i go on ad nauseam about all of this all the time

Go Go ‘Power Rangers’ (2017 Review)

Is this good? Is this bad? Will my inner-child allow me to judge this appropriately?

“Power Rangers” is a reboot of the classic 1990s action-packed children’s show “Mighty Morphin Power Rangers,” which in turn is based on the Japanese tokusatsu “Super Sentai Series.” It’s directed by Dean Israelite and stars a cast of young actors, as well as Bryan Cranston, Bill Hader and Elizabeth Banks. The film is set in the small, fictional town of Angel Grove, where local high school students Jason Scott, Kimberly Hart and Billy Cranston (Dacre Montgomery, Naomi Scott and RJ Cyler, respectively) are all caught up in detention. Through a series of shenanigans, they come across Trini and Zack (Becky G and Ludi Lin, respectively) as they all discover an ancient, otherworldly construct. It’s there where they meet Zordon (Cranston) and his robot assistant Alpha 5 (voiced by Hader), and attain the responsibility of becoming a powerful team known as the Power Rangers, and to stop the destruction of an ancient, powerful witch known as Rita Repulsa (Banks). 

This is the absolute perfect “what if” movie. The answer to “what if they remade ‘Power Rangers’ for adults” question. This is the film we asked for, albeit cautiously. We really owe it to franchises such as the “Transformers” series, because without them, this film would be seen as an impossible reach.

Being a millennial, I was very much a child when “Power Rangers” had its long television run, and I stayed true through each incarnation, from “Mighty Morphin” to “Lightspeed Rescue,” and considered myself a retired fan after “Dino Thunder” (I was already in middle school at the time). So yes, shameful as it is, I know my shit. As you can see, I want this to be good. But was it?

Yes. Surprisingly, it was pretty good. It’s not shockingly “I thought this was going to be shit but it ended up being amazingly amazing” good. It’s just good.

Here’s one thing that the film does better than the TV show: the acting. In a great departure from the “Saved by the Bell” mood that the 90s actors gave us, we now have grounded, realistic, rebellious teenagers. These new actors fit the “teenagers with attitude” description way better than the 90s actors ever did. You have Montgomery as Jason, playing the rebel who ends up having to deal with the most responsibility. Scott plays Kimberly, the girl who does a good job of not just being the obligatory female casting, or the fighting damsel-in-distress, unlike the original. The dialogue between these two is usually filled with charm, whether its casual banter or a proclamation of their contempt for Angel Grove. 

But they do something different with the rest of the cast, which helps to modernize them. Cyler as Billy provides the humor and keeps the grittiness from ever getting lower and lower. Of the five teenagers, he is the one with the most charisma But he also serves to represent autistic teens everywhere. Yes, unlike the television counterpart, they made the Blue Ranger autistic, which is a pretty bold and commendable step for something based off a children’s property.

To keep the ball rolling, they then make Becky G’s Trini represent lesbians and confused, oppressed teenagers everywhere. Okay, this film had me at shedding light on autism, but encouraging more LGBT representation? Hats off to you, Lionsgate and Saban. Despite this, I found Becky G’s performance to be slightly annoying until about halfway through the movie, when they developed her much more, and gave her a more integral role in the plot. 

While I praised the rest of the cast, I’d have to drop the axe on Ludi Lin as Zack, the Black Ranger.  Compared to all these convincing performances, Lin’s is absolutely haphazard. The way he is introduced is to set up how much of a cocky outsider he is, so naturally he’s by himself. He then starts speaking to himself, which is one of my absolute biggest pet peeves in a movie. I despise movie moments where normal-functioning people start speaking or quipping to themselves, the only sensible reason being that the writers assume the audience is too dumb to know what the character is thinking. I get it if a character has schizophrenia or another mental illness, or if the words are limited to comedic inner-banter, but not in this case. He’s someone with decent social-competence and no reason to quarrel with himself, other than provide exposition to the audience.

But like Trini, I did find him to be much less annoying when he opened up. They gave him a pretty touching backstory with his own troubles, and they make his motivations really apparent. And just to keep the ball rolling, he’s also the most foreign one of the group, being bilingual, unlike the original black ranger. Now that I think about it, many of the Power Ranger series’ casts don’t feature any overtly foreign characters, apart from maybe of an alien race. 

That is precisely why this casting works. Whether or not you find these characters annoying, you can’t doubt that they’re there for a good reason, and you might even warm up to them as the movie progresses. They also help to introduce bouts of political correctness, but they aren’t preachy or condescending about it (which is really the only good way to go about political correctness). They represent people of various colors, mental states and social capabilities, showing (but not telling) that everyone is capable of extraordinary things as long as they have camaraderie.

I can’t say much about Cranston as Zordon. It’s a great homage, seeing as how Cranston has actually been a part of “Power Rangers” since the original television show, where he voiced many of the villains they face. I do love his voice-work here, and while it took some getting used to, I ended up really liking how they presented him. Rather than a chubby, floating head in a tube, they made him manifest into a wall, kind of like one of those pinpression toys. Not to mention they could have easily made him a one-dimensional character. But they went above and beyond to give him his own arc, his own set of feelings and doubts, and a world of lore behind him.

If you thought Alpha 5 was annoying in the television show, then you can rest your worries because Bill Hader fixed him up good. The original’s voice was so high-pitched and screechy; basically in typical 90s fashion (or how the 90s thought Aliens would sound like). This time, he just kind of does the same thing he did as Fear from “Inside Out,” except less screaming. His design had me slightly worried but I got used to it.

Now, Elizabeth Banks as Rita Repulsa has me split down the middle. On the one hand, I do like that at least ONE person in this entire film is trying to recall the absurdity and campiness of the original series. At the same time, I found her to be over-the-top, and incredibly outlandish compared to the rest of the grounded cast. She is guilty of overacting here, which is both a blessing and a curse. The prosthetics on her are amazing though, from both start to finish. She starts out as an outright horror character, which is something I didn’t expect to see even in the gritty version of a children’s property. 

If you kept up with me for this long, you know that a recurring theme here is that this film takes several risks that are rather uncharacteristic of a children’s property. Sure, there are hints of silliness to try and match the youthful appeal of the original, but they also throw in more mature bits of humor, about things such as drug tests and jacking off a cow (no joke). Me personally, I welcome these jokes. If anything, this is much more of a film for the adults who grew up watching “Power Rangers,” rather than children. The maturity really shines through in the form of character development and chemistry.

I must say that if you are bringing a child to watch this, keep in mind there will be mild swearing, and several mature jokes.

A common criticism (ad nauseam, pretty much) is that this film is a forced collision between two different movies. Two thirds of the movie is essentially the origin story, which focuses mainly on character development. At the same time, this is the section that appeals to the audience the most, whether you’re fans of the original or not. No one comes into anything titled “Power Rangers” and expects to feel for the characters. But through one particular scene where all the characters develop a kinship, we develop a peculiar attachment to each of them. It was at this moment that I’m glad these people are the ones I’m spending five more movies with (Yup, that’s right).

But when it sticks to the original, it definitely sticks, and that’s where the last third of the movie comes in. If you’re looking for cool looking suits fighting monsters with martial arts and gymnastics, you will get it. If you’re looking for giant robot dinosaurs battling another giant monster, you will get it. And MOST OF ALL, if you want to, at least once, hear the iconic theme song, you will get it. In all it’s pure, epic goodness.

But this is where I have to defend my appreciation for this movie, because many people will come in accusing me of being “blinded by nostalgia.” Despite having these borrowed features from the original show, there is really nothing nostalgic about it. The action here is far better than most of the show’s episodes. There is no silliness to be had apart from what would be silly by realistic standards (as opposed to having two obligatory bully characters).

Even some elements taken from the show are vastly different. Case in point: Rita, who in this film is actually getting shit done by herself rather than sitting up in some moon tower yelling at everyone.

Even the formula of the show is broken up here. Back then, everything was so fast-paced to where every time a new series was brought in, the new team of Power Rangers would unrealistically form intimate familial connection and extraordinary abilities within 20 minutes. This film actually shows you that the Power Rangers had to train for this, both physically and mentally. They didn’t just have these abilities bestowed upon them as a result of the plot rushing it together. You see them work for it, which is something I really appreciated about it.

I had to bring that up because many of the people who didn’t like this film will be quick to see reactions like mine and guilt me for “nostalgia.” But that “tone difference” that they’re faulting this for is the reason why you can’t pin nostalgia on this. All that means is that everything I liked about this film has been on its own merits, maybe (at most) perpetuated by quick little homages to the original. 

I suppose before I wrap this up I should mention one more thing. Not really a problem, but more like something I wish happened: I wish they played the theme song more. It was wonderful hearing the iconic theme song, perfectly borrowed from the 1995 film, and at the height of its “Power Ranger-ness.” But I felt that if they really were gonna throw it in there, they should have totally owned it and at least left it playing for a bit longer. If not that, then at least make an instrumental cover to play in the background during the climax, rather than GODDAMN KANYE.

This is a film that has fans and critics alike split down the middle, but it’s pretty clear that everyone who hates it is hating it for the same two reasons: (1) It has a massive tone-clash towards the end, and (2) It caters way too much toward product promotion for Krispy Kreme donuts. I do agree with the latter, make no mistake. But when I hear people complain about this tone-clash, it reminds me of people who complained about the “slow parts” of every other superhero film, whether it’s “Captain America: Civil War,” or “Batman v Superman.” Apart from being a “Power Rangers” movie, this is also an origin story film. And for something as ridiculous as “Power Rangers,” it definitely requires a slow initiation process. To get us going on a six-movie deal, the creators will have to help casual viewers acclimate to the premise, because chances are the naysayers are the ones who skipped out on this franchise as children, and therefore missed their window of opportunity. Ironic how a movie based on a children’s property requires a mature level of patience from the audience.

As I said before, if you came into this wanting to see colored suits, martial arts, explosions and giant robots, you will get it. If you’re dragged into this film but appreciate elements like character development and chemistry, you will get that too. As someone who enjoys both, I actually would go so far as to say I loved this movie. I don’t care if I’m alone on this, but I can comfortably say that I loved the “Power Rangers” movie.

You know what? I’m pretty sure it has been said ad nauseam, but I’ll say it again myself: Natasha, Pierre and the Great Comet of 1812 should have won. Best Musical, Best Score, Best Book, all three of them.

