i just made this because i wanted to know if this scene was in the movie

Went and saw Beauty and the Beast, and I just had to share my experience because it was so pure?

So, like, I get into the theater, find myself a nice spot smack dab midscreen, which is WAY EASIER without thirty people traipsing in behind you in a group, lemme tell you, and I’m just sitting there, by my lonesome, scrolling tumblr and watching whatever weird stuff they’ve got on screen, and a family comes to sit in my row, which was the only empty one not right in front of the screen. Sat down what I thought was a seat away from me until I saw a little girl in an adorable ass red dress climbing over mom and dad to sit next to me. 

Totally fine. I was just off of center and they got to sit right in the middle of the screen, and when she finally gets settled this little girl looks up at me, with a soda half her size in one hand, and somehow both popcorn and candy in her tiny little lap, and she stage whispers to her mom:

“She’s by herself!”

Mom looks embarrassed, but I smile and wave off the apology. 

I go back to my phone, only to realize someone is tugging at my sleeve. Little girl looks up at me, all wide eyes and curiosity, and holds out a napkin filled with popcorn and chocolate. Like, I remember being a kid, and I remember how important candy and popcorn at the theater are, and I think she thought she was saving my life by offering this sustenance.

I almost fucking cried guys, kids are the best.

So I take it and thank her and let her talk my ear off for a few minutes until she needs a drink because she has been talking SO MUCH her mouth is dry. This kid is going places, guys, I’m telling you right now, because she picked up that cup the size of her torso like a champ and angled the straw just right and continued to try to talk to me around her gulps.

While this is happening, on the other side of me another mom and daughter sat down, and, turns out, the girls know each other. I’m guessing, based on the gumption of Red Dress, that they probably met in the lobby before they went into the theater. 

Girl number 2, I’ll call her Princess Dress, because it was a fantastic dress and when I told her so she proceeded to point to every princess along the neck and name them and give me their Stats, proceeds to have a conversation across me with Red Dress.

Both sets of parents were looking like they wanted to bury their heads in their hands, but I was having a blast.

Anyway, eventually lights go down, we get into the movie, and for the most part Red and Princess were content, although every so often Red made sure to pass me a handful of sticky half-melted chocolate. 

Watching a live action version of a movie that I watched for the first time when I was their age was a fuckin’ trip, man. Like. I got super emotional over things I didn’t expect to, and during the wolf scenes I was actually mildly distressed, because Princess was gripping the hand rest so hard on my right I thought she was gonna break it. Any scene I laughed or snorted at got a peal of laughter from my two new best friends, so hopefully no one has to go home and explain why I nearly snorted out my drink during “Be Our Guest” when they went for a visual gag for “After all miss, this is France!”.

During the ballroom scene, Red turned to her mom and whispered “The Beast is handsome!” and it took so much for me not to lean over and whisper back “Girl same.”

But my favorite, MY VERY FAVORITE part of this whole experience was when Gaston shot the Beast - FOR THE THIRD TIME HOLY HELL I KNEW IT WAS DARK BUT GODDAMN THIS IS A KIDS MOVIE ISN’T IT - Red patted my arm because yeah, okay, I was maybe crying a little, look, I know what happens but the movie made me feel things okay. Anyway, she like, pushes herself up in her seat and leans in close and she goes “It’s okay. He’s gonna be okay.”

The point is, children are so pure, and everyone should always watch movies with strangers.

anonymous asked:

Hi! I wanted to ask if you know anything abt joon's opinion on feminism. I've been a bts stan for a while now and I was kinda wondering. It's hard to tell with how idols on the kpop scene aren't really supposed to express opinions....

namjoon has expressed it many times through music, the media he consumes and the clothing he wears. 

namjoon very much a feminist who believes everyone, female, male, trans, bi, gay, rich, poor, black, white, blue, religion, everyone deserves respect, equality, love, and all the same opportunities 

actively wears skirts and runway fashion that is actually made for women

take a look at the book on his night stand

one of the few times he has tweeted about same sex love/LGBT issues

  • Namjoon was the one who came up with the topics they spoke about in the song change for the collaboration with Wale. he said he keeps up with american media and thinks it’s important to know what is going on around the world. he wanted to use his large platform to speak about the important issues of black lives matter, and the government and things needing to change because things are not okay. he said because of the situations going on in the us and in korea in was important to talk about it
  • 21st century girl, need I say more?
  • actively giving a voice to those who can’t through his music and fancafe posts
  • releasing the song ‘I know’ the day after korea passed its law to ban same sex marriage 

and many many many more, he doesn’t hide it, he openly speaks about it regularly. people just have to listen to him

x / x / x / x

Yuri!!! On Stage Event Report!

So today (4/29/2017) I went to the Yuri on Ice Yuri on Stage event. To clarify though, I was not at the actual Tokyo event, rather a live viewing at a local movie theater. Which of course does alter the experience but it’s the next best thing. At first I thought the theater was only doing the afternoon session, but very last minute I ended up being able to attend both!

Keep reading

You know what, the ‘suddenly, there’s 5 more Winter Soldiers’ subplot

has gotten a lot of flack, and I don’t disagree that it could and should have been handled a lot better, but even as it is, I really really like what it says, or rather, confirms about Bucky.

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Why the SPN mixtape scene from 12x19 is screenwriting gold, and should be taught to the next generations of screenwriters everywhere - analysis

20 seconds. Two lines of dialogue, three gestures, a couple more camera angles. Episode 19, season 12 of a genre TV show “Supernatural”. A single strike of screenwriting and cinematic genius. The mixtape scene.

Robert Berens and Meredith Glynn, I bow before you.

This scene should be used as an example for future screenwriters how you can put maximum of meaning into minimal time and dialogue. Should be analyzed and taught at universities everywhere, how to achieve the most using the least. How to write for TV, where you only have less than an hour to built something spectacular.

WOW.

Let’s just peel off all the layers of these 20 seconds of footage and these 13 words. 13 WORDS.

(Cas knocks, Dean doesn’t say anything. Cas opens the door, apologizes for disturbing Dean in his room, and then takes a cassette tape out of his left inside coat pocket, and puts it on the desk, while tapping the label on it that says “Deans (sic!) top 13 Zepp traxx”.)

Cas: Um, I just wanted to return this.

Dean: It’s a gift. You keep those.

13 tracks. 13 words. The future. So number thirteen is important for the future. I mean, are you trying to tell us something here, writers?

(Dean takes the tape, oustreches his arm, and gives it back to Cas. We see Cas’ hand grabbing the tape, and taking it back.)

That tiny scene is ENORMOUS from the perspective of the narrative and the characterization. Let’s see what we can get out of it. (Prepare yourself: it’s gonna be long. Damn, how much meta can you write based on 20 seconds of television and two lines of dialogue?) (Hint: A lot.)

Keep reading

The Element EVERYTHING in Your Story Needs

To all the writers who have ever felt lost, alone, and completely confused during the labyrinthine journey that is writing anything, and felt like screaming this at your story …

There’s hope.

There’s a light at the end of that darn tunnel. First, let me describe how I used to fight my way out of these periods of confusion and hopelessness. 

