and Glover to aid House Stark).  But with Jon, she loses the mask.  She lets herself do what I did a very long time ago, when my parents and I had left a destructive cult and the therapist they had me see advised them to give me free rein to express the anger I’d been bottling up for years, so I could get it out of my system.  Well, I let loose (verbally, not physically), and so does Sansa.  She yells at Jon; she questions his judgment; she disagrees with and once or twice even ridicules his decisions - because she feels safe enough to do it.  At some level, she understands that he won’t retaliate with violence or gaslighting or putting her back in her cage, as the other men would have done.  She probably has faith as well in his willingness to forgive her for it because he’s done so once already, back at Castle Black when he told her there was “nothing to forgive.”  Yes, she goes a bit overboard at times, but then so did I in my anger, and once I’d gotten it out of my system I began to stabilize again.  And I think we see signs of Sansa’s stabilizing in “The Winds of Winter.”  I don’t mean that she’s mentally unstable, just that she was suffering from the sort of emotional instability that could be expected of anybody who has gone through what she has.  And, unlike many of those people, she has a gentle, kind, loving person waiting for her on the other side.  When she apologizes to Jon (and it’s a true apology, not one such as the men before him have forced or manipulated out of her) and says he is a true Stark to her, I think she’s showing him true gratitude for sticking with her and being so incredibly kind to her.  I think that she values the gentleness and freedom and safety she gets with him far more than she’d value being named Queen of the North, and that’s why I don’t think she’d betray Jon in a million years.  It’s also why I think she’ll fall in love with him once they find out about his parentage and open herself up voluntarily to the vulnerability of sex and marriage.  I don’t think anything short of what Jon offers could ever make her do that again.

Sorry, way too long ramble.

TL;DR Sansa has suffered unbelievable cruelty, manipulation, and other forms of mistreatment throughout Game of Thrones at the hands of men who take away her agency and violate her boundaries.  Jon treats her with kindness and love and never infringes on her agency.  She won’t betray him.  She will eventually fall in love with and even voluntarily marry him. 

THE HUG - Meta - or what the hell are they talking about?

ok, so the scene is basically build like this:

awkward sitting around, biding time.

John does not want to talk and is about to leave, Sherlock clearly doesn’t want that, starts talking about the case.

John tries to leave again, Sherlock asks him if he’s ok. They are no longer doing chitchat… and John acknowledges that Sherlock is not to blame for Mary’s death.

John tries to leave a third time, but this time he’s interupted by Irene.

Mary aka John’s OWN mind immediately jumps to the conclusion that the posh boy loves the dominatrix. LOVES. (ahem.. and “posh boy?”).

Not only that, but John immediately goes from LOVE to passionate nights. Jealous much?

Sherlock, who seems pretty mentally exhausted by this point (as if he had to disagree a lot of times before) assures John that he doesn’t text back.

So that can mean either:

a) he’s telling the truth (not texting Irene) and he wants to assure John that nothing with Irene is going on (and lies at the end of the scene - only to assure John that texting can be innocent)

b) he is in fact lying but wants to he wants to assure John that nothing with Irene is going on.

Still following?

John’s reaction is basically a huge fucking WHY NOT?

For John, texting Irene is better than being alone. Texting Irene means grabbing what little joy could offer.

Sherlock wants to steer John FAR FAR AWAY from this subject. He realizes how John is totally on the wrong track here (and it also feels like they had this conversation a couple of times) and just wants to kill the conversation with his broad denial of anything romantic.

John thinks romance completes people. He sees Sherlock’s lonliness, he sees what Sherlock did there with Culverton to get him back. He sees that Sherlock needs someone BUT he no longer feels worthy.

“Do something while there is still a chance because that chance doesn’t last forever.”

That sounds an awful lot like a desperate plea to make the first step, doesn’t it?

But before Sherlock can say ANYHTING, John tells him all of a sudden that Mary was wrong about him. He confesses that he is basically not worthy of Sherlock, that he is not the ideal man Mary (and Sherlock) think he is. And Sherlock immediately protests. WHY WOULD JOHN ENCOURAGE SHERLOCK TO MAKE THE FIRST STEP AND IMMEDIATELY TALK ABOUT HIMSELF??

Because after what he did, he is not worthy of it. He can’t take the next step. Sherlock needs to do it. He needs to forgive John. And to drive the point home, he confesses to the cheating. 

“That’s all that was, just texting. But I wanted more.” (and this is why he doesn’t believe that Sherlock texts innocently with Irene - he’s projecting) (Also, this shows brutally honest just how empty and unfullfilling his marriage was).

He wants to be the ideal man, the one worthy of this love. And the Mary in his mind gives her blessing.


The End.

Originally posted by odetolove6

The Hug...

I love how affectionate Rick is. Like he just walked up to Michonne, after not seeing her all day expect when they kissed good bye that morning, after procuring that stuff on the lake, watching Aaron getting beat up after he was super helpful and supportive, after dealing with Negan, and just hugs Michonne. No words…that were immediately audible to us, Rick just wants to hold Michonne.

My question is what would have happened if Michonne didn’t give that incredible speech and just let Rick hold her. I am quite curious…

Originally posted by girl-ninja

Originally posted by heartfulloffandoms

Originally posted by captaine-duckling