You can just tell it’s a labor of love. The book is about a seventy-page segment of one of the longest novels of all times, War and Peace. It manages to stay faithful to Leo Tolstoy’s novel, but Dave Malloy, Rachel Chavkin, and the rest of the cast and crew have actually managed to add their own unique spark to it. The score is a mix of rock, folk, soul, jazz, electro pop, traditional Russian music, classical Broadway musical, and it ACTUALLY WORKS AND HOLDS TOGETHER PERFECTLY. The songs are catchy af and will stay in your head. The musical WAS original and innovative. The cast is diverse, it interacts with the public during the entire show, they play instruments, I mean it’s like there’s nothing they can’t do. Each person in the cast has a very unique and distinctive voice you can’t confound with another’s, and frankly, they’re all people who could have pretty solid careers as indie singers.

Natasha, Pierre and the Great Comet of 1812 was everything Dear Evan Hansen wasn’t.

(No, do not come and yell at me because this post showed up in the Dear Evan Hansen tags, because I will ignore you. And anyway, why would you care? Your musical won anyway.)

If Dear Evan Hansen had come out during the time Next to Normal did, then yes, it would have been interesting and innovative. And the problem is that psychological musicals like DEH, N2N and Fun Home always have pretty solid chances of winning at the Tony Awards.

The problem is that DEH brought nothing new on the table.

Next to Normal was revolutionary for its time; and I’m not the biggest fan of Fun Home, but I do agree that it was a powerful and important musical, that was its own thing and succeeded in it. Look, I’m not big on contemporary musicals in general – Hamilton and The Great Comet are an exception – but I think I’m capable of saying that, you know what? Dear Evan Hansen was just bland.

And before you lift your hand and tell me that it’s because I just can’t identify with the struggles the musical represents, I’ll stop you right there: I actually have social anxiety. Obviously, it’s not as severe as what Evan has, but still. And it might not look like it on the Internet, but I’ll tell you one thing: writing and expressing my thoughts here on Tumblr or in fanfiction is just one of the ways I use to fight against my social anxiety. I work as a cashier and talking to someone different every minute, saying “hello”, “did you find everything you needed”, “heard it was hot outside”, “have a wonderful day” is just another way.

So you know what? When I first heard of the musical, and saw it was about a guy struggling with social anxiety, I was willing to give it a chance.

And yeah, I watched it, and I thought it was just bland.

The music is just generic contemporary musical style songs that are not memorable at all, and there’s Ben Platt’s big number that’s basically there to show that he has da singing chops, I just didn’t warm up to the characters, it just didn’t work for me. The musical was missing that one little spark that could make it stand out from the others.

I’m not saying that social anxiety and bullying aren’t important issues: the problem is that the musical relied a lot on those issues, and it thought it was enough for it to be The Best. Musical. EVAR. And for some reason… it worked. 

And where the musical tried to be deep, it just ended up being pretentious.

I knew Ben Platt was going to win Best Actor in a Leading Role in a Musical. That dude basically had the Tony in his hand the minute he opened his mouth for the first time for DEH. But I can’t believe that Rachel Bay-Jones, as good as a performer as she is, won while people like Brittain Ashford and Amber Gray weren’t even nominated. And before you object, watch this video and this video and come back and explain to me why they didn’t even get a nomination. Heck, I’m even angry about Anastasia: they got a grand total of two nominations and they didn’t even get to perform at the Tonys.

I’m sorry, I just get the impression that Dear Evan Hansen won just because it was the season’s darling, and not necessarily the best or most innovative show. It’s honestly disappointing, especially when you think about how a show as revolutionary and as diverse as Hamilton won last year. Heck, Come From Away wasn’t as innovative as The Great Comet of 1812 was, but at least it was its own thing and it had middle-aged and older actors of various ethnicities in it, unlike DEH.

Long story short, why did Dear Evan Hansen win? Because it’s your generic white contemporary musical with a topic that’s shoved in our faces just to show how super special it is. And because of that, it’s the American Theatre Wing’s darling.

Design Analysis: The Alien Films

Giger’s original alien design is fairly well recognized as the pinnacle of the art, so sequel decay was inevitable. Once you have something perfect, anything you add to that perfection will alter it and by definition make it imperfect. The further the Alien films diverge from the design above, the worse the designs get, sometimes by fractions, sometimes by great leaps. This is not a comprehensive list of all changes made to the design over the years, but a look at the directions other artists took. Essentially, a brief Fall of the Roman Empire for alien design.

Giger’s only “hands-on” involvement with the series to make the final cut was on the first film. His most impressive creation for that movie is, in my opinion, the Space Jockey, the truest fusion of flesh and machine, literally grown into the ship despite what unbelievably horrible ideas future movies would try to retcon into the series. But the alien itself is the most enduring work. The elongated head, the inner toothed tongue, the mechanical components within the meat of the creature, its ribs, its inexplicable back-pipes, it all manifests as a symphony of disturbing elements that, when combined into a humanoid figure, speak of pain, wounds, death, cruelty and danger. This is widely known.

What fewer people (including future creature designers) realize is that one of the most critical features of the alien is that it is aesthetically displeasing. It is not sleek. It is not cool. It is ugly. It doesn’t fit together right. It is not streamlined not conventional in color or form. Where Giger designed the Space Jockey to be oddly beautiful, he went for something in the alien itself that makes it hard to look at. Some consider this “cheap” or “incomplete.” I’d argue that it was not only intentional but one of the most critical features of the design.

The original alien was never meant to appeal to us. It was made to scare and disgust us. The original film is the only time it did so successfully. Commentaries on the series suggest that the repetition of the design in further movies made it less impressive, that it was done to death. This is not true because the original design only appeared in one film. Though that design too is demystified by now, the films did not need to suffer from any inevitable decrease in horror. That decrease is intentional.

James Cameron didn’t want to make a horror film, he wanted to make an action thriller with some horror elements. His alteration of Giger’s designs helps elucidate this. The design of the aliens from Aliens is close to Giger’s with three critical embellishments: The arms now have bony protrusions at the elbows, the dome has been removed revealing the ridged head, and the design has been normalized and streamlined. The alien is no longer grotesque, it is awesome.

The original alien looks dirty and ragged by comparison. This was not a mistake by any means. Aliens is not about hurting the audience like its predecessor, it’s an action movie and the turn from horror to action was extremely successful.

Cameron then took Giger’s aesthetic, more or less, and designed his own super-alien, the Queen. Little attempt at horror remains, if any. This is an epic beast made to appeal to the eye with smooth curved structures and spines that follow the form naturally and elegantly. It has less of a mechanical influence, and no sign at all of Giger’s ugliness. Its use in the film is similarly unhorrifying, it’s an intense escape followed by one of the greatest fight scenes in movie history. Cameron diverged from Giger and Scott, but what he made was a new expansion of the universe that was all his own, and in typical fashion for the director, it amazed audiences and proved highly influential ever after.

Giger was invited back to design a new iteration of the alien for the third film. He set out to perfect his original design, and did so artistically but not cinematically. His new design introduced an even more horrifying tongue that would enter the victim’s throat, and with shark-tooth-like barbs, come back out bringing their guts with it. It had a visible, moving brain under its dome, and it lost the back tubes in favor of a more animal-like structure. It also had new artsy elements that brought it further into Giger’s developing aesthetic. The filmmakers elected not to use it.

Tom Woodruff Jr. and Alec Gillis took over. Students of Stan Winston who had implemented Cameron’s concepts, they redesigned the alien into a near-fully organic beast. The only remainder of its mechanical elements are the repeated flutes on the side of the head. The rest is all animal, with inhuman legs and feet. Its cheeks are no longer messes of visible mechanisms, but rumpled skin. And it is sleek. It’s streamlined. It is, in essence, what the alien would look like had it been originally designed by someone other than Giger.

Alien 3 attempted to bring the series back to horror. That might have been a mistake but we can give the creators the benefit of the doubt and instead of criticizing the aspects of the film that have already been criticized ad nauseam, focus only on the design. Basically, it’s meatier and meaner and although it has lost Giger’s surface, it does retain his basic concepts and yields an appropriate movie monster for a very dark film. It would be brilliant had it not followed such vastly superior works.

Gillis and Woodruff returned for the fourth film and further organicized the creature. They took the Alien 3 design and regained the tubes, and made the back of the head a little less round. While the alien from 3 was alternately red or black depending on the lighting, the Resurrection beasts were generally greenish-brown or grey depending on whether they were computer generated.

But look at its cheeks and neck. The region on the sides behind its mouth. The clumpy skin of the third alien is now a total ugly mess, and not ugly in Giger’s way. Just a mess of blotchy crud. Its arm has little trace of the underlying tubes and mechanics, it’s just a bumpy human arm. Alien 3 took the creature into animalistic design, but 4 began to turn it into a mess.

The newborn has no mechanical elements whatsoever, or even any trace of them. It bears only the slightest resemblance to Giger’s design and that’s okay. It had a new purpose- To be gross. Not grotesque, necessarily, but icky. There it succeeded. Its face was also more expressive, at times almost human. Its sunken eyes, its bat-nose, the bloated filigree on the sides of its head, all contribute to something appropriate to the film this creature was designed for.

Notably, the creature was designed with genitals, which were censored from the film for being too much, the director said, “even for a Frenchman.” The Newborn represents the end of the series. The alien has gone everywhere it can go, and retains nothing of what made the original what it was. Evolution is inevitable but I can’t help but wonder what might have happened had the ADI team that handled the latter two films honored Giger’s new designs, or kept his originals, or designed new works of their own along his guidelines instead of simply making the aliens closer and closer to blobby animals.

Prometheus provides another succinct view of what happened- Giger’s original derelict ship was a misshapen bony surrealist sculpture. It had no visible means of flight, it had nothing to even compare to any vehicle ever designed. It made no sense. It hurt the brain to think of as a spaceship. Prometheus featured a similar ship- But made it work. It was streamlined and curved naturally instead of bent and ugly, it was a mechanical ship and not something that might have been grown. That’s what happened to the alien over the years. It was cleaned up, made sense of, and turned into something normal. But the final insult was yet to come.

That’s the finale of Prometheus. Look at it.

Now look at the original:

Now back to deacon:

How did anyone, especially Ridley freaking Scott, think this was acceptable? It’s a god damn cartoon. I mean literally! It’s what Gary Larson spoofed the aliens into!