Usually, I would try to force myself to get back into the groove of the story. I would reread it, and be yelling at myself in my head, “Remember why you love it! LOVE your book again! Keep reading and FALL IN LOVE, damn it!” I’d go over descriptions, bits of dialogue, banter between the characters. I’d go over settings and imagery, and try to make myself remember how much they’d once excited me. I’d read things that had made me laugh when I typed them, sentences that I was particularly proud of, paragraphs that made me feel particularly clever. But the thing was, it didn’t work. 

I didn’t care.  

What was the problem? The problem was some of those descriptions, settings, images, and witty episodes of bantering had no Story Reason to be there. They were just there because they amused me. Just because I found the imagery beautiful. Just because I found a sentence or joke really clever and wanted to share my wit with the world. But the world didn’t care about my wit. Because the world (the people reading my book) knew subconsciously that there was no story to give that so-called witty sentence substance and meaning. I could create the most breath-taking images, I could make the most well-rounded living and breathing character, I could make a setting that you wanted to run away from home and live inside … and it didn’t matter. If the thing didn’t have a purpose for being there within the narrative, nobody cared. And I didn’t either. 

So what is a Story Reason? 

Everything in a story exists to support one of three things. 

1. The A-story: The surface plot, the quest of the main character to achieve a specific tangible goal. What the story is about on the surface. 

2. The B-Story: The love story, or relationship of the thing. Usually this relationship is instrumental in causing the third element, which is …  

3. The Character Arc. The theme of the story, the purpose, the piece of truth the story seeks to prove to the main character and the audience. 

If something in a story doesn’t contribute to the progress of these three, there’s no reason we should care about it. It has no point. Because in the end, all we care about is the story!

When it comes to scenes, story reason means continuity. It means the way the story unfolds logically. If every scene is there for a darn good reason, the scenes after and before will make total sense, they’ll connect seamlessly, a steady progression of events. Every scene’s turn triggers the next scene. 

And to do this, every scene must be able to be linked with three words: Because of that.

Because of the turn of one scene … 

The next scene happens. 

And because of the turn of that scene the next scene happens.

To illustrate how this works, let’s look at a small movie you might have heard about called Zootopia. (Thanks to @inked-withlove for the movie suggestion!)

So let’s start at this point, the turn of the scene with Clawhauser and Judy searching the file on Emmitt Otterton. 

Turn: “I have a lead." 

Because of that …

Judy has to get Nick to tell her what he knows about Otterton.

Turn: It all goes poorly, and now Nick and Judy are stuck together by an incriminating adorable carrot recorder. (The B Story, the relationship, has intertwined with the A Story.)


Because of that …

Nick takes Judy to the place he saw Otterton go, a place he thinks will cause her to give up. 

Turn: She doesn’t quit, she marches right in. (B Story: Nick sounds surprised, and a little impressed, that she didn’t back down.)

Because of that … 

She has to question a rude yoga-performing elephant. 

Turn: Though the elephant is absolutely no help, the seemingly addled yak is more than helpful – he even remembers the license plate number of the car Emmitt left in. 

Because of that …

Nick thinks his part in this endeavor is complete. But Judy remembers that she’s not in the system yet, and thus can’t run a plate. Nick, however, can. And he’s going to, or else. 

Turn: It just so happens that he has a pal at the DMV. 

Because of that …

Sloths. He takes her to a DMV run by sloths and wastes as much of her precious dwindling time as he can.

Turn: “It’s night?!”

Because of that …

Legitimate Enterprise Car Service (at least that’s what it’s called in the screenplay) is closed. Judy doesn’t have a warrant and Nick is enjoying her suffering tremendously. After a spat, she tosses the carrot over the fence instead of handing it to him.

Turn: Because she has now seen a shifty low-life climbing the fence, she has probable cause, and doesn’t need a warrant. She can go in. (B Story: Nick is looking at her with more respect.)

Because of that …

They find the car and begin investigating. The car is a crime scene; claw marks everywhere, the missing otter’s wallet … and a cocktail glass etched with a "B”.

Turn: And it all adds up for Nick. This car belongs to Mr Big, a notorious crime boss. And his polar bear henchman are right outside. They grab Judy and Nick and yank them off screen. 

Because of that  …

Judy and Nick are wedged between the bear henchman, on their way to face Mr Big. 

Turn: Nick sold him a very expensive rug that happened to be made from the fur of a skunk’s butt. Or in other words, Mr Big really doesn’t like Nick.

Because of that …

They wait fearfully for Mr Big to appear, and even when he’s revealed to be a tiny shrew, Nick still launches into obsequious and panicked mode. He tries talking his way out of it, but Mr Big really REALLY doesn’t like him. And when Judy shouts at him that she’s a cop and she has evidence on him –

Turn: “Ice ‘em.”

Because of that …

“No icing anyone at my wedding!” Fru Fru Shrew is not a happy camper. Father and daughter bicker about his promise of no murder on her wedding day, and the fact that “I have to, baby. Daddy has to.” Until – 

Turn: “She’s the bunny who saved my life yesterday. From that giant doughnut!” Well, Judy is now in Mr Big’s good books. He’s going to pay her kindness forward. Nick is floored. 

I’m gonna stop there.

SO! After going through that analysis of how the scenes are linked together, let’s abandon the “everything needs a story reason to be in there” rule, and see what happens. 

After the scene where Judy and Nick reluctantly join forces, we could add a scene where Nick is trying to remember the name of the place, and where it is. Then we could have them asking around, searching the city, refusing to ask for directions, lots of banter. THEN we can finally get to The Mystic Springs Oasis.

And after they get the plate number, maybe Nick grabs the carrot pen and makes a run for it. Then we can have a chase scene, but he gets away. Then we can have Judy trying to run the plate on her own, before realizing she isn’t in the system, and failing. Then we can have a scene where she has to track down Nick again. Then a scene where she figures out how to blackmail him into it. THEN they finally get to the DMV. 

And you know what would have happened then?

Zootopia would have made everyone bored. 

All of these inserted scenes are unnecessary. Sure, they might add conflict, add complications to Judy’s quest, but they’re ultimately just filler. They’re just there for the sake of bulking out the story. This is why that tip I hear so often in writing circles always perplexes me: “Figure out the worst possible thing that can happen to your character, then do that.” If people went with this rule, they’d just keep throwing terrible things at the characters for no apparent reason, one after another, and the reader or audience would be expected to be entertained by it (but wouldn’t be). It would be like cartoons before Mickey Mouse came along and applied story to animation: before, cartoons were just gag after gag, slapstick situations mashed together like a funny video compilation. Except with books and movies, it would just be conflict-heavy situations strung together, taking an inordinate amount of time to make any actual progress.  

Once you make sure everything has a purpose within the narrative, things get so much better.  And I find, when I reread my work I don’t have to scream at myself to “love your book or else” if everything has a reason for being there. And instead of feeling like yelling at my story like an angry overworked crab, I feel a lot more like this gif.

I hope it works for you too.

anonymous asked:

Can you list the Ron moments that the movie missed our changed?... or maybe give a link to a post which already has the list.

Okay, this is going to be done from memory so bear with me. 

Philosopher’s Stone

  • Ron offering to share his food with Harry from the moment they meet.
  • Ron teaching Harry how to play wizard’s chess (this is kind of in the film but not explicitly so I thought I’d include it.)
  • Staying over Christmas with Harry and trying to cheer him up after the mirror incidents (I think they did film a part of this but it was a deleted scene for some reason ??? why ???)
  • RON BEING THE CALM ONE DURING THE DEVIL’S SNARE SCENE NOT HERMIONE (’But there’s no wood!’ ‘Are you a witch or not?’)

