i rewatched this for the first time in probably a decade


I don’t know if this is common knowledge or not, but this scene here is the first, and only time Edward cries in the series. From the day he and Al burned down their home until now, this is the only time.

Ed didn’t cry when he and Al discovered what had become of Nina. He didn’t cry when she was killed. He didn’t cry when Scar destroyed most of Al’s body, or when Scar was moments away from killing him. He didn’t cry when Al accused him of creating a fake soul and binding it to armor, of inventing a brother as some kind of sick joke. He didn’t cry when he learned Hughes had died, or when he confronted Gracia and admitted the murder was likely his fault. He didn’t cry listening to Al admit that he was at his wit’s end, that he couldn’t stand all the nights alone anymore. 

He didn’t cry when he learned Scar had killed the Rockbells after saving his life, or when Hohenheim accused him of running away. He didn’t cry when he discovered the thing he’d transmuted wasn’t actually Trisha, or when Envy told him they were doomed to die inside Gluttony’s failed portal, or when Bradley took Winry hostage, or when the fight with Kimblee left him with a ten foot steel beam puncturing his side. He didn’t cry when Pride hijacked Al’s lifeless body, or when he let Al be locked up in total darkness with Pride, or when Father took them captive and used them to kill everyone in Amestris.

And he didn’t cry when Al sacrificed his own soul to save Ed’s life.

No. He’s gotten angry; he’s yelled; he’s exploded, but he’s never cried. This is the only time, and it’s when Hohenheim tells Ed to his face that he loves them, more than anything in the world, and only wants for them to be happy—that everything that happened had been his fault, as their father, as an adult, as the one who should have been protecting them, and not Ed’s.

And Ed bawls.

Here’s why: Ed hates Hohenheim, and will easily admit it, but he doesn’t hate Hohenheim in the way he hates other people. Ed enjoys talking smack about those he genuinely hates—he’ll talk about wanting to beat Scar bloody for everything he’s done, and wanting to kick the homunculi’s asses for trying to use him and Al as pawns. Hell, he even enjoys jabbing at Roy for the personality traits he dislikes. Hohenheim is different though. Hohenheim is the only person Ed hates that he also hates talking about. Every time Hohenheim is mentioned, Ed responds with a quick, scathing comment about the man and desperately changes the subject.

And this is all because Ed doesn’t feel right about his hatred toward Hohenheim. For all the others, Ed hates them from a blameless position. The homunculi hurt innocent people, as does Scar, as does Kimblee. Ed securely knows he’s the good guy who hates these bad guys. He’s the moral one, the blameless one, pushing back against a truly antagonistic force. And this is what Hohenheim is not. All of Ed’s hatred toward Hohenheim stems from a place of projected guilt and self-loathing. Ed decided to try to bring Trisha back to life. Ed performed the transmutation that got Al’s body taken away. Ed burned down their home and enlisted in the military, and Ed agreed to do awful things in order to try to fix what he’d done to Al. But, if Ed dials everything backwards, he can almost justify rooting this in the fact that Hohenheim left them first.

If Hohenheim had stuck around, maybe Trisha wouldn’t have died. And if she had, Hohenheim could have stopped Ed and Al from doing something so reckless as human transmutation. He’s their father after all. He’s supposed to be responsible for them. But he left, so Ed can almost rationalize the idea that it was Hohenheim’s leaving that led to everything bad in the brothers’ lives.

Ed knows this is grasping though, and he clings to it in part because he’s convinced Hohenheim hates him too. The clearest memory Ed has of his father is from the morning he left, standing stiff at the doorway, glaring down at Ed before heading out the door and never returning. (A glare which we later learn was the result of Hohenheim furiously holding back tears). Clearly, Hohenheim hated Ed and Al and Trisha enough to just walk out the door one day without saying goodbye. Ed’s probably spent a lot of sleepless nights wondering what they’d done wrong as a family—what he’d done wrong as a son—to make his own father not want him anymore.

So when Ed talks about how he hates Hohenheim, it’s 100% intertwined with a hatred he feels for himself. And it’s an insecurity Ed would never, ever admit to.