It has no surface detail, just some bumps like what a child might push into a lump of clay. Its pointy head is a joke. And its inner jaw is based on the goblin shark’s:

The goblin shark is notable in two ways- One, its jaws are horrifying. Good. Reason two- It looks like Jerry Lewis.

It’s goofy! It’s silly! The prominent upper maxilla looks absurd and funny despite its sharp spiny teeth. The goblin shark is certainly bizarre and bizarre is often good, but in this case it turned the iconic alien, the greatest design in the history of creature effects, into an absolute total JOKE.

Never mind the squid. Never mind the plain white tentacled blob that replaced the chestburster. Never mind the idea that the brilliant concept of a pilot grown into its ship was made into a white guy in a suit. Never mind the dull serpents or the atrocious uncreative bumpy makeup on Fifield. Ignore all the problems with Prometheus because this is about the design of the adult form alien. Look what they did to it.

Resurrection ended the alien’s tenure as the greatest monster. But it did not make it into a joke. The deacon is a poorly sculpted, plainly painted, uncreatively applied, horribly conceived, silly, pathetic, absolute low point of creature design in cinema. That’s where the alien ended up.

This is one of the greatest plummets in art. From the pinnacle to the nadir. So what comes next? Alien: Covenant, appears from its trailer, to be even more of a remake of the original than Prometheus. The same plot, slightly different specifics. Of its true story and creatures, only time will tell. But I have the lowest expectations. I expect the worst, for the alien to go from joke to insult. Or further insult, all things considered.

The trend in cinema (among other things) right now is to take whatever was good once and ram it into the ground as hard as possible. I don’t know what more they can do to the alien after the pointy headed atrocity above, but I have a feeling we’ll find out.

But I also have hope. Worst expectations but a glimmer of hope that we’ll see the redemption of this creature. Giger is dead, and the world is poorer for it. I hope Scott has found someone new, an unknown artist as Giger was in the 70s to come to fame as the next great surrealist. I hope we’ll see the birth of a new form of horror cinema. I hope a great many things every time an alien movie comes out.

My mother was pregnant with me when she saw Alien. I drew it over and over as a child. I studied it above all other films and designs as an adult. I grew up with the alien on every level. I don’t know what will come next, and I will go in with an open mind.

But I can’t help but feel that the iconic monster has hit rock bottom, and it’s about to crash through the stones down into hell.

So OT has made it abundantly clear what’s going on.  

With Wootton getting 3 different interviews, babygate 2.0 getting pushed ad nauseam, Harry suddenly having a beard in time for promo that The Sun is obsessed with while other outlets aren’t nearly as interested, Niall getting used to verify most all the major stunts, and Zayn getting absolutely 0 promo for his latest single, all 5 of them are clearly still stuck with OT in some capacity.

Liam suddenly giving interviews where he shades Zayn is so entirely nonsensical after the things both Zayn and Liam have said in real time and in the official print interviews for the past 2+ years.  The fact that Liam is now set for a Larry denial just like solo Zayn gave, even though neither of them have any reason to give such a denial as solo artists that supposedly aren’t under the same label with each other or Harry or Louis, is even more of a dead giveaway.

Louis and Liam didn’t both show up with shade and sharpies yesterday by accident.  Liam made it clear that he’s still (always) on Zayn’s side no matter what 1DHQ has over him that’s making him play along.  Louis made it clear that 1D is as strong as ever.  They knew what was coming and those two pictures were their declarations of love to Zayn and the band.

While I’m irritated that OT is still involved somehow, far past the point when anyone (even the boys) thought they would be, it’s kind of nice to have a road map.  I don’t have to worry about what’s coming because I know exactly what the source is before it even comes.  Our boys are the same people they’ve always been and their bond isn’t going to change.

alltheluvharrys  asked:

Hello, how are you? Pretty please, can you do a blurb about Harry and (Y/N) planning their wedding? Thank you and have a lovely day

A/N:  Sorry this took so long to get posted.  It was swirling around in my brain for a long time.  I sincerely hope that this Harry fluff brings you joy.  I know that cuts in Asks don’t always allow you to read the whole thing on mobile, so I apologize if that’s the case for you.  

Wedding Plans

The parade of dresses is making your head spin.  Not only do you have to decide on a wedding dress from all of the designers who had submitted dresses to your wedding planner, but you have to choose a dress for the wedding brunch, the rehearsal dinner, the engagement party in London, the engagement party in LA, and the dress to change into after the reception.  You are exhausted with all of the choices.  Rodeo Drive was made for rich people who are used to being catered to in this way, but the champagne the clerk keeps refilling for you is giving you a headache.  

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Missing

@1o3o1 asked for: “Post Season 2 fic of Keith dealing with losing Shiro again. How he is more distant and is lost in thought. :)” [On AO3]

HERE YA’ GO, FELLOW ANGST MONSTER! (Hurt/comfort fic requests are open)


Shiro vanishes, and Keith retreats into himself.

The paladins are stumped by this reaction. Keith likes to shout and beat out his anxieties; he’s the sort to actively seek out trouble for the sake of catharsis. In the wake of Shiro’s disappearance, however,  Keith goes out of his way to avoid conflict. He haunts the castle, so vacant sometimes that he goes fuzzy around the edges. He can be spotted most nights spread out along one of the window ledges, cheek a breath from the glass, eyes glued to the stars like they’re keeping something from him.

Keith shows up to meetings. He goes to group training. He joins everyone for dinner. But his presence is weirdly diminished, like a star has collapsed inside of him. He talks, but his voice is hollow, devoid of passion. He never shouts or acts out.

Allura recognizes Keith’s behavior. She’s no stranger to grief. Coran, too, eyes Keith with the reserved empathy of a survivor. They don’t try to convince Keith that they’ll find Shiro; they know their promises are empty. Until the Black Lion comes back online, they won’t be able to trace Shiro’s location. It’s all a matter of time and terrible, terrible patience.

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Take My Hand (Danny/Stiles/Derek)

@Theonewiththeeyebrows , @exhuastedpigeon, & @cobrilee said: Stiles/Derek/Danny

I had fun writing this one! I hope y’all enjoy it! Teeny Fic #33!

Well nothing could be sadder
Than a glass of wine, all alone
Loneliness, loneliness, it’s such a waste of time
Cry to Me by Solomon Burke

Take My Hand. Danny/Stiles/Derek. Teen. Also on AO3.

After another failed relationship, Danny receives an irresistible proposition from Stiles and Derek.

“This is just sad, Danny Boy. You should have called me, you know? I wouldn’t even know if Laurel hadn’t been concerned and told me to check on you.”

“Go away, Stiles.” Danny takes a sip of his wine and deliberately ignores Stiles despite knowing that it won’t do any good at all. Stiles tends to take being ignored as a challenge instead of a hint, which is possibly why Danny used to try ignoring him during high school when he had that ridiculous crush that he’d never told anyone about.

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‘13 Reasons Why’ Goes Above and Beyond Its Genre

There is a certain aura around teen dramas that repels even the smallest sprinkle of interest I could possibly give to it. I tend to stay away and look down on shows airing on CW or MTV simply by the mere fact that I’d rather spend my attention elsewhere. The last teen drama I stuck with was “Freaks and Geeks,” and I would watch little snippets of more recent teen dramas here and there, like “Pretty Little Liars” or “Teen Wolf,” purely out of curiosity.  Apart from “Freaks,” there was something I just found so corny about them. But this show I’m going to talk about now really forced me to challenge this stigma.

“13 Reasons Why” is based on the 2007 novel of the same name by Jay Asher, and was adapted by Brian Yorkey for Netflix. It stars Dylan Minnette as Clay Jensen, a reserved high school student who is plunged into a large mystery after the suicide of his friend Hannah Baker, played by Katherine Langford. Prior to her death, Hannah recorded thirteen incriminating tapes, each talking about a particular individual and their impact on her deteriorating livelihood. Clay comes into possession of these tapes and must go through them to bring justice for Hannah’s death.

I normally start a show out of curiosity, but this time I had several people come to me asking what I thought about it. I’ve mentioned above that I dislike shows that stink of the CW/MTV vibe. And sure enough, the first episode was giving me those vibes with an absolutely sub-par soundtrack and rather pretentious narration from Hannah. But I stuck through with this because after the first episode, I was thrown in for a loop and shown that this was absolutely not CW trash.

Nope. This was miles beyond it. I was hooked.

Minnette provides an ironically charming performance as a teenager who is supposed to apparently lack some. He approaches his character with a sense of urgency, and is absolutely perfect for that socially awkward role. But Minnette is only one of several actors, many of whom are relatively unknown apart from small television and short film roles. It’s difficult to single out any of the recurring cast, but if I had to choose, I’d have to shine a light on Brandon Flynn as Justin Foley (subject of the first tape) and Alisha Boe as Jessica Davis (subject of second tape). It might be because apart from Clay and Hannah, we spend the most time with these characters. But Flynn and Boe give immensely powerful performances as these two characters, both in their highest, happiest moments and at their most desperate, despondent stages.

But among all these amazing performances, perhaps the most telling performance from a narrative sense was from Kate Walsh, who plays Hannah’s mother Olivia. The story is told from two points in time, before and after Hannah’s death, and Walsh’s facial cues alone are already a clear distinction of which time period we’re watching. She goes from the typical, high school mother who just wants to be a part of her daughter’s life, to someone who has been damaged, and beaten down by numerous fits of emotion. Her eyes alone tell the whole story of what happened in between.

I’m saving Langford’s performance as Hannah for last because of course she had the heaviest task of all the actors: Going from a sarcastic, fun-loving, carefree high school girl to someone whose spirit is absolutely shattered by being wronged numerous times ad nauseam. Langford does this extremely well, when she’s on-screen that is. I have to mention that because if there were any moments where her performance was less than stellar, it was when she served as the show’s narrator.

And this is where the CW flashbacks come in, because honestly I felt myself getting a bit annoyed at her narration. From a tone that’s unconvincing of a soul-shattered teen, to absolutely pretentious dialogue. And BIG emphasis on “pretentious,” because what nearly got me to drop this show completely was the dialogue every now and then. Episodes would begin with her speechifying pseudo-cryptic epigrams, like “humans are a naturally social species,” or talking about the “butterfly effect.” It’s this level of pretense that drew me away from “Mr. Robot.”