Chamber of Secrets

  • Constantly defending Harry from Draco
  • The scene where Draco calls Hermione a mudblood and it was actually Ron who new what the term meant and explained it, not Hermione
  • Visiting Hermione in the hospital wing after she turns herself into a cat and bringing her all her homework that she missed
  • Ron going into a freaking forest full of spiders and tackling his biggest fear. Even though he was shaking the entire time and is so terrified he can’t even speak by the end of it and actually /throws up/ afterwards, he still went and did it because it needed to be done and he wasn’t about to let Harry go alone. (Okay so this was in the films but I really don’t think they actually captured the gravity of it, instead choosing to turn Ron into comic relief… Again.)
  • Being the one to go to the hospital wing so that Hermione will have someone with her so she’s not alone and to explain what happened when she wakes up

Prisoner of Azkaban

  • Actually being really concerned about Scabbers’ health and buying the rat tonic for him
  • Actual background to the Crooksanks v Scabbers business instead of just villainising Ron for the sake of making Hermione seem better
  • When he was literally woken up by Sirius holding a knife over his bed, who, as far as anyone knew then, was a mass murderer??? Why isn’t this talked about more ??
  • ‘YOU ASKED A QUESTION AND SHE KNOWS THE ANSWER, WHY ASK IF YOU DON’T WANT TO BE TOLD?’ 
  • Noticing Hermione’s weird af schedule and being the only one to aCTUALLY CARE about where she was going and what she was doing
  • Literally fucking pushing Harry out of the way when they see Sirius in dog form (who they think is The Grim) and consequently getting a broken leg + dragged by his arm into the Whomping Willow
  • Awkwardly patting Hermione on the head after she apologises, instead of that weird hug thing they share in the films
  • Taking on Buckbeak’s appeal and dedicating so much time and effort into his case. Call this boy lazy or apathetic again I dare you.
  • Standing up on a BROKEN LEG to tell Sirius, who, again, was thought to be a MASS MURDERER, that ‘If you want to kill Harry you’ll have to kill us too!’ whilst Hermione stood frozen in the corner
  • Making peace with Crookshanks at the end of the book by holding Pigwidgeon up for him to check that he isn’t evil (I love Ron so much)

Goblet of Fire

  • ‘We’ll pick you up on Sunday if you can come, and we’ll still pick you up on Sunday if you can’t’ (or something like that) when talking about the quidditch world cup
  • The background and reasoning behind the big fight with Harry (+the later argument they had where Harry threw the badge @ his head.)
  • The actual insecurity Ron suffered because of the dress robes, not just the comic relief side of it.
  • Helping Harry practice for the second and third tasks practically 24/7 (including letting Harry practice stunning on him!!! #dedication)
  • Getting Krum to sign his autograph + basically all of hIS HUGE CRUSH ON KRUM JFC
  • Just generally being there for Harry after Cedric even when Harry pushes him away

Order of the Phoenix

  • Again, just generally being there for Harry even when Harry is being an ass to him (+ the part where Ron desperately wants to tell him what’s going on but Hermione + all the adults insists that they can’t)
  • RON WEASLEY BECOMING A MOTHERFUCKING PREFECT
  • The year of quidditch which, although being an essential part of the book with the whole Umbridge arc, is not even MENTIONED in the film. Literally, it’s one of the only films that doesn’t feature quidditch yet it’s the book where I’d consider quidditch to be the most important.
  • Anyway, yes, quidditch. Ron getting a new broom and sneaking out to practice so he can try out for the team
  • HERMIONE KISSING HIM ON THE CHEEK FOR LUCK. I SCREAM.
  • Ron making it on the team and having very very very little confidence so he’s… quite terrible the first few matches.
  • The awful ‘Weasley is Our King’ song that Malfoy made and the Slytherins take to singing at. Every. Single. Match.
  • Ron gaining his confidence and destroying the other team at quidditch, during which, neither Harry or Hermione were actually there to witness it. And Ron is so happy and proud but when Harry and Hermione start talking about Grawp, instead of being petty and angry at them, he listens intently and tries to help
  • Always backing up Harry when Hermione is being slightly insufferable towards him and not really understanding of his needs. (e.g when she’s pressuring him to do better at occlumency and Ron tells her to back off)
  • The whole arc where Arthur gets injured and all the Weasleys are sat around the kitchen at Grimmauld place waiting for news + the parts in St Mungos (this was in the film a little but they really didn’t go into the effect it had on the Weasleys. Especially Ron and Ginny)
  • The miraculous plan they all come up with to get Harry into Umbridge’s office (which, admittedly, backfires, but hey. At least they tries) during which Ron plays a pivotal role, not just a struggling character in the background
  • Everything to do with the ministry tbh ??? From battling death eaters to the spell that makes him delirious to the brain almost suffocating him
  • Staying in the hospital wing with Hermione for the rest of the year and the scars all down his arms from where the brain attacked him

Half Blood Prince

  • When Hermione is talking about why girls find Harry attractive and Ron is all like ‘Look at me Hermione! I’m tall too! I have scars too!” 
  • Backing up Harry when he answers Snape’s question about inferi compared to ghosts (”Well what Harry said was the most useful! If I’m going to face an inferi I’m going to be looking for if it’s transparent not asking ‘excuse me are you the imprint of a departed soul?’” or something similar. Get wrecked Snape.)
  • All of the quidditch moments in this book are golden.
  • That moment where Hermione super awkwardly asks Ron to Slughorn’s party and Harry is just in the background like,,, what an interesting plant
  • Ginny antagonising Ron about never having kissed anyone and the subsequent Lavender disaster that followed
  • Everything to do with Lavender tbh. Like, their whole relationship, not just the comic version in the movies
  • Ron’s getting poisoned actually being a really serious thing and all his family showing up at the hospital wing
  • Pretending to be asleep when Lavender comes to visit (Ron Weasley how dare you, your mother raised you better than this)
  • Okay, I really want to make a separate post about this but the whole Luna/Ron friendship in this one is gold
  • I feel like we as a fandom collectively forget this one but Ron and the rest of the DA fighting the death eaters with felix felicis whilst Harry is up the astronomy tower with Dumbledore
  • Holding Hermione at Dumbledore’s funeral ???? Honestly that’s all I need in life
  • RON ‘WE’RE WITH YOU WHATEVER HAPPENS’ WEASLEY VOWING TO ALWAYS BE AT HARRY’S SIDE INSTEAD OF SITTING IN THE BACKGROUND LIKE A STALE POTATO WHILST HARRY AND HERMIONE PLAN