Meeting Hohenheim again in episode 20 only works to confirm Ed’s fears. Hohenheim is unbelievably cold to him—Hohenheim confirms that, yes, all of this was Ed’s fault. Ed committed the taboo; Ed burned down their home as a means of hiding the memory. He’s disappointed in Ed. He hates him as a son. And he leaves, again, without goodbye, because Hohenheim didn’t return home with any sort of change of heart.

Learning the truth about Hohenheim only serves to scramble Ed’s feelings. He’s confused; he’s uncertain. He can rationalize Hohenheim’s departure in the context of preparing the counter-transmutation circle, but what about his memories of the man who glared at him, filled with hatred, and left? What about the man who accused him of being a scared, stupid child who’s to blame for all his failures? What about the man who—if only he’d stuck around—could maybe have stopped Ed from doing all of this? The truth makes sense, but it does nothing to alleviate all the guilt and self-hatred Ed feels in relation to Hohenheim, so he doesn’t soften to his father like Al does.

Until this scene.

Until finally, Hohenheim says everything Ed’s desperately wanted to believe for the past ten years. Hohenheim loves him. Hohenheim cares about him. Hohenheim blames himself for what happened—he should have been around for Ed and Al, he should have been there to stop them from doing the impossible, he should have been their father. He wanted to. More than anything in the world, he wanted to just be there for them. Their family was everything Hohenheim had loved in life, and he’s sorry, from the bottom of his heart he is sorry, for how he left them behind. So sorry, that he wants to sacrifice his life in order to fix what little of it he can.

And that’s what breaks Ed. He was strong enough not to cry at any other time, for any other reason, but in these few panels Hohenheim destroys the mangled, tortured sense of fear and guilt and self-loathing that Ed had been harboring for a decade. Hohenheim loves him. Hohenheim is happy to be Ed’s father, proud, and so so sorry.

For the first time, Ed cries. Because for the first time, he feels like he can call Hohenheim “Dad”.

Full disclosure: I write this as someone who, up until last year, looked at the spinoffs and brushed them off as ‘silly’ or ‘not worth my time’ and just laughed at them without ever giving them a shot(save for GX). My general reaction to seeing that there was another series was ‘another one? really?’

So, with that cleared up,

Why you should totally give the Yu-Gi-Oh! spinoffs a chance.

So, you’ve seen the original series(which I shall refer to as DM(Duel Monsters) from here on out) and maybe you’re kinda curious about the other series, or you want to know what the buzz is about and if they’re really that good. But, which should you check out, there are 5 of them after all.

All of them, you should give them all a shot.

Le’s go down the list, stating with GX.

Yu-Gi-Oh! GX

This is the one that’s the ‘high school au’ one.

This is your protagonist for 4 seasons(180 episodes)

His name is Judai Yuki. Probably the most normal and realistic looking of the ones on this list. I mean, brown hair and eyes, that’s pretty uncommon for a protagonist in this kind of anime.

He’s the protagonist a lot of people seem to refer to as the ‘annoying hyper one’. I blame the 4Kids dub* for this. Because, watching that, you wouldn’t believe he’s 15. Yeah you heard me. 15. A year younger than Yugi. He is most definitely not the ‘annoying and hyper’ one. 

He’s the only protagonist to have a confirmed end-game love interest(as in, he canonically ends up with someone), and they’re not female.

The show allows him to make mistakes and face the consequences of his actions, and they aren’t always pretty.

*I will probably recommend you watch the subs for all these. Because honestly, after DM (and ymmv on what you thought of that dub) I feel like 4K just treated the spinoffs as a joke. They butchered the hell out of them and you lose a lot. Unless you want to watch the dub and laugh at it.

If you’re fresh off DM, or hold that one dear and aren’t sure if you want to let go of the characters you love yet(and you don’t need to let go, you can love all of them), this might be a good place to start, because cameos.

Yup, see GX is set in the same universe/timeline as DM, just about ~7(10 in the dub) years later, so we get a few cameo appearances from past characters.