I’ve mentioned a few times that the story is structured in two parts: before and after Hannah’s death. Many times these scenes are juxtaposed, conjoined by the narration of Hannah’s tapes. And much greatly to this show’s credit, the switches from the present to the flashbacks are absolute genius. The creators of this show could have taken the easy route and cut to the past with a slight audio cue, kind of like “Lost.” But nope. They went the extra mile to have the transitions flow, rather than cut. And they flow into each other so seamlessly, with clever distinctions ranging from the color of light shining on the different characters, to aesthetic cues like Clay’s present-time facial scar and Beats by Dre headphones. While the latter is blatant product placement, they also serve to show Clay inserting himself into the past vicariously through Hannah’s tapes. Little details like these really help the story flow much nicer.

As for the story, that might be what kept me from dropping this series. This is a much better story than it has any right to be, whether it be for its genre or its production. While the “one-individual-per-episode” dynamic might be hit-or-miss for some people, it competently – or rather successfully – handles some of the best character development I’ve seen in this genre. You will go from absolutely despising a given character to a complete 180-switch, sympathizing with them. And the thing is many of these characters could easily be one-dimensional, but they went incredibly in-depth to really make you care about their stories. I went from muttering “this shit is so corny” to throwing my hands in the air yelling “Boy don’t do it!”

Apart from a few words, I’ve been praising this show endlessly. But rest assured, I do have some major problems with this. One of them is the character of Tony, played by Christian Navarro. Unlike the other characters, he is not on the tapes, and instead acts as an enabler or a guiding force. He is essentially Hannah’s posthumous right-hand man, the one who is ushering Clay to finish listening to the tapes. His presence in the show started off as secure and reassuring. He would always be the only one who ever knows what’s going on, and wanted nothing more than for Clay to cooperate with Hannah’s wishes. But my problems with him started when the show attempted to flesh his character out as well. His backstory eventually led nowhere, and had no bearing on the actual plot. I’m a sucker for character development, but I feel like his character was better left as a mysterious force, rather than someone we’re supposed to sympathize with as well.

Another problem I had with this was that there are also a few too many moments where Clay’s parents try to connect with him that tend to drag on for quite a long time. What’s sad about this is that it’s probably not within the control of the show’s production. The story of Hannah’s tapes grabs you so effortlessly that the moments where Clay is having a heartfelt talk with his dad and/or mom tend to take the wind out of our sails.

My last two problems are things I can’t talk much about. The ending, because spoilers, and the soundtrack, because what else can I say other than it not appealing to me. I have this theory that all these high school dramas go for a tiny gray area around the vertex of “songs that sound indie” and “songs with relevant lyrics.” Sure enough, this vertex usually meets at the bottom of the barrel.

But I think the most powerful aspect of this show, and what it does better than most shows of its genre, is how much gravity it gives to the heavy subject matter it conveys. Being a Netflix show has worked out immensely in its favor. It will show the roughest scenes absolutely at its core. They don’t downplay or trivialize them. It gets so graphic that it’s even drew inadvertent criticism (my thoughts regarding which potentially in another article). And no, I’m not praising it like a 17 year old who just got to see his first bloody R-rated movie. But it’s usually counterproductive to sugarcoat or water down these difficult, traumatic moments.

For someone who claims to be open-minded and a lover of all media, I was pretty quick to skip this upon hearing that it was a drama that took place in high school. But as I’ve said before, that first episode threw me in for a loop, and I could not stop watching. Sure, this show has pretty significant lulls here and there, particularly in the dialogue, narration and atrocious soundtrack. But this also was one of the few shows that were able to manipulate me, emotionally and mentally. Any show that could make me go from despising a given character to downright tearing up for them deserves a place somewhere on my own personal hall of fame.

“Quittable”

Two years ago, I was ready to quit nursing.

Not in the conventional, end of shift, I can’t wait to get out of here, way.

Not in the new graduate, holy hell, I can’t do this, I’m quitting sort of way,

Not in the burned out, I’m so tired of it all, way.

All legitimate, except there are people who will tell you, no, you just need to suck it up. “Nurses aren’t quitters.”

Two years ago, I contemplated quitting the profession,

I didn’t care that I had earned two degrees, it didn’t matter that I was a Masters prepared nurse.

It only mattered I wanted to quit, and there would be something better out there, something I wasn’t failing at.

And so, I quit.

I spent time without employment, without prospects, without a clear direction of where I was heading. The people closest to me at the time suggested, perhaps it’s time to look into other professions, sustainable ones. I was met with pity, which is by far, exponentially worse than any misery met in the employ of a dictator.

But you see, I didn’t just quit the profession, I had quit the part of me that wasn’t “quittable.”  

I spent time explaining, soon realizing you cannot explain rock bottom to people who haven’t experienced it, you cannot explain the despair incomparable to the daily frustrations everyone surely feels. You cannot explain, to those who are insistent that if you simply change your attitude, all will be peachy.

And so, I learned you cannot explain.

But i contemplated attitude.

I contemplated that you can be the most motivated person,

…and walk in the door to a group of consistently negative people

You can have great ideas,

…and face an employer who shoots every one of them down, autocratic style

You can greet each day with hope, a quiet sort of new beginning,

…and still face the same  snide remarks, running commentary, ad nauseam

I contemplated what it means to spend an hour, a day, a week, a working life in an unhealthy environment,

and I quit.

I listened, as my employer called me “a quitter,”

But, I saw it as escape.

You see, we sometimes misinterpret the idea of quitting - and its nuance; the difference between what your gut instinct tells you is not inherently a good place to be, to grow - and experiencing tough times,  perhaps being exceptionally tough on yourself for where you are in that moment.

I was relieved, but I didn’t know it yet.

Fast Forward one year

I’m in a chair, a panel, being interviewed, but really, I’m interviewing them. Nurses are champions at assessing people without giving away what they’ve seen. My mistake? Just over a  year before I didn’t trust my instinct when in precisely the same position. I didn’t trust the raw instinct that whispered… …something is amiss.

I’m in this chair, as they speak, I’m observing their interaction with one another, I’m observing reactions of others when someone speaks, what they say, tone, what they choose to tell about their organization, what they choose to keep silent about.

I’m in this chair, contemplating if this is an environment that I will be safe to be me.

Fast forward  almost two years from QUIT

I’m safe.

And I know this, as I’ve experienced it before. I’ve felt this before, I’ve worked with nurses, on nursing units, in hospitals where I’ve felt safe and supported. I knew this was possible, but I quit that part of me that handn’t remembered this is also an important part of nursing structure, and it does exist.

I’m safe, for now, in this moment, and this is what counts.

Yesterday

I walked onto one of the units I cover, and was met with a registered nurse who was experiencing difficulty with some recent education, although as I looked into her face, I read an all too familiar look.

I took her nurse manager aside.

“I know this look,”I said.

“No, she’s just stressed about the changes here.”

I pulled the nurse aside, away from the exposure of the unit, the spotlight of being watched by coworkers, and she spoke. And I listened. She spoke about being the target of her coworkers, people who had been her friends, her confidants, people she trusted, an environment she trusted to go to for 12.5 hours each day  an environment that was now unfamiliar, and cold. And my heart broke for her. It wasn’t pity, it was understanding. My heart broke for how long she had possibly been feeling like this, and expected to perform her duties, nurse mask on, expected to work alongside people who smiled to her face, and cunningly targeted her when the curtain areas, medication room, supply room doors were closed.

I stood for a moment, at the door of the unit, and thought about this world of  nursing, the most “trusted profession in America,” and as much as I thought I had closed my own door to this, my work was just beginning, work that was decidedly more important to me than some of the most arbitrary inservices we do over, and over again.

Nurses work too long,  and too hard in what they do to be in places or positions that are uncomfortable or unsupportive. I have more work to do, and I’m grateful I’m in a position to not just speak out about this, but act on it to support others through their own trials.

So the next time someone tells you they want to quit, listen….maybe we need to take them seriously. Take their concerns seriously. Burnout, feelings of failure, unsupportive work environment, autocratic employers. Take them seriously, without offering platitudes that “everything will be ok, just suck it up.” 

Quitting doesn’t mean you’ve failed. Sometimes you need to quit to move forward.

Hm… I’m actually debating whether or not to make a post discussing why I’m both infatuated with the ending while also interpreting / needing to interpret it as Seto being able to return. The problem is doing so directly challenges the other interpretation, and I don’t want to be a tyrant over what people draw happiness from. I sincerely feel people have a right to take away whatever they wish from fiction. I’d like a discussion, not “””discourse””“.

Also, I give Takahashi a giant A+ for crafting such an elegantly debatable ending.

I guess you can consider the above a sort of disclaimer. I have no intention of dictating the interpretations or emotions other fans carry, whether of the characters or the film. Everybody has reasons for why they feel as they do, and they’re absolutely entitled to those feelings. These are simply my own thoughts. I apologize if it seems dismissive. (Yes, I take this all far too seriously. What else is new?)

The end of the film can be interpreted a dozen different ways and as I’ve watched it be discussed up and down by various people, it’s apparent just how meticulously crafted the finale actually is. It was designed to stir speculation, and it’s achieved that goal beautifully. What’s aesthetic, what’s metaphorical, what’s literal?

Keep reading

Logical fallacies

I was going to post the second “Thinkbox” today but I noticed that this might be more important. So I will list logical fallacies that most people fall into all the time. It is really important that these fallacies don’t cloud your mind when you try to make accurate deductions. If you, the reader notice that you may be a victim of any of these fallacies try to change your way of thinking.

Formal logical fallacies

- Anecdotal fallacy - To use personal experience as proof instead of statistics.
Example: “All women have long hair” because I’ve only met women with long hair.
A way to avoid: Realize that personal experience isn’t as accurate as statistics that have been done on many more people than you can meet.

- Appeal to probability - To think that because something is probable it’s also always the case.
Example: “You must be right handed” because most people are.
A way to avoid: The probability of something does never grantee you that it is correct.

- Conjunction fallacy - Assumption that an outcome simultaneously satisfying multiple conditions is more probable than an outcome satisfying a single one of them.
Example: “Linda is 31 years old, single, outspoken, and very bright. She majored in philosophy. As a student, she was deeply concerned with issues of discrimination and social justice, and also participated in anti-nuclear demonstrations.
Which is more probable?
1. Linda is a bank teller.
2. Linda is a bank teller and is active in the feminist movement.”
Most people chose 2. But the probability of the two occurring together is less or equal to the probability of them occurring alone.
Pr(Linda is a bank teller) = 0.05
Pr(Linda is a feminist) = 0.95
Pr(Linda is a bank teller and a feminist) = 0.05 x 0.95 = 0.0475.
So the probability of her being both are lower than the lowest.
A way to avoid: Just because something seems to fit well together doesn’t mean it does. Try to think critically.