Deathly Hallows

  • Giving Harry the how to charm witches book and actively trying to start a relationship with Hermione
  • Comforting Hermione when she’s upset and not being awkward about it !!!! Character development (I’m seeing a parallel to the head pat in PoA, anyone else?)
  • Standing up to the Minister of Magic at the age of seventeen like. Honestly Ron Weasley is such a badass I love him
  • Literally giving up a life of comfort and security to go and live as a fugitive in order to help Harry
  • Pushing Hermione the fuck out of the way when they’re found by Death Eaters near Charlesbury !!! Like, this boy is so brave and self-sacrificing I’m going to cry
  • Falling asleep holding hands with Hermione @ Grimmauld place
  • The severity of his splinching after the ministry debacle
  • The very real concern for his sister and Harry + Hermione’s apparent apathy that triggers the fight between him and Harry, not some motive entirely brought about by jealousy as the movies suggest
  • Okay, not Ron, but the movies really didn’t capture just how unable Harry and Hermione became without him. They didn’t talk to each other, they didn’t communicate in any way for like 95% of his absence. They were literally unable to function without him I’m so sad.
  • Saving Harry’s life and, importantly, the conversation they had afterwards where Harry reassured him that his insecurities were unfounded. And the hug. Where was my hug,Yates? Where was it?
  • Ron once again assuming his role as the heart of the trio; making Harry laugh, keeping the spirits up, getting them to function again.
  • Malfoy Manor. Just. Malfoy Manor. “NO YOU CAN HAVE ME, TAKE ME!” “HERMIONE! HERMIONE!” Literally being so distressed and worried for Hermione that he OFFERED UP HIS OWN LIFE FOR HERS AND LOST THE ABILITY TO THINK RATIONALLY. CAn we just. 
  • Even despite the mental anguish he’s going through, Ron still manages to come up with a solution for where Dobby should take them
  • Again, despite everything that’s happening around him, Ron does a near perfect imitation of Wormtail’s voice
  • Disarming Bellatrix fucking Lestrange
  • Managing to successfully apparate for the first time ever in a very high pressure situation in order to get Hermione to safety
  • Taking his shoes and socks off to lay on Dobby’s grave
  • Going back to Hogwarts and the reunion with the rest of his family; including Percy, which I really missed from the books
  • Literally like everything that happened during the battle of Hogwarts but especially:
  • “We’ve forgotten someone!” “Who?” “The house elves!” Like, guys, this is such a significant moment for his character and I understand completely why Hermione chooses this moment to kiss him 
  • How wrecked he was after Fred’s death. Like, in the books Ron is actually there to witness it. He sees his brother die. I am Not okay.
  • Hermione having to physically restrain him because he wants to go and get revenge for Fred
  • Ron punching Draco in his slimy little face “And that’s the second time we’ve saved your life tonight you two-faced bastard!”
  • Offering to be the one to go to the shrieking shack ?? ALone ?? He says something like ‘Harry you can’t go un case they see you, wait here with Hermione, and I’ll take the cloak and-” when they all know it could be a suicide mission. I’m.
  • BREAKING VOLDEMORT’S SILENCING SPELL
  • I’m sorry let me just re-iterate: RONALD WEASLEY BROKE A SILENCING SPELL MADE BY ONE OF THE MOST POWERFUL WIZARDS TO EVER EXIST
  • Taking out Fenrir Greyback with Neville
  • Being the first to reach Harry after he defeated Voldemort, along with Hermione
  • Just the part where the trio go to Dumbledore’s office because I just. That’s such a nice and well rounded ending I’m going to cry
  • In the epilogue, practically everything about Ron is great but especially: “Don’t worry, it’s me, I’m famous”

In Conclusion

  • I love Ron Weasley so much
  • The films do not do him justice

- Admin Kat

(Feel free to reblog this with anything I’ve missed!)

on the new Iron Fist series

So after binge watching a ton of Marvel’s new Iron Fist series, I went onto tumblr, wondering what the fandom was up to now, what with all these new gifs and stuff to make. ‘Maybe I would find some fan art or something’ I thought innocently to myself,

BUT BOY WAS I WRONG

instead, I was greeted with SO MUCH DISCOURSE on how Iron Fist ‘needs a chinese-american actor’ or ‘has terrible dialogue and is slow’.

the best part is when I found out that some of y’all are trying to get this show boycotted like ‘????’

Now as a Chinese-speaking Asian female, living in Asia, with an Asian background and a good know-how of Chinese history, as well as a decent knowledge of comic books, (although I confess I got into the animated series first) I’m here to end the discussion before y’all get your full rage on and start fighting fans of the show like it’s Lord of the Flies up in here

So keep reading if you want to be educated or if you just want to fight me before you know what you’re even talking about

“THE SHOW INSULTS CHINESE CULTURE”

Uhhhh…no? I’ve seen a few episodes and I mean so far there isn’t really anything that screams ‘insult’ or even offensive in the slightest. Besides maybe the fact that they take the beliefs and twist them a little bit but honestly even that ain’t that bad as to what I’ve seen elsewhere.

I’ve read the boycott post and let me say that yea, they dressed him with an eye for Asian elements, but maybe that’s because it’s supposed to be resembling Asian clothing? I mean how is that offensive? Is it the part that it looks Asian? Or that you simply feel that white people that direct these shows should not be using Asian stuff for entertainment? Because I hate to break it to you but it’s still not offensive. Even the dragon tattoo is totally fine because it’s supposed to resemble Asian elements yea but also have y’all read the comics? Because he punched through a dragon and basically took it’s heart. So I mean a dragon tattoo kinda matches the theme.

I mean in the first episode they speak almost flawless Chinese for Pete’s sake! Hell, I was surprised that they even had it in them to have a non-Google translated line. Sure the accent was a little overdoing it cuz not even I have that thick a Chinese accent but I’ll excuse it since he was apparently learning and speaking 15 years. (I speak it maybe a few times a day for like the last 14 years or so only)

So no, the show doesn’t really insult Chinese culture, sure they might be ignorant, but you must understand that after generations of stereotypes and misconceptions that that can’t just go away with one show

“Danny Rand should be played by an Asian guy/be a Chinese-American”

I can’t even begin to tell you my frustration about this.

Y’all do know this show is based on the comics right?

You know, the one with the white guy.

I know Marvel is infamous for not including enough representation in their shows but seriously? This is like the Harry Potter thing all over again with Hermione being black, it’s not that we don’t want representation or anything, but it’s the fact that this hero that us comic fans have come to already love has been replaced. Or at least it feels like it. Like when a movie is made from a book and people go crazy because character XYZ suddenly has different traits or isn’t quite what was described as compared to the book.

Frankly, it sucks.

So even though yes, Marvel should have more Asians in their shows, don’t expect them to completely give the main character a makeover, even if the makeover was supposed to provide representation. And honestly? I don’t want them to change him because I really freaking love Iron Fist, just as he is.

“This show just villainizes Asians”

So you tell me that my race is being made villains because Marvel decided that most of their Asians on their shows are evil ninjas (aka the Hand) and at most there are like 3 sorta good Asians. Oh and I’m sorry, you want more Asian men that are good guys? You want a balance of Asian heroes?

Well I guess that would be kind of hard to fit into the story since, oh, I don’t know, everything happens in the USA?

If you want more Asian characters well then look no further because you do have them. Daisy Johnson from Agents of Shield? What about her extremely brave mom? Or maybe Colleen in Iron Fist? Everyone seems to be blatantly ignoring her badassery and only seeing the part where she’s a sorta love interest.

Facts are, there are Asian characters, you’re really just looking hard enough. I agree wholeheartedly when you say that more Asian men need to be in the Marvel universe that aren’t part of the bad guy team but you gotta say that they are still awesome.

Does anyone even remember the Japanese ninja yakuza guy from Daredevil? Dude got set on fire and STILL came back to kick ass. That’s a plus in my book because even though he’s considered bad, he’s been proven to be cunning, smart, and overall awesome.