Pegasus appears in 3 of the 4 seasons, Yugi appears in the first and last episodes, Kaiba gets a few brief shots and Yugi’s Grandfather even gets an appearance dung the second season as a helper to the protags(which gives us a number of nods back to DM and Battle City in particular.

The foreshadowing in this series is, amazing, and the sort of thing you don’t catch till you rewatch it.

It is slow to get started admittedly, unless you like slice of life, then you’ll enjoy the early portions of season 1, because it has a lot of slice of life type episodes/episodes to establish the characters and the world before the plot kicks in.

If you can hang around until season 3 it will be worth your time. I promise. I can’t even compare it to anything in DM because, cripes it’s worse than season 4(the Doma arc) with how dark it gets. Season 3 is basically the embodiment of the ‘Break the Cutie’ trope. With ‘cutie’ being, that one up there.

Also, the character development in this series is phenomenal! Probably the best out of all the series.

So if you like DM and the characters and you’re not quite ready to say goodbye, this is a good place to start.

*I have a bit of a personal bias b/c this one is my favourite.

Yu-Gi-Oh! 5D’s.

aka the card games on motorcycles one.

Yes, it’s a silly idea. But they pull it off enough well enough that you can look past it.

So, your protagonist for this 152 episode series.

Yusei Fudo. He is the oldest protagonist at 18.

Do not be fooled by that serious face, he is a massive sweetheart and very nice.

If you like action this is one you’ll like. If you enjoyed Kaiba you’ll probably enjoy Jack Atlas (the rival/Kaiba expy for this series). This one also has more of the ‘ancient magic from thousands of years ago’ that DM had. Except from Egypt, it’s from Peru, and involves the Nazca lines.

Unlike GX,which starts out slow and is very slice of lifey, this one just, drops you head first into the story, action right off the bat. You need to watch a few episodes to adjust to the vast difference between this one and the previous two.

You may have heard of the 10th anniversary movie Bonds Beyond Time, a crossover between DM, GX and 5D’s. Yes, that means that this too exists in the same time line as DM. Just, a few decades or so after GX (though it’s not clear how many). There’s no character cameos, but you do get a few nods back to DM, including a mention about Kaiba Corp as well as the brief appearance of an old duelling platform from season 1 DM.

This is also the first one to introduce a new summoning method(that isn’t Fusion or Ritual), called Synchro summoning.

The first season(up to episode 64, the end of the Dark Signers arc) is worth checking out at minimum and you can totally stop right there and not really lose anything.

The second season is, kinda clumsily handled. There was a massive controversy with one of the actresses and she was replaced and a massive chunk of the script rewritten due to said controversy and, it shows. Season 2 has more of the ‘slice of life’ episodes. And it has some fun mini arcs interspersed with the plot(like watching Jack fight the literal devil, and a wild west themed mini arc).

Again, I recommend the subs. The dub is, eh. The second season is just, bad because there are literally chunks of episodes, in the middle of arcs, undubbed. And the last chunk of the series isn’t dubbed, it ends something like halfway through the final arc. So subbed is the only way to see it through till the end.

So 5D’s is worth checking out for sure, or at least the first season and BBT.

Yu-Gi-Oh! ZeXal

This one seems to be a bit of a blacksheep in the YGO, it seems to be the one to get a lot of flack. :/

Anyways, our protagonist for this one. It is 146 episodes.

Yuma Tsukumo. Sweet cinnamon roll that must be protected at all costs.

Yes, he has weird hair, but so does everyone in this series so you’ll adjust(and some are even odder that his). Also please note he s 13, making him the youngest protag. So keep that in mind when judging his actions.

If you like DM, this is also a good one to check out for sure because of all of the parallels between them.

From the relationship between Yum and Astral and Yugi and Atem(amnesiac spirit tied to an artefact and host that is helping them recover their memories…), to ‘former bully turned best friend of the protagonist’, to something that happens at the very end of the series. It’s like a great bit DM reference, with season 2 being a massive GX reference.