Informal logical fallacies

- Argumentum ad lapidem - Dismissing a claim as false without proof of its absurdity.
Example: “A: Atoms does not exist.
B: Why do you say that?
A: It’s ridiculous.”
A way to avoid: Don’t dismiss anything at first until you have researched the subject you think may be false.

- Argumentum ad ignorantiam - Assuming that a claim is true because it hasn’t been disproven.
Example: “A: Spirits exist.
B: No.
A: Prove that they aren’t real.”
A way to avoid: Don’t think that a hypothesis you have come up it true just because someone else can’t prove it wrong. Extraordinary claims require exceptional proof.

- Divine fallacy - You can’t imagine it to be true so it must be false.
Example: “A: Murder only happen in films
B: Why do you think that?
A: I can’t imagine anyone doing something so wrong.”
A way to avoid: Stop thinking that improbable is the same as false. Like the great Sherlock Holmes once said “When you have eliminated the impossible, whatever remains, however improbable, must be the truth”.

- Argumentum ad nauseam, argumentum ad infinitum - A topic has been discussed so much that is is seen as true or people don’t care anymore.
Example: “You have the left thumb over your right when your fingers are intervened. That means that you are right handed.”
A way to avoid: Stop accepting statements as true, conduct som research. Even if it’s on a small scale it might give you som pointers.

- Argumentum ex silentio - Conclusion is based on the absence of evidence instead of proper evidence.
Example: “A: Ah you are quiet so you did kill him.
B: But I didn’t say anything?
A: That’s why I know!”
A way to avoid: Try not to assume anything without evidence.

- Argumentum ad hominem - To attack a person instead of their argument.
Example: “A: I like ice cream.
B: Well you’re stupid.”
A way to avoid: You likely know that you’re doing this to some extent, so try to be a good debater and come up with a good counter argument. Or maybe just try to understand the other persons point of view.

- Onus probandi - To make a claim and think that other people must accept it or disprove it themselves.
Example: “A: Dogs always lick their owner when greeting them.
B: Not always.
A: Prove that they don’t.”
A way to avoid: Always try to prove your claims, it is your responsibility.

- Circulus in demonstrando - When you begin with the conclusion you’ll end up with.
Example: “A: I think he is right handed.
B: Why?
A: Emm.. Maybe because he has his watch on the left arm?
B: That doesn’t necessarily mean that.
A: It must mean that!”
A way to avoid: Try to observe first and make a conclusion based on the facts. Like Sherlock said “It is a capital mistake to theorize before one has data. Insensibly one begins to twist facts to suit theories, instead of theories to suit facts”.

- Post hoc ergo propter hoc - Assumption that correlation is the same as causation.
Example: “He had an heart attack when riding a roller coaster, so that means I will have one on the roller coaster too.”
A way to avoid: Think about the problem you have, does the correlation really equals causation?

- Fallacy of composition - To assume that the whole is true because a part of it is true.
Example: “All cells are aquatic. Therefore all organisms (which are composed of cells) are aquatic.”
A way to avoid: Like earlier, try to be critical and don’t accept something as true without research.

- Black or white fallacy - Two statements are held to be the only possible option, when in reality there is more.
Example: “The coin can only land heads up or tails up”.
A way to avoid: If you are used to problem solving this shouldn’t be to much of a problem. Try to keep an open mind when solving a problem.

- Fallacy of the single cause - Assumption that there is one simple cause of an outcome when in reality it may have been caused by multiple events.
Example: “She has a fear of spiders because she had one in her hair when she was young” When it may have been more that contributed to the phobia.
A way to avoid: Don’t assume that everything is caused by one event, try seeing the whole picture.

- Psychologist’s fallacy - Presumes you can be objective in your judgement.
Example: “A: Something will happen to you if you go out this late.
B: You only say that because I’m your daughter.”
A way to avoid: This is something that is hard to avoid, we as humans will always be biased when it comes to things we care about, so try breathing and think calmly about the problem you wish to solve if you can’t ignore it.

Even though you know these fallacies they will still affect you. No human can get rid of them all, “errare humanum est” (to err is human). But being aware of them hopefully helps you think about the problem you face a bit more.
The ones you should be most aware of is:

Anecdotal fallacy.
This I see all the time. People think that their own experiences must be what everybody else is experiencing too. This is a problem when reading studies and the results of the studies doesn’t correlate with your own experience, so you don’t believe it as much.

Appeal to probability.
Something that people new to deduction often seem to think is that it’s always foolproof. That even though most things in deduction is statistically based it must come true all the time. This isn’t the case, and new people discard deduction as something they cannot learn or something that is false and that’s tragic.

Argumentum ad lapidem.
If you as a deductionist disregard a fact as false without proper evidence you may have trouble learning the art of deduction. Being critical is good but to disregard it entirely isn’t.

Argumentum ad ignorantiam.
Likewise assuming that a fact is true because it can’t be disproven seems to be a trend in the world of deduction. I am still baffled by how many people think that long fingers is connected to piano playing (it’s the fingers flexibility that is connected to it.)

Divine fallacy.
This falls into the same category as the two above.

Onus probandi.
If you have come up with something then it’s also your responsibility to prove it to be right, if you care about it being proven to be correct.

Circulus in demonstrando.
My students in deduction have all done this mistake at least one time each. Try to observe then make deductions.

Post hoc ergo propter hoc.
Correlation does not equal causation.

Fallacy of composition.
If a deductionist have some parts of deduction figured out, well that doesn’t mean they know everything.

Black or white fallacy.
Most of the time it exists more than two options, your job as a deductionist is to figure out which of the options is more likely.

Psychologist’s fallacy.
Don’t ever believe yourself to be completely objective.

And with that, I’ll see you my irregulars.

A Diverging in the Wood [2/3]

hi sorry

Summary: Events shift.  History rearranges.  Another horror beyond human comprehension joins the fray during Weirdmageddon. 

Good thing they’re on the side of humanity.

[A/N:  I Honestly don’t know how to explain the context to this and it’s been literally half a year since I’ve posted anything for it, but.  Canon Divergence AU for this fic which is just sleeping, I promise.  Features eldritch abomination Stan - it makes sense in context. Kind of.]

[AO3]


To Stanford’s complete lack of surprise, hell was freezing cold.

Though a revolutionary discovery to be sure, he had doubts it would stand up to any reputable academic committee. The main issue was, his current location was more accurately described as “Ford Pines’ Personal Pyramidal Hell” than the classic Judeo-Christian equivalent. Specifically, traits of demons present were more “horns and cloven feet” than “sixty-degree angles.”

Unfortunately, that fact narrowed down the field of concerned individuals significantly. To two, actually - him and his fellow captive, the rather perturbed looking child (?) dancing frantically in a cage hanging from the ceiling. 

Not Ford’s oddest roommate experience, but it did make top five.

It was just one of those days. Weeks? Months? Extra-temporal periods of existence?

The worst part about the death of linear time, Ford thought to himself sadly, was the language involved.

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Primaris

A dark twist on the new Primaris Marines. Please let me know what you think. Enjoy :3

+++987.999.M41+++

+++Draxis III, Chapter Planet of the Mist Phantoms+++

It was as if the sky was raining fire. First Captain Decius of the Mist Phantoms looked through the shattered lenses of his Terminator helmet at the streaks of fiery light blazed through the heavily polluted upper atmosphere of the planet. The thick layer of pollutants that had enveloped the globe had been the product of the planetwide promethium refinery network that choked the life out of any human being not wearing heavy containment suits. However, the very air that tormented the human population of the planet now served to be its salvation as the remnants of the Tyranid landing force burned up in the toxic chemicals. 

The invasion had caught them by surprise, he had to admit, the tendril of Hive Fleet Leviathan sweeping through the system before concentrating on the greatest source of resistance: Draxis III. However, the beasts had failed to anticipate the fearsome natural defenses of his home. The bulk of the Tyranid landing force had burned up in the planet’s toxic atmosphere within the first few hours of the battle and only a small fraction had managed to make planet fall. The Tyranids, now caught between the active orbital defence lasers of the planet and the Imperial Battlefleet, was being torn to shreds, the husks of destroyed Hive Ships lighting up the permanently red-tinted sky of his planet like a meteor shower.

Decius tried to stand but the weight of the collapsed rubble kept him pinned to the ground, unable to move even in his terminator armor. The pain in his pack was excruciating and he felt the chemical stink of the poisonous gases make their way through his broken visor slits. He didn’t regret this battle however. He and this men had done their duty. Without waiting for backup, he and half of the elite First Company had donned their suits of Terminator armor and made all haste for the few areas the Tyranids had made planetfall, knowing that to delay even a minute gave the abominable creatures time to adapt to the planet’s atmosphere and scatter into its many subterranean tunnels. Despite the near-annihilation of his force, they had fulfilled their duty. All of the landing sites had been cleared of Tyranid infestation.

A flicker of movement caught his attention and he recognized a large, pale green figure push aside the corpse of a Tyranid Warrior to draw itself up. 

“I thought they’d…put up more of a fight” the figure managed through its half shattered vox grille and Decius instantly recognized an old friend.

“Sergeant Ixion” he said, smiling through his pain. “I doubt that stunt you pulled was exactly codex compliant”. He tried to sound strict but knew that his old friend would instantly see through the facade. He had known of Ixion’s unorthodox ways for centuries now, ever since they had trained together in the scout company and rose together up the ranks of their chapter. 

Ixion gave him a look, his amusement radiating through the faceless helm of his terminator armor. "If I may quote you, Captain” he started “Codex manuevers are for neophytes and Ultramarines”.

“Is there a difference?” Decius said with a barking laugh as he repeated his friend’s reply from all those years ago.

Ixion’s laugh was cut short as the bolt round broke through his visor lens and detonated inside his skull. The weight of the Terminator armor kept him from tipping over and he stood there, a motionless corpse before the horrified gaze of his Captain.

Decius instantly pulled up his plasma pistol and fired off a burst of blue energy in the direction of the shot when his hand tore apart in a spattering of blood, bone and muscle tissue. He bit down a scream of agony and focused on the source of the second shot when the blood in his veins froze. Through the thick, alchemical mist he saw a giant in power armor move towards him. He was tall, taller than a Terminator in full battleplate. Donned in power armor that was more advanced than anything his chapter had in their armor and carry a bolt rifle of a design that even the Master of the Forge found perplexing. He wore the livery of the Mist Phantoms but his demeanor suggested that he was anything but friendly. Decius knew him all too well.