“The show has terrible stunts/acting/dialogue/fight scenes”

From here on out it’s mostly just me trying to explain why the directors and writers of the show made decisions in the show to make it what it is, so let’s dive right into it.

  • STUNTS

Actually the stunts weren’t half-bad. If you’ve seen other shows or movies that are heavily reliant on stunts and action, and compare it to this show, they really aren’t that much different. Sure it might seem a little unbelievable sometimes like they’re breaking physics or something, but he already has a glowing fist. I think we’ve crossed the line of believable long ago.

  • ACTING

I have nothing to say about this except that go and take some acting or drama classes before coming and criticizing these awesome men and women who did indeed try their best

  • DIALOGUE

Now I get the dialogue might be a little weird at times and what not, but you must understand that this show was partially written with the Defenders series in mind. So almost everything that was said in the show is meant to lead to something more. Thus, you must take it as a bigger picture. Sorta like how everyone said that Fantastic Beast and Where to Find Them wasn’t as good as they thought it would be, that movie was also meant to lead on to a bigger story so you might want to excuse the weird speech and cryptic lines at times.

  • FIGHT SCENES & ACTION

Okay seriously people, please read the comics. Danny Rand is supposed to be an accidental hero, one that doesn’t want to fight unless he really has zero choice in the matter. So yea, the fight scenes won’t be that interesting, but only because the character in question is more interested in ending the fight than anything.

~

So there you have it, my whole slightly angry info-dump on Iron Fist and Marvel’s representation problem in general. If you want to correct me or scold me even then by all means message me or shoot me an ask. But just keep in mind that Marvel can’t make all your problems go away in one show, and please for the love of all that is good read the comics before coming to rant okay?

Fairy Tail Dragon Cry Spoilers

Hello guys, so today in Japan, Fairy Tail Dragon Cry released. I have seen spoilers a lot today but some I would love to share with you. 


First spoiler, is the starry sky scene. I love it, and I honestly can’t wait to see the movie itself.


Second spoiler, according to a translator on twitter, Natsu says “What do you see? (How do I look?) Lucy…” and Lucy responds with, “Natsu…” and he smiles, “Your definetely natsu” Which makes me scream because I didn’t think that would be her response actually because people were speculating this since we saw the first two trailers and natsu said, “Lucy, What do I look like to you?”


Third Spoiler… I uhh really don’t know what’s going on here but I am pretty sure Lucy was chained up by one of the royal people and Fairy Tail came to the rescue especially Natsu becayse he is the one who broke the chain and now is carrying her it seems.


Forth Spoiler, Lucy in this seems to be crying at first I thought that dude which if I am not mistaken’s name is Zash but I am not completely for sure since I have been mainly looking at the trailers. It seems as if he is threatening her and that’s when it looks like the wall is opened because of who I think is Natsu because he wants to save his bae. (Nalu shipper here duh)


So I translated this page actually! in the first panel natsu is actually screaming: ARGH!!!! Lucy see’s him and says “Natsu?” and as he is going towards whoever, Lucy says “Natsu…Your a bit late!” 


i WAS WAY TO LAZY TO TRANSLATE this page honestly but Natsu is carrying Lucy and I am pretty sure this is the scene was saw from Trailer 3. 


I didn’t translate this one either but yeah, here’s another spoiler.


I don’t know if this is the scene that people have been posting all over instagram where we do see Natsu hold Lucy or if this is just him collapsing in her arms and her confront him. It could honestly be two different scenes or like I said the one I have been seeing ALL OVER instagram that made me scream this morning, lmao.


This is the starry night scene I’m pretty sure. The first attempt of my translations for this, Natsu said “We had a relationship together, and I lost it… Lucy.” and then at the Lucy’s panel had said, “A stella Starry Sky.” and then the one with them looking off said “Love” or “It is cute.” Which I don’t know if this means anything or if I screwed up freaking bad translating but whatever I tried dudes.


The attempt to TRANSLATE this was like me trying to swim, it was drowning me. For natsu’s head and lucy looking up to it, I couldn’t get his translation but for her I got “I will do it. You guard by the guard watch…” and then I also got the translations : “There is nothing more than a crowd, so its hard to emphatize with me… and others…. oh yeah, it must be true.” and for Natsu I got :Come here, here it is/ Rescue Loya (Which is probaly actually Sonya) Actually is the code name.” Which didn’t really make sense to me but I tried. 


MY REACTION AFTER THESE : 

Originally posted by vieilleotaku

Also…

Originally posted by nbcthevoice

COME HERE FASTER!! IT DOESN’T RELEASE IN THE USA TILL JUNE 6TH AND I WANT IT TO COME AS FAST AS ADAM LEVINE HITTING THE I WANT YOU BUTON

ask and you shall receive | one (m)

[credit.] 

pairing: jung hoseok x reader, sugar daddy! hoseok
genre/warnings: smut, lots of oral, slow burn, dirty talk, dom! hoseok
words: 13,865
summary: your sugar daddy says you don’t have to sleep with him if you don’t want to…trouble is, you do want to. You’re just nervous and a little inexperienced, but he catches on quick and begins to teach you the true pleasures of sex, and boy, are they good…

 a/n: in the end I had to split this into two parts rip. It was already nearly 14k with just one smut scene haha. but oh well, that means more detail for part two…

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Pepero Day (M)

MASTERLIST

Pairing: Yoongi x reader

Genre: Smut, Bestfriend!Yoongi, Valentine’s Day themed

Word count: 5.7k

warnings: Rated M, language, graphic sexual descriptions

A/N: This was meant to be a valentine’s day fic, but it’s a day late, rip. I hope you enjoy it regardless!

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Top Misconceptions People Have about Pulp-Era Science Fiction

A lot of people I run into have all kinds of misconceptions about what pulp-era scifi, from the 1920s-1950s, was actually like. 


“Pulp-Era Science Fiction was about optimistic futures.”

Optimistic futures were always, always vastly outnumbered by end of the world stories with mutants, Frankenstein creations that turn against us, murderous robot rebellions, terrifying alien invasions, and atomic horror. People don’t change. Then as now, we were more interested in hearing about how it could all go wrong. 

To quote H.L. Gold, editor of Galaxy Science Fiction, in 1952: 

“Over 90% of stories submitted to Galaxy Science Fiction still nag away at atomic, hydrogen and bacteriological war, the post atomic world, reversion to barbarism, mutant children killed because they have only ten toes and fingers instead of twelve….the temptation is strong to write, ‘look, fellers, the end isn’t here yet.’”

The movie Tomorrowland is a particulary egregious example of this tremendous misconception (and I can’t believe Brad Bird passed on making Force Awakens to make a movie that was 90 minutes of driving through the Florida swamps). In reality, pre-1960s scifi novels trafficked in dread, dystopian futures, and fear. There was simply never a time when optimistic scifi was overrepresented, even the boyish Jules Verne became skeptical of the possibilities of technology all the way at the turn of the century. One of the most famous pulp scifi yarns was Jack Williamson’s The Humanoids, about a race of Borg-like robots who so totally micromanage humans “for our own protection” that they leave us with nothing to do but wait “with folded hands.”


“Pulp scifi often featured muscular, large-chinned, womanizing main characters.”

Here’s the image often used in parodies of pulp scifi: the main character is a big-chinned, ultra-muscular dope in tights who is a compulsive womanizer and talks like Adam West in Batman. Whenever I see this, I think to myself…what exactly is it they’re making fun of?

It’s more normal than you think to find parodies of things that never actually existed. Mystery buffs and historians, for example, can’t find a single straight example of “the Butler did it.” It’s a thing people think is a thing that was never a thing, and another example would be the idea of the “silent film villain” in a mustache and top hat (which there are no straight examples of, either). There are no non-parody examples of Superman changing in a phone booth; he just never did this.

In reality, my favorite description of pulp mag era science fiction heroes is that they are “wisecracking Anglo-Saxon engineers addicted to alcohol and tobacco who like nothing better than to explain things to others that they already know.” The average pulp scifi hero had speech patterns best described as “Mid-Century American Wiseass” than like Adam West or the Lone Ranger. 

The nearest the Spaceman Spiff stereotype came to hitting the mark was with the magazine heroes of the Lensmen and Captain Future, and they’re both nowhere near close. Captain Future was a muscular hero with a chin, but he also had a Captain Picard level desire to use diplomacy first, and believed that most encounters with aliens were only hostile due to misunderstandings and lack of communication (and the story makes him right). He also didn’t seem interested in women, mostly because he had better things to do for the solar system and didn’t have the time for love. The Lensmen, on the other hand, had a ruthless, bloodthirsty streak, and were very much like the “murder machine” Brock Sampson (an attitude somewhat justified by the stakes in their struggle). 


“Pulp Era Scifi were mainly action/adventure stories with good vs. evil.” 

This is a half-truth, since, like so much other genre fiction, scifi has always been sugared up with fight scenes and chases. And there was a period, early in the century, when most scifi followed the Edgar Rice Burroughs model and were basically just Westerns or swashbucklers with different props, ray guns instead of six-shooters. But the key thing to remember is how weird so much of this scifi was, and that science fiction, starting in the mid-1930s, eventually became something other than just adventure stories with different trappings. 

One of my favorite examples of this is A. Bertram Chandler’s story, “Giant-Killer.” The story is about rats on a starship who acquire intelligence due to proximity to the star drive’s radiation, and who set about killing the human crew one by one. Another great example is Eando Binder’s Adam Link stories, told from the point of view of a robot who is held responsible for the death of his creator.

What’s more, one of the best writers to come out of this era is best known for never having truly evil bad guys: Isaac Asimov. His “Caves of Steel,” published in 1953, had no true villains. The Spacers, who we assumed were snobs, only isolated themselves because they had no immunities to the germs of earth.


“Racism was endemic to the pulps.”

It is absolutely true that the pulps reflected the unconscious views of society as a whole at the time, but as typical of history, the reality was usually much more complex than our mental image of the era. For instance, overt racism was usually shown as villainous: in most exploration magazines like Adventure, you can typically play “spot the evil asshole we’re not supposed to like” by seeing who calls the people of India “dirty monkeys” (as in Harold Lamb). 

Street & Smith, the largest of all of the pulp publishers, had a standing rule in the 1920s-1930s to never to use villains who were ethnic minorities because of the fear of spreading race hate by negative portrayals. In fact, in one known case, the villain of Resurrection Day was going to be a Japanese General, but the publisher demanded a revision and he was changed to an American criminal. Try to imagine if a modern-day TV network made a rule that minority groups were not to be depicted as gang bangers or drug dealers, for fear that this would create prejudice when people interact with minority groups in everyday life, and you can see how revolutionary this policy was. It’s a mistake to call this era very enlightened, but it’s also a mistake to say everyone born before 1970 was evil.


“Pulp scifi writers in the early days were indifferent to scientific reality and played fast and loose with science.”

 FALSE.

 This is, by an order of magnitude, the most false item on this list.

In fact, you might say that early science fiction fandom were obsessed with scientific accuracy to the point it was borderline anal retentive. Nearly every single one of the lettercols in Astounding Science Fiction were nitpickers fussing about scientific details. In fact, modern scifi fandom’s grudging tolerance for storytelling necessities like sound in space at the movies, or novels that use “hyperspace” are actually something of a step down from what the culture around scifi was in the 1920s-1950s. Part of it was due to the fact that organized scifi fandom came out of science clubs; Hugo Gernsback created the first scifi pulp magazine as a way to sell electronics and radio equipment to hobbyists, and the “First Fandom” of the 1930s were science enthusiasts who talked science first and the fiction that speculated about it second.

In retrospect, a lot of it was just plain obvious insecurity: in a new medium considered “kid’s stuff,” they wanted to show scifi was plausible, relevant, and something different from “fairy tales.” It’s the same insecure mentality that leads video gamers to repeatedly ask if games are art. You’ve got nothing to prove there, guys, calm down (and take it from a pulp scifi aficionado, the most interesting things are always done in the period when a medium is considered disposable trash). 

One of the best examples was the famous Howard P. Lovecraft, who published “The Shadow out of Time” in the 1936 issue of Astounding. Even though it might be the only thing from that issue that is even remotely reprinted today, the letters page from this issue practically rose up in revolt against this story as not being based on accurate science. Lovecraft was never published in Astounding ever again.

If you ever wanted to find out what Star Wars would be like if they were bigger hardasses about scientific plausibility, check out E.E. Smith’s Lensman series. People expect a big, bold, brassy space opera series with heroes and villains to play fast and loose, but it was shockingly scientifically grounded.

To be fair, science fiction was not a monolith on this. One of the earliest division in science fiction was between the Astounding Science Fiction writers based in New York, who often had engineering and scientific backgrounds and had left-wing (in some cases, literally Communist) politics, and the Amazing Stories writers based in the Midwest, who were usually self taught, and had right-wing, heartland politics. Because the Midwestern writers in Amazing Stories were often self-taught, they had a huge authority problem with science and played as fast and loose as you could get. While this is true, it’s worth noting science fiction fandom absolutely turned on Amazing Stories for this, especially when the writers started dabbling with spiritualism and other weirdness like the Shaver Mystery. And to this day, it’s impossible to find many Amazing Stories tales published elsewhere.

Little Jealous There, Sarge?

{Part Two}

Summary: There’s nothing wrong with not being the most experienced person in the bedroom. In fact, some people find it rather attractive, particularly James Buchanan Barnes. Although you express how much you want him, Bucky remains distant; he doesn’t want to do anything to hurt you. So what do you do? You elicit Sam’s help.

Warnings: jealous!Bucky x inexperienced!Reader, fluff, smut, biting kink

A/N: Inspired after spending some quality time with @mermanbuckybarnes and learning just how jealous Bucky can get.

Originally posted by stuckwithbuck


Bucky’s hands remained firmly on his lap, his eyes glued to the television screen. Black Swan was on and Bucky was entranced by the symbolism, striking colors, phenomenal acting, and the now on screen sex scene between Mila Kunis and Natalie Portman.

Your eyes raked over his body. His breathing had visibly increased, a sheen of sweat beginning to form on his skin, his hands moving ever-so-slightly to cover the growing erection in his pants; his tongue darting out to lick his lips, pulling in his bottom lip and dragging it between his teeth to quiet a moan. His eyes met yours when he felt your attention on him.