He was the Primaris.

The gene-enhanced creature wearing his Chapter’s colors lowered his weapon and stepped close to his prone figure. He towered over the Captain like an Astartes would over a mortal.

“Greetings, First Captain Decius” he said in a voice that was neither human nor Astartes “The tactical projections calculated that the Tyranids would have wiped out your little task force quite handily…unfortunately one can never rely too much on machines so I took it upon myself to rectify that…error”

Decius could barely speak. The pain of his injuries combined with the shocking turn of events had him dumbfounded. “Why…” he managed with effort.

The Primaris cocked his head slightly. “I would think that it was obvious. Still…I suppose I owe you an explanation at the very least”.

The Captain could barely stay conscious as the pain surged through his body. Slowly, but surely, his uninjured hand inched towards a bolt pistol on the ground near him. His movements were minuscule and he prayed that the creature would not notice him.

“You see Captain…in the decades I have been with this Chapter I have learned a great many things” the creature said, looking up to the red sky. “For one, that my presence is not fully accepted by all its members” it looked back down at him. “Don’t look so surprised Captain. I have garnered more influence than you think in the First Company. I know it was you who railed against the acceptance of the Primaris at the council meetings. You who attempted to block my advancement up the Chapter ranks even though my achievements quickly outstripped many of those in the council itself. You who has become the figurehead for those who would stand against us”

“Is that what this is about?” Decius spat, his fury bubbling to the surface. “Your pride? Is that why you-”

His other hand burst apart in a shower of gore and this time the Captain let out a scream of agony. The creature lowered the barrel of his Crawl-pattern rifle until it was right above Decius’ cracked visor lens. 

“Shut up” it said, and for once, the Astartes could hear a hint of annoyance in the creature’s voice. “No, Captain. Unlike you, are above such petty concepts. What I do is for the good of the Imperium and in service to the Lord Commander.” the creature seemed to pause for a moment, as if it was confused by it’s sudden outburst of emotion.

“The Mist Phantoms are a rather useful asset to the Imperium” it said, returning to its cold, clinical voice. “Your records indicate that you were created to be an elite fighting force that excelled in highly polluted environments. Therefore, Draxis III was a perfect fit to be your base of operations. For millennia, you have served the Imperium with distinction, deploying to some of the most hostile planets in the galaxy but almost always emerging victorious. However, recently you have become…uncooperative. Mired in your silly little traditions and rituals, obsessed with discovering your primarch as though it was a matter of great importance, refusing certain orders from Terra on the baseless grounds that it went against your ‘honor’…no, this certainly will not do”.

“We are the Warriors of the Mist” Decius repeated the mantra of his chapter. The pain was threatening to overwhelm his senses and the blasphemy this creature was spewing was battering against his mind. He gritted his teeth and fortified his spirit. He fell back on the words of his ancestors that prayed to them for strength. “We are the Phantoms of the Shroud. We walk through the storms of poison and fire. We carry the light of the Emperor through the raging Dark. We-”

The creature lightly waved his bolt rifle in the approximation of a shrug. “Yes yes, I’ve heard your pathetic little screed before. Your Chaplains could not stop themselves from repeating it ad nauseam before combat and I must say it took all my self-control not to tear those little skulls from their shoulders and crush them in my hands. 

“You won’t get away with this, creature” the Captain hissed. “The Chapter Master will-”

“Oh I believe I will” it interrupted him. “When I come out of the fire carrying your Crux Terminatus, a grim look on my face as I explain to our dear Chapter Master that, for all of my efforts, I was not able to save the noble Captain of the First Company. He will be rather mournful to learn of your death. However…eventually he will need a new Captain for a First Company.” the creature paused and even through his pain-induced delirium, Decius could almost see the wicked smile through the helm of the Mark X armor. “I will be in for quite a promotion don’t you think?”

The Captain howled in rage and attempted to throw himself at the creature, every muscle in his body stretched to breaking point as anger flooded through his body. Slowly, the rubble began to give way and for a moment, hope flared in Decius’ mind as he thought he might at the very least go down fighting like a true Mist Phantom.

“Now…I believe I have a Chapter to make ready for the coming Indomitus Crusade” the creature said, all trace of amusement gone from his voice. “You will thank me for this in the afterlife, Captain Decius. I shall strip away the silly little superstitions of this Chapter and make it a professional fighting force for the Lord Guilliman to command in his campaigns”. He gave the enraged captain one last look. 

“Goodbye, old man” he said and pulled the trigger.

For a heartbeat, Decius felt the chemical stink of his home linger in his lungs. The acrid smell was like the sweetest fragrance in his final breath.

——————————————————————————————-

@ultramarineblues dark twists ahoy

@melody-chii since you like good old fashioned paaaaaain

@fuukonomiko my welcome gift for your induction into the 40k fandom :3

@nightshade-victorian Something to make Nkari jealous

Rhysand’s selective feminism

I’ve been thinking about Rhysand’s character lately and how he seems to be this paragon of feminism. I’m aware that there have already been discussions of his behavior in ACOTAR, drugging Feyre, etc. and how his behavior there was not the best (to summarize a complex issue poorly). But, I want to focus on his role as High Lord, specifically, the way he handles the Court of Nightmares, and the Night Court culture in general. If there has been an in-depth discussion of this, someone please let me know and point the way (but also, new perspective and not everyone has been hanging around the fandom from the beginning).

Quick thanks to @acowar​ for talking with me about a few of these ideas, even though we definitely have our differences of opinion. :)

Basically, it has been bothering me that Rhysand is supposed to be such a feminist and seems supportive of females having agency, but he condones the culture that exists in the Night Court. His support of female agency is actually very limited to the women he is close to (IE Morrigan and Feyre. I don’t think we’ll count Amren here because she is just her own creature, clearly). But he doesn’t extend this in any meaningful way to females in the Night Court when he could, and in my opinion, should.

We should probably establish the culture of the Night Court/Court of Nightmares first. This is a culture that led to Mor’s virginity and power being sold to the highest bidder, a practice that seems to have been common and completely acceptable to Rhysand’s father, as he was unwilling to help his niece out of this situation.

“For all her power, all her wildness, she had no voice, no rights with those people. And my father didn’t particularly care if his cousins used their offspring as breeding stock.” (chp. 41 – my emphasis – I’ll come back to that later.)

This is a culture that allowed Mor to be brutalized by her family in ways that we don’t fully understand outside of the concrete fact that she had a note nailed into her body. This is a Court that half-heartedly tries to combat the Illyrian practice of clipping the wings of female Illyrians so that they are stuck at home breeding.

Keep reading

A Little Lesson in Time: Part One

Authors’ Note: Happy Sunday, spectacular readers!!! The births of Hazel and Holly Barba are right around the corner, but before that @vintagemichelle91 and I have a two-parter centered around a promise that Rafael makes to his muñequita. And the complications that ensue. This is our way of thanking @yourtropegirl for her most amazing mood boards!!! Enjoy!!!

          “Atticus? Can I have a word?”

           “Only one?” Rafael quipped, exiting the bathroom to find Natalia starting to step out of bed.

           “No, no, no,” he said, his hands on her shoulders as he eased his wife back to the pillows and brought the blankets over her lap.

           “But I need to get up,” Natalia protested.

           “Not just yet,” he said as his kisses dotted her brow, his lips nearing hers when Natalia cupped his chin and leaned back.

           “Are you dressing like that to play nursemaid?” she teased, tweaking his suspenders. Almost instantly, Rafael took hold of her wrist and placed a kiss on her palm.

           “I would honor you with a far sexier costume if that was the plan,” he said, lifting one eyebrow and watching his wife blush as the memory of their last Valentine’s Day filled the room. Along with the most recent holiday where Natalia sadly picked through what little lingerie she could still wear until her husband honored her with an impromptu fashion show.

           “I don’t think my mother would appreciate seeing you all dolled up,” Natalia said. “Even though she’s always saying that you have the loveliest eyes.”

           “And what do you say, hermosa?” he asked, reclining at her side and running his long fingers through her hair.

           “I’d like to live in your gaze.”

           Tempted to call it a day and hide with her under the covers, Rafael groaned as Natalia stroked his cheek.

           “My mother will be here soon. So we can pick yet another date for the wedding,” Natalia said.

           “Why don’t they just wait until Spring at this point?” Rafael asked.

           “She wants a winter wedding, and the twins will be here by the end of March,” she insisted.

           “And you’ll all be up for a party?” he challenged.

           “With your daughters? Absolutely. Which brings me to…” Natalia’s voice trailed off as her hand drifted down his tie, and Rafael nuzzled his head into the crook of her neck before she turned his face to hers.

           “You are going to pick Violetta up from Maggie’s and take her to lunch, right?”

Keep reading

nightsangelinthetardis  asked:

Hello! First, I'd like to say I really love your fics. And to that end, I would like to ask for a bit of guidance/advice. I'm working on a chapter of my own fic and I'm trying to write out a kissing scene, and a rather emotional one at that. I'm still really new to this and was wondering if you had or know of any sources I could go to for a little help pulling it together. Thank you.

Oh yay- there can never be enough kissing scenes in this universe!

Ramblings about Writing Kisses

Now, this is just my personal opinion (and I’m not, by far, an expert!), but when I write kisses, the lip-locking itself is usually the least important part. I’m much more concerned about:

  • The lead up and the tension in the room. I often augment that tension (because it’s my favourite part!) by interrupting the usually angsty introspection to comment on a feature of their environment, e.g. “The water was dripping into the sink and there was a tiny sliver of light peeking in from between the closed curtains.” I like this because it not only draws out the suspense but if you do it right, you can infuse the tension into even these mundane details and show rather than tell an actor’s state of mind: the way we interpret our world is very much influenced by our emotions!.
  • What the kiss means. Kissing is really just another form of expressing an emotion: which one do you want to show?
  • Who initiates the kiss (and what this says about their character, development, state of mind)
  • Whether the recipient goes to meet their lips or stays passive (and what this says about their character, development, state of mind)
  • If they stay passive, how long until they respond? Remember, every second of shock/non-response will feel like an eternity for the kisser!
  • Is it practiced/skilled/smooth or is it sloppy and imperfect? (I like sloppy, personally: it adds an element of urgency or first-time nerves.)
  • How do they break away? (Is it abrupt, a gentle tapering, moving to the neck?)
  • What do they do after the kiss? (are they panting, do their foreheads meet, do they make eye contact?)
  • How do the characters feel after the kiss? (aroused; brainless; regretful; worried; awkward? Also, bodily reactions: swollen lips; shaky hands racing hearts?)