“You’re missing the movie, doll.” His voice had dropped an octave.

“Oh, you’re much more interesting than the movie, trust me.” You nibbled on your bottom lip contemplating whether or not to act on your lustful thoughts. 

You took a deep breath and reached for the remote, pausing the movie. You tossed it across the room before Bucky could grab it, shifting your position and climbing on top of his lap. His hands found your hips as you started grinding yourself against him; he worked you into an even rhythm.

“What’re you doing?” He whispered in your ear as you trailed kisses up his neck.

“You.” You tangled your fingers in his hair and yanked on the strands. “Fuck me so hard I won’t be able to walk tomorrow, Sarge.”

“(Y/N)…” Bucky’s grip tightened on your hips.

“Oh, fuck!” Your clit was getting the attention it needed. “P-Please, Buck.”

“I…” Bucky sighed and stopped his movements, bringing your own to a halt. “I can’t.” He shook his head and lifted you off his lap. “I, uh, I’ll just see you later, doll.”

You tried to call out after him but he was gone in a flash. You plopped onto your back and groaned loudly, ignoring the ringtone symbolizing Sam blasting from your phone. That’s when the idea hit you and you knew exactly what you had to do. 

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Yuri on Ice BD audio commentary translation - Volume 3

Translation of the audio commentary of the BD/DVD vol.3, by Mitsurou Kubo and Junichi Suwabe, voice actor of Victor Nikiforov. I really wanted to post this before the weekend because I’m not going to be home a lot, so I decided “well, I might just not sleep tonight and translate this instead”… This time there are some parts that I translated almost integrally. They talk a lot about Victor, especially Suwabe’s struggle to get into the role. It provides insight while at the same time not providing… since apparently it’s very hard to guess what is “right” when talking about Victor. I’m sure you will get what I mean if you read what they say…

The commentary is only for episode 6. Episode 5 has no commentary. It’s not a full translation but I summarized most of what they said, and as I wrote above some parts are almost completely translated. As in the previous ones, the format is different from normal interview translations, and you can find my comments too (mostly in brackets).

Translation under the post because it’s long. Enjoy!


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Columbine Songs
Eminem
Columbine Songs

Eminem and Columbine


I am an Eminem Fan for years now and when I started to get more and more into True Crime I was surprised to find a lot of his Lyrics mentioning Columbine which I never really realised before. Of course he also mentioned other murderers or events, like Ted Bundy and the Aurora theater shooting but I wanted to start with the Columbine lyrics because there’s a lot of material. So let’s start:


The Way I Am, 2000
0:00-0:16
When a dude’s getting bullied and shoots up his school
And they blame it on Marilyn and the heroin
Where were the parents at? And look where it’s at!
Middle America, now it’s a tragedy
Now it’s so sad to see, an upper-class city
Havin’ this happening

Marshall states that he thinks that he thinks that not music is the reason for the shooting but bullying and the parents. But as we all know Marilyn Manson was partly blamed for Columbine by the media.
Em is also making fun of the fact that Columbine was the first shooting that people cared this much about although there have been a lot of shootings but now it happened at a “nice” school.

There is an alternative version of this song featuring Marilyn Manson (x)
He performed it live with Manson (x and x)
Manson also appeared in the official video (x)

Remember me, 2000
0:17-0:30
Came home and somebody musta broke in the back window
And stole two loaded machine guns and both of my trenchcoats
Sick, sick dreams of picnic scenes
Two kids, sixteen, with M-16’s and ten clips each
And them shits reach through six kids each

Em is making fun of the idea that musicians like him are a bad influence because he is not the one who gives these kids their weapons.

And as we all know, Eric Harris and Dylan Klebold both wore a Trenchcoat when the attack started, that’s why „both of my Trenchcoats“ were stolen. And so he thinks that they were stolen to start another Columbine.
And when you have these „two kids“ with guns that, when you shoot them, „reach through six kids each“ you have 12 dead kids. And as we all know, during the Columbine massacre died 12 kids (and one adult).

By the way, Eminem needed two months to write his whole verse on this song while Sticky Fingaz wrote his verse in one day. 


I’m Back, 2000
0:30-0:41
I take seven [kids] from [Columbine]
Stand ‘em all in line, add an AK-47, a revolver, a 9
A MAC-11 and it oughta solve the problem of mine
And that’s a whole school of bullies shot up all at one time

This is probably the most well known Columbine reference made by Eminem.
This album came out one year after the massacre so it was still an sensitive subject. Therefore his label censored these two words (Kids and Columbine), even on the explicit version of the album.
I don’t think I have to explain what exactly this lyric means, it’s pretty clear.
In his book he states this:


“ I was getting shit about the Columbine reference on “I’m Back” and the label was telling me that I wasn’t gonna be able to say it. My whole thing was, what is the big fucking deal? That shit happens all the time. Why is that topic so touchy as opposed to, say a four-year-old kid drowning? Why isn’t that considered a huge tragedy? People die in the city all the time. People get shot, people get stabbed, raped, mugged, killed and all kinds of shit. What the fuck is the big deal with Columbine that makes it separate from any other tragedy in America?”

In 2015 a 15 year-old boy was arrested. He posted these lyrics on Instagram and added “Cause I’m just like shady and just as crazy as the world was over that whole Y2K thing”
The origiginal lyrics are “ ‘Cause (I'mmmm) Shady, they call me as crazy
As the world was over this whole Y2K thing”

When authorities searched the boy’s home they found weaponry and eventually arrested him. He denied any knowledge of the weapons and said he didn’t post this text on Instagram.


White America, 2002
0:42-0:48
White America, I could be one of your kids
White America, little Eric looks just like this

In this song it’s not only about the Lyrics but also about the music video.
With “little Eric” he mentioned Eric Harris but it was also meant as an example for a typical white kid. He is from middle america because his name is in the middle of amERICa.
The interesting part is, as I said, the video. Where you can see news of an school shooting during “I could be one of your kids”
And during “little Eric looks just like this” you can see one of those typical yearbook pictures and the house of the school shooter. The house looks a bit like the one the Harrises had.

When these lines get repeated you can see a boy full of (probably) blood stepping out of the map of america. On his shirt is written “I am Eric”.


Rap God, 2013
0:49-0:54
I’ll take seven kids from Columbine
Put ‘em all in a line, add an AK-47, a revolver and a 9

This was the first time we could hear the Columbine Line uncensored. Eminem didn’t rap all of the “I’m back” lines because he just wanted to
“See if I get away with it now that I ain’t as big as I was”
As you can hear, he got away with it.





Eminem is one of the few people who openly give their sympathy for the two shooters.
He admitted to be interested in serial killers in this statement:
“I did find myself watching a lot of documentaries on serial killers, I mean, I always had a thing for them. I’ve always been intrigued by them and I found that watching movies about killers sparked something in me.The way a serial killer’s mind works, just the psychology of them is pretty fucking crazy. I was definitely inspired by that, but most of the album’s imagery came from my own mind.”

But Marshall Mathers seems to have an very personal realationship with the whole Columbine Issue.
He himself was bullied on a daily basis during his childhood, often for his race and for always being the new kid. When he was nine years old he got beaten up so bad he was in an coma for several days. I think he is one of the people who is trying to understand what Harris and Klebold were going through.
But I think it is important to mention, that he is the living proof that even when your life is is shitty right now because of some people who have nothing in their life but to terrorize you, that you can still have a better life. And you beat them best when you keep on living.

“That Columbine shit is so fucking touchy. As much sympathy as we give the Columbine shootings, nobody ever looked at it from the fuckin’ point of view of the kids who were bullied—I mean, they took their own fucking life! And it was because they were pushed so far to the fucking edge that they were fucking so mad. I’ve been that mad.

-Marshall Mathers

The 1 Element Your Flawed Character MUST HAVE

If you’re a reader, you’ve probably experienced this before: you pick up a book, it seems pretty interesting, you nonchalantly decide to read it – “whatever, might be good” – and then … 

A paperback explodes life as you know it.  

Encountering a book like this can give life sudden clarity, it can change the way you look at the world, it can help you overcome something and grow, it can give you new purpose, it can inspire you to change your life, it can transform your future. By the time you’ve finished that book, it has become a part of your life – and will probably remain that way forever. (*Holds up my battered copy of Narnia as evidence*)

This magical experience is pretty much the ultimate goal for a reader. But if you’re a reader AND a writer, the fulfilling moment is inevitably marred by one depressing thought:  

“I’ll never write anything that good.”  

To which I say:

I beg to differ, little discouraging voice. With dedication and persistence, anyone can write a story that will be deeply meaningful to a reader. 

The trick? It needs to be deeply meaningful to the writer first. 

If a writer is going to give a reader a life-altering piece of knowledge, that means the writer already has that knowledge to give. We have all experienced things worthy of a story. We are all characters, journeying through arc after arc, becoming better or worse. From living these stories, we learn and see things more clearly, just as protagonists do. Which means we have something to say, something to write about, something to give. 

But to do so, we have to shoot for art.

The word art seems terribly vague, unattainable, and intimidating. But I don’t think it has to be. By “art” I’m going by the definitions given in two of my favorites quotes about writing (writing is art, so these apply): 

“Art is born when the temporary touches the eternal.” – G K  Chesterton

and

“…It is an art. It is the best of all possible art, a finite picture of the infinite.” – N D Wilson  

Both quotes state the same thing, in different ways. Art is about depicting and communicating something true, something universal, something everlasting about life and humanity, through something tangibly created. A definition which sounds an awful lot like the definition of metaphor: “a thing regarded as representative or symbolic of something else, especially something abstract.” Which sounds a lot like storytelling, because story IS metaphor. It’s life, condensed and magnified, all of its components there for a specific reason – to represent and convey some deeper meaning. So storytelling is naturally suited to being art. Which is good news for writers.

But it can also mean trouble. Storytelling is proven to be one of the most powerful teaching methods there is; a story actually has the power to get into someone’s head and heart and change everything, because to a reader’s mind the events on the page are actually happening. They’re living another life, a life that seeks to prove whatever the author wants to say. So writers have a responsibility to make sure the meaning of their story is true, morally and logically. 

BUT HOW DOES THIS ALL RELATE TO THE MAIN CHARACTER?!

Your main character is flawed, both in ways that only hurt themselves, and in ways that hurt others. These flaws are causing them to ruin their own lives. If they don’t awaken to this unwelcome truth about themselves, they will be lost. What happens to them over the course of the story, as they go after their singular goal, is going to apply pressure to these flaws until someone new – and most of the time, better – is made. The journey will teach them something, and that knowledge will enable them to overcome their weaknesses and forge a better life. 

And I bet you can guess what that story will teach them. That thing that is deeply meaningful for you, so meaningful you want to share it with readers? Yup, that’s what your main character is going to learn.

It’s going to be the SOLUTION to their inner problems. When it comes to characters, the meaning can be wrestled into three parts, adding up into one concise sentence. 

1) To achieve *a better state of being*

2) One must *moral and mental requirement*

3) Or else *the inner stakes*

To see how this works, let’s look at a fairy tale, the most straightforward example of this concept: 

Let’s see Cinderella (the live-action 2015 version). 

The meaning of the movie is summed up in this scene, and the story seeks to prove it throughout: 

“Have courage and be kind… It has power, more than you know. And magic.”

The story revolves around this notion, and everything seeks to represent it and prove it, in true Fairy Tale fashion.  

So in one line, that Ella’s arc proves: To achieve victory over abusers, one must hold onto their courage, kindness, and goodness no matter what – or else succumb and turn into someone like them. 

Exemplified in her last words to her stepmother, that truly defeat her forevermore:

So! Constructing these sentences can help give our flawed characters a destination to motor towards. Which makes writing their arcs much easier. And maybe we can construct a character arc and story that will become one of those magical reading experiences for a reader. And then, maybe one day, we’ll get letters from our reader, telling us exactly what our stories gave them and how it has saved their life in some small way (or maybe not so small way.) 

If finding a book like this is ultimate goal of a reader, I think getting a letter like that is the ultimate goal for a writer. 

Well, there’s my motivation. Time to go figure out what the heck I want my book to say. 

Meeting you was like watching a movie that I’m uninterested with but, ended up being as my favorite. You were ordinary as I saw you for the first time. You entered the room wearing worn out pants, work-appropriate shirt and your gestures showed how nervous you were. I fell in love with your silent face. As time goes by, you introduced me to your paradise. And now, your smile is my favorite part of the day. You are the best scene that I’d watch all over again. You are a divine creation. I never thought I’d lay these eyes off of someone as I do, with you.
Meeting you was such a beautiful encounter. You don’t know how beautiful you are whenever you walk around the room, and you made me feel a little crazy when you smile back at me. Oh, you are clueless how it melts my heart every time and how you give chills right down to my spine. I know, you are wondering why I can’t look straight at your eyes whenever we talk. I just don’t want to exhaust every star that is forming inside. Because you are slowly becoming the universe to them.
Meeting you was something I’d be forever grateful. Your name is my favorite word, looking at you when you’re not looking at me is my favorite habit. Your voice creates lovely symphonies in my head. I haven’t seen such colors like yours before, and I’d be perfect if you paint my life with them. I don’t know if we have met somewhere in my deepest dreams, but I’m glad we met here. If this was a movie, you were my favorite part of it.
—  E.J. Cenita, Meeting you changed my perspective about curly hair
What Is The Shape Of Your Monster? – Get Out and Thought-out Horror

Get out.

No, I’m dead serious. If you haven’t already seen Jordan Peele’s Get Out yet, I need you to do me a massive favor. I need you to bookmark this page, close this page, and absolutely do not read this page— or any other essay or article on Get Out— until you’ve finished watching it.

I’m not just saying this because this essay will contain major spoilers for a movie that is best enjoyed going in knowing as little as possible— I mean, yes, it will— but most of all I just want as many people to see this movie as possible. It is by far the most socially relevant American movie to come out this year, at time of writing, if not one of the most socially relevant pieces of American art of the past decade.

It’s also just a very good movie.

(SPOILERS START NOW)

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The Bronze

Summary: You and the team decide to trick Bucky and Steve into watched The Bronze for your movie night. Bucky teases you about your crush on Lance Tucker after noting your reaction to the sex scene.

Warningsteasing, masturbation, smut (reader receiving oral sex)

A/N: Wanted to write a Bucky smut. What’s new? Totes not my best work but I wanted to write a short fic for you guys because I haven’t in a while.

Originally posted by vintagefangirll

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