I find the actual kiss often tricky to write because, let’s be honest, it’s difficult to make tongue thrusts and salvia mingling sexy or sweet (or whatever tone you’re going for). As such, I usually focus on what the characters are sensing during it: taste, smell, touch, hearing, visual (eyes open or closed?) and their emotional reactions to being kissed.

When I bother describing the dance of the tongues (ugh, I hate that phrase! but I use it…) I sometimes like to imagine the tongues are tiny personifications of the actors themselves, and that they’re interacting and conversing same as their full sized counterparts. One makes a move, the other responds, they’re tentative and then joyful: they react to the others’ actions. 

I often feel like I’m recycling ad nauseam the same old words (explore, dance, thrust, biting, lips lips lips lips) but I am also very careful about the type of words I use and their tone. ‘Thrust’ for example is very urgent and a little aggressive so I wouldn’t use it if I want the kiss to be sweet or hesitant. ‘Sucking’ and ‘slurping’ I would only use in certain contexts too. Kissing and sex is often all about dominance, conquering, and giving in, so I will sometimes pilfer words/phrases/images from that vocabulary category and adapt it for the kissing: e.g. ‘victory march’. 

Here’s some great references I’ve used at some point or the other: I especially like the first one because sometimes I just need help finding the right word…

One more thing: don’t feel like you have to write an extremely detailed account of every muscle movement in a three minute long kiss. If you want to, you should, but some of the most effective kisses I’ve read are short and leave things up to the reader’s imagination in terms of technique: kisses are usually a gateway and not the be-all-and-end-all, whether to further emotional intimacy, for revealing feelings, to assert power, etc. You can also slow down your plot waaay too much if you ramble on for pages about one kiss…

Hope that helps, good luck!

reylo, a manifesto pt. II: welcome to the rollercoaster ride to hell

Thanks to everyone for your responses to the first reylo, a manifesto post. It was reinvigorating to know that many of you are as new to fandom as I am–coming into it at a similarly adult age, and just as mildly obsessed.

Before we begin I want to acknowledge my mistake in attempting to define our collective (a very glaring logical error). It’s sufficient to say we’re all people who appreciate Rey and Kylo Ren’s dynamic within The Force Awakens, and that we see it as the first step of many which will define the new trilogy. Whatever anyone says, this isn’t speculation as much as it is fact.

Whether we “ship” it, whether or not the hero/villain dynamic remains, redemption or not, ‘reylo’ is about this relationship being a crux of the new story. It is about the age-old battle of light vs. dark taking on a form new to the films but not to the Star Wars universe. In canon we have it represented in the relationships of Quinlan Vos and Asajj Ventress, Thane Kyrell and Ciena Ree. In Legends we have Mara Jade and Luke Skywalker, Darth Revan and Bastila Shan, and so many other examples in which opposites clash, attract, and then ultimately work together for the greater good of the galaxy. The chemistry and power in this dynamic is infinitely more interesting than that between cousins or siblings–a fact which seems to have been lost on most …

Dead Red Herring

… which brings us to the one other thing that we agree on almost unanimously: the “Rey Skywalker” theory is dead (and beginning to smell, on account of it being a red herring that was put out of it’s misery months ago). 

Originally posted by gameraboy

Most of the arguments supporting it have been deflated with the release of Claudia Gray’s Bloodline. Foremost among the canonical shifts the book brought is the fact that Rey was left on Jakku a long time before Ben Solo’s fall and Luke’s disappearance which had yet to occur 6 years before TFA. All theories of why or how Luke would have abandoned his child in the hands of Unkar Plutt, on a harsh, remote world–or why she thinks of him only as a myth–involve Gordian knots of speculation, deception, mind erasure, and questionable mothers. The simplest solution is the most likely: she is not his daughter.

That won’t stop people from clinging to the desperate hope that it’s true, but it certainly makes it unlikely. The mere fact that most people presumed Rey Skywalker before and after the film should tell you that this plot point was doomed from conception. If this had been the planned twist of the story, it would show up now as a whimper–not a bang. This is not good storytelling, or at least not as the basis for a franchise worth billions.

So while some may feel it’s too early to celebrate the end of this theory-crafting disaster, I sure as hell am going to. For those of us who’ve spent the last 5 months being told we were incest-loving idiots for even questioning it this news is a sweet, sweet victory. All evidence points elsewise, whether you want to believe it or not. 

If I have to eat my hat in one and half years, so be it. It’s enough for me that in the past few weeks we’ve seen the larger Star Wars fan base begin to imagine a story which doesn’t rely on the false premise of Rey’s parentage. As more of the indentured fans acknowledge this possibility we should also begin to see honest and open discussion on what effect this will have on perceptions of the film and its characters by the general public. 

Before this happens, however, I want to discuss where we stand as a fandom.

This small, but dedicated niche of the Star Wars community emerged out of a need to share our interpretation of the film with others–most specifically those who wouldn’t mock us immediately without hearing what we had to say about it. In the past month we’ve seen a gradual shift in the public attitude towards it–but just barely. In a way, it feels like this battle has only just begun.

In the past we’ve dealt with two issues: the “spiral of silence” which naturally quells opinion, and the need to appeal to authority for clarifications on the new canon. Both have worked together, in a way, to stifle our voices.

We know the appeal to authority can only be resolved by the occasional tidbit from The Powers That Be. As we’ve seen over the past few months, every time one of these breadcrumbs is dropped the whole flock gets excited and, inevitably, agitated.

The off-the-cuff statements made by people like J.J. Abrams and Pablo Hidalgo get picked apart until there’s barely anything left before being dismissed as “misdirection” or “misleading.” This response makes sense when we’re dealing with the most tightly guarded, NDA-bound story in film history. If anything, it should make it abundantly clear that we are not going to get the answers we need–or at least not any ones people will sign their souls over for.

So what do we, really, have power over? We can present our theories, our ideas, our thoughts, our interpretations, and our feelings in a clear and logical way. We have the power to stand up for what we believe in–even if it’s as simple and seemingly inconsequential as a different reading of a film.

Hence my question from the end of manifesto pt. 1 remains–and will continue to: how do we take our place within the larger Star Wars fandom as a legitimate faction without compromising the argument that “reylo” is more than just a ship?

I’m going to present a few barriers I’ve seen to this, only to try and spark discussion on this topic. As always–I’m just another person of many. You may not share my agenda, or my experience.  Hopefully you will be interested in adding to it or contradicting it. You’re all a part of this–so many of you much more than I am.

Agree to Disagree

For me, personally, the Tumblr reylo community has been a safe space. Besides the perpetual reposts of NSFW content (enjoyable, of course, but forcing me to hide my phone screen at all times in public) most people in the fandom have approached the topics I’m interested in with intellectual and respectful commentary.

But this little corner of the internet is insular. Homogeneity is comforting even as it can stifle creativity and discourage people from sharing opposing viewpoints. In the worst scenarios it turns people into parodies, repeating the same arguments ad nauseam. This is especially fruitless when directed at those who have no intention of listening.

Originally posted by scarecroe

It’s something I’ve felt very hypocritical of late on, mostly because I’ve waxed pedantic on one medium only to remain silent on all others. But I’ve realized recently that I’ve kept my distance from attempting to represent my viewpoints in a public sphere for a simple reason: the mountain of evidence that I have climbed over the past year isn’t something I’m going to be able to bury others in quickly or concisely. Even if I were blessed with the ability to write a compelling < 500 word argument, the fact that most people will ignore it or deride it is the norm.

Consuming media in today’s age generally means being much too excited for something to come out, processing one’s positive and negative feelings for a few days or weeks, and moving on. A general audience can’t relate to the need to dig through tons of supplementary materials for the little bits of canonical value one needs to shore up theorycrafting bets. The film Prometheus is a wonderful example of why expecting people to experience a story this way doesn’t work. Though we live in an age where trailers give away key plot points and major news networks reveal spoilers we have to assume the average person just doesn’t give a shit.

Originally posted by boysaresuicidal2

Much more than that–while meta-textual content mining is some people’s drug of choice, you can be sure that it is anathema to those who have fixated on their own interpretations as being right.

I’m not limiting this judgement to those who disagree with or dislike “reylo”. Even within our own community we have to combat the entropy that inevitably sets in as we accept one viewpoint over another. Discussions around the #Ashgate and #Reygate events last month (and I will happily continue to support adding -gate to anything as a tongue-in-cheek reminder not to take ourselves too seriously) quickly devolved into how incompetent the writers/creators were in feeding the public misinformation or conflicting narratives.

From an objective view, this minutiae doesn’t really matter. So why does it become end-all be-all for some of us? There’s a simple enough solution: we have to be prepared for differences in our interpretation. Not only that–we should welcome them. Disagreement is what inspires us to create. A stable state generally equals an unchallenged state. This is boring, and if you adhere to the ideal of a Socratic seminar, not good for logical discourse.

Meta is a discussion, not a diatribe. There is always the option to disagree and to do so respectfully and openly. There’s a pithy saying that there are no bad ideas: the real meaning is that it’s easy to criticize. In doing so, we can easily shut down opinions before they are fully formed. It is important for our community to continue to spread the love of discussion. By doing so we’ll drown out the people more concerned with spreading their one-dimensional rhetoric.

On the subject of those loud voices–they aren’t going away any time soon. They are a normal now expected part of fandom culture, and although their behavior can be abhorrent the people behind them are just people. There are very simple and effective ways to deal with them–the first and foremost being to not take them personally, or seriously, unless they deserve it.

Upping the “Anti”

As we’ve witnessed since December–once the initial cacophony of a new fandom begins to fade, a second wave crashes in. As many of these people were unable to find anything to change their minds on their initial takeaway of the film, it’s likely they’ll continue to adhere to their prejudices. They’ll bring their understanding of the material and what they liked about it to the discussion, but unless they are presented with and/or acknowledge past evidence they are going to assume your viewpoint is defined by the same precepts.

Originally posted by xxchanelx

They may like many of the things that you do. Or maybe they won’t like the same things–but are unfortunately so immature they don’t understand that putting effort into hating something shows a degree of obsession and investment far more advanced than the average fan. Regardless of motive, on Tumblr they’ll use your tags, your anon asks, your spaces, and they will dump their vitriol into the ether like screaming marmots. Here’s an example, courtesy of @ohtze

They are young (or old), they don’t know any better (or maybe they do). They are antis, they are us, they are no one. This is the internet: where everyone is wrong, the points are made up, and trolls are hiding under absolutely every rock. If this troubles you, you might need to consider finding a new sphere to operate within. This is not a gentle place, for anyone.

But that does not mean we can’t make it a better place for everyone. Remember, if a person’s arguments have resorted to ad hominem attacks or other logical fallacies, they have already lost the battle. This is true for all parties involved; becoming antagonistic does not bode well for making a point. I suggest not trying to fight fire with fire unless you are absolutely comfortable with the possibility of being burnt. I do however, suggest informed response.

If you are harassed by certain parties, please make sure you defend yourself with date-stamped screenshots of this behavior (bullies cannot delete screenshots) and use the Tumblr report function when necessary to report hate speech, threats, or other violations of community guidelines.

Much more importantly, for those of you dealing with harassment or bullying from without or within the community, now or in the past, I want to send you a very direct message: we’re here with you. If you need to talk or vent or share what you’ve gone through, please feel free to do so–including privately, to me. I will be happy to listen and empathize, and I’m sure many others witnessing this thread will offer the exact same thing. This is a safe space insofar as we create it to be.

It’s Just a Ride

On a final note, let’s remember that you alone can know and understand your love and appreciation for the film and its characters. Don’t let the judgments or doubts of others interfere upon those ideas. Read them, study them, respond to them (if they deserve it) but don’t think for a moment that someone has it figured out better than you. Or vice versa. The moment you assume that power as it relates to someone, is the moment this ceases to be a community and starts becoming a collective. 

We are not the Borg–we are all going to have different voices, opinions, theories, etc. This strengthens our position vs. undermining it because it completely detonates any criticism that we have not considered all perspectives.

And while I understand the need for validation from the creators and creative executives when there is a large portion of the internet directing baseless prattle in your direction, I want to reassure you that such responses have no bearing on a story that is already written.

The marmots will keep on screaming until no one bothers to listen to them. In the meantime, let’s continue to celebrate the effort the fans have put into understanding and extracting information from the film and supplementary materials. I promise you that at least some of it is right. More than likely, we’re ahead of the curve in recognizing the subtext of the story and having an appreciation for it. When the day comes when the general audience is forced to re-evaluate their perceptions, you can be sure they’ll be looking back through the archives to question what it was they missed.

Originally posted by so-sinnlos-wie-mathe

As one last personal note–I am going to freely admit that I have no idea what I am doing in a fandom. I am the magical age most of you that are also new to this have listed: early 30s. I am the unapologetic casual even as I cosplay and seek out autographs from my favorite comics artists. I’d separated myself from the identity of fan–probably because of how much backlash I experienced as a teenager in embodying it.

As I’ve come to realize my own identity now within a fandom, I’ve begun to realize how deterministic and limiting my original assumption of being a fan was. You don’t have to like everything, or agree with everything, or follow everything, or care about everything, to be a fan.

If you are like me, as you slip into this role you’ll grow more comfortable with its linguistics, with this identity and its quirks. And you’ll also grow to resent it, because it will have an entirely different meaning for other people–people who feel the need to tout the longevity or depth of their interest as some kind of measuring stick by which all others must be judged. Like the people who think their personal megalomania can permeate any farther than their computer screen–they are just marmots. Don’t listen to them. Be a fan as you want to be.

Since this has become part of my identity again, my need to share that with other people has grown. I can’t thank you enough for being the funniest, most whimsical, and most welcoming bunch of people I’ve met in the hell that is the internet. With that said, I’m taking a step back for the months of May and June. I’ll be working on a fan-fiction project that is as near and dear to me as writing meta. I’ll be bolstering my understanding of the films and characters and stories others have put so much time and effort into exploring in order to understand their meaning for me.

I largely encourage you to pursue something similar, rather than looking for validation externally or arguing with marmots. But if you feel the need to do so please check out the Reylo Meta Library 2.0 and the wide variety of authors and viewpoints which spiderweb away from these works. We have a fabulous group of people within the TFA fandom who support our community and combat disinformation daily: @starwarsnonsense @bastila-bae @ohtze @emperorpalpantene @seankayos @and-then-bam-cassiopeia @oldadastra @reylosource @starwars-hell @peace-passion-reylo @gwendy85 @thehermitsacedia @leicsfox @millicentthecat @official-reylo  @huntedbyacreature @avenrue @dearmisskitty … to name only a scant few of the amazing people in this community. My apologies if this is a short list on account of it being late and my brain being fuzzy–so please feel free to tag additional awesome people in the comments as an introduction for those new to the fandom and welcome them in joining us in Limbo for the next few years. 

Originally posted by absinthundrosen

We have all made a strong case for our reasons in believing in the principles at work here, whether they are canon or not. I can tell you for an absolute fact that people from all sides of the globe wouldn’t have written close to a textbook length volume of interpretative non-fiction without having a very clear and informed understanding of what they’d experienced. 

Nothing matters so much as much as our experience and enjoyment of TFA and the continuation of the new Star Wars canon. And nothing that happens from here until the credits roll on Episode XI is going to change that. So buckle up and enjoy the ride–this is just a ride after all. 

I’m so glad to be on it with you.

anonymous asked:

What's with all the anons suddenly saying Yuzuru should be worried about Nathan Chen? lol.. His fans are more worried but not in the way they think we are. Last time someone tried to step into Hanyu's world (Boyang Jin) his reply was "Oh Yes!" and we fans collectively had 5 years shaved off our lives because he upped his program difficulty... The kid thrives on having challengers.. Also, scores from nationals are suddenly a big deal???

Boyang Jin had just set the new World Record for SP TES. A WR that held up for a whole HALF AN HOUR.

“I know people say you shouldn’t let someone else’s score affect you, but it just motivated me to think ‘I’m going to get a higher score than that’.”

(http://yuzuland.tumblr.com/post/134050866892/yuzuru-hanyu-small-smirk-after-hearing-boyangs)

Yuzuru has repeated ad nauseam he doesn’t want to win.

He wants to win when everybody else has done his best. Give him a challenge and he will apply his head into solving it (and honestly, better for him to have a tangible challenge and not an insane battle just for perfection)


(And +10000000 at his fans more worried about him surrendering to the dark force and putting out for real that 3aLo4s. Or 4sLo4s. You know what happened last time he tried something crazy at gala practice, right?)


That said, I get some fans being worried (or other fans thinking his fans are worried), but this is a sport: you don’t have pre-written wins nor easy awards and your opponents are not going to step aside. At the end of the story, if everything is fair and politicking and corruption stay outside this sport, whoever does the best* on the day will win.

As it should be.


*so please, judges, start reading that DAMNED rulebook. It’s available for all and for you too.

anonymous asked:

Which books/documentaries about Columbine are good, and which ones are bullshit that I should avoid?

Books:

No Easy Answers  by Brooks Brown
Brooks was friends with Dylan and Eric so he’s the closest insider look we’re going to get from a ‘ground zero’ perspective.  Brooks was close childhood friends with Dylan. What was Dylan like as a kid up until seventeen? Explored here.  ‘Nuff said. One glaring mistake in his book that I discovered recently from rereading was that he was completely off on his timeline as to when his issues began with Eric, the windshield incident and all the rest.  Oopsy. 

Columbine: A True Crime Story by Jeff Kass
Best non-biased and lots of good detailed factual, background informational nuggets.

We Are But We Aren’t Psycho by Tim Krabbé

(unfortunately STILL only in Dutch but thedragonrampant was kind enough to translate some chapters for us

Avoid: Columbine by Dave Cullen for it’s glaring inaccuracies  ;) 

Documentaries:

A good youtube channel site to check out for restored documentaries, news footage, etc. is

Cleaning Columbine.

What you can’t find there you can do a general search on youtube for any of these titles:

Zero Hour

- is probably the best in terms of a ‘recreation documentary’ but there’s a lot it that’s glamorized and not quite factual to the letter.  This gives an overall gist of the entire event and in a ‘nut shell’ how everything unfolded.

Fictionalized accounts:

Zero Day

This was fascinating watching it for the first time as I had just gotten into Columbine. In retrospect, having seen it twice, I realized they never really went into any legit reasons as to why they were planning it - which is kind of important, imo. No signs of why they hated the school or being harassed and no demonstration of that either.  Essentially, Zero Day was another one of the shaky handicam, low budget flicks and a gratuitous sneaky vehicle for the director to show us approximately how he felt the E & D’s Basement Tapes might’ve looked like.  The attack was largely lame “Andre, Andre, Andred.. pick up the phone!” ad nauseam   Whyyyyyyyy.  Last fifteen minutes played out so amateur.  It’s ridiculous how this scene gets confused for Columbine on youtube too. 

These are decent overall:

The Columbine Killers

The Lost Boys 

The Final Report

Spree Killers: The Columbine Killers  (Someone said there’s too much Dave Cullen in this one. I don’t recall it all that well but it is one of the newer docs. So, tread carefully with this one for information skewed from Cullen’s PoV.)

Columbine: Understanding Why
(this one was removed off youtube for copyright infringement. It’s sometimes on Netflix otherwise you can poke around on the web or look for a torrent of it.) A team of ‘experts’ explores why they did what they’d done. It’s interesting but I think the so-called ‘experts’ are plodding in their deductions and most of us here have a much better grasp of the boys’ psyches. ;)

Columbine: City of Fear

The Thirteen Families - spends time with the victims and victims families. Very well done. Have tissue handy.

Ambassador of Kindness.

 The background music and telling of this doc comes across hokey but I found it to be one of the better docs on Rachel Scott and without religious propaganda inserted into it at every turn.  It’s a play-by-play of her journal quotes leading up the event which are uncannily prophetic suggesting that Rachel somehow intuited that she wouldn’t live long and that her purpose was meant for something greater. The doc suggests that Columbine was very much a spiritual happening not one of any religious denomination’s claim.  In depth interview segments of Nick Baumgart and Brooks Brown regarding Rachel.

I’ll add more to this post if I can think of anything else…