It also has great themes on friendship, forgiveness, family, as well as never giving up and giving it your all. Yuma’s ‘kattobingu’ is silly but wonderful. Yuma is a ball of sunshine and happiness that eclipses everyone else on this list.

It’s plot is also an interesting thing, going from a seemingly clear cut, black and white situation where you go ‘they’re good and they’re bad’ to a very grey and muddied one where it’s really hard to tell who’s right and who’s wrong in the conflict and asking the question ‘is this really right?’

While there are no past character cameos, we DO get an episode with monster cameos from DM and GX(including BWED and Dark Magician, and Neos and Rainbow Dragon). If this is in the same universe or a different one from the previous three is unclear. Knowledge of them is not needed to watch and enjoy this one.

Like 5D’s, which introduces Riding Duels and Synchro Summoning, Zexal introduces us to Xyz Summoning and D-Gazers(the duels are projected into VR space that only those wearing a D-Gazer can see/interact with, and the trouble as a phone/communication device of sorts). It catches you up fairly fast on what both of these are.

Much like GX though, it starts off semi slice of life-y with plot, and then the next season hits and it goes dark. Really, really dark.

But it’s great.

Also, it has arguably one of the greatest villains in Yu-Gi-Oh!. Vector. Just, just Vector.

Think like Yami Bakura, if he were actually competent and thought his plans through and knew what he was doing. And more of a twisted, manipulative person. He’s a ‘love to hate him’ character because he is so good at what he does and fun to watch, but at the same time, the things he does are just awful.

And this one has some pretty good foreshadowing too-there s a line in the, second episode that suddenly makes sense when you get to season 2 and more is revealed.

So if you love DM this one is definitely worth checking out.

This one isn’t missing any episodes from the dub.

Yu-Gi-Oh! Arc V

This one is a bit longer than Zexal at 148 episodes long

This is Yuya Sakaki. You’ve probably heard people call him ‘tomato child’. Yeah, the hair is why. Also he is 14.

Again, like Zexal everyone has crazy hair, so he isn’t too unusual in terms of colour(I mean his best friend has pink hair).

This one is a bit different.

See, while you could watch any of the previous three in any order without having seen any of the others and they would still make sense, this one makes frequent references to GX, 5D’s and Zexal as well as using their summoning methods(Fusion, Synchro and Xyz). You don’t *need* to watch the previous ones to watch this and understand it, however you will get the tiny references faster if you do(which adds to the fun).

It is definitely a fun one to watch, taking all the liveliness that is duelling and doing something with it. Action Duels. So no more just, standing there shouting at one another. Now it’s running around, riding the monsters and shouting at each other.

So if you liked the action from DM, you’ll enjoy this.

And much like Zexal and 5D’s, this one introduces Pendulum Summoning as its new summoning method, while utilizing all the previous summoning methods.

One thing people like to point out is its deconstruction of many past YGO tropes(esp the ‘we duelled so we’re friends’ trope.) and it does, frequently. Also I think it’s the first one to feature a tournament arc, where the tournament doesn’t get finished. And female characters that DO shit and get shit done. And a lot of them too.

And yes this is the one with the guy and his lookalikes. Don’t worry, it’s not as confusing as it seems. If you can keep straight and past and present selves in DM, counterparts is a non issue(especially since they are introduced gradually so you get to know them).

The plot is kinda slow to get going, as it bounces between two main characters for the first while, yet still keeps from being boring, but once it hits, it HITS. Like, by episode 7 you know something is up and this is going to be more than just ‘duelling for fun’ and a rivalry between schools, and it goes from there. And then, for lack of a better descriptor, ‘shit gets real’ once you reach the 30′s.

And it’s all down hill from there.

*This one is my other favourite.


This is the newest one, hot off the presses (and only 6 episodes long at the time of writing)

Meet Yusaku Fujiki, 16 years old.

A bit of a loner, withdrawn and more or less friendless(a first in YGO). He’s also blunt and speaks his mind, even to the point of rudeness, even if unintentionally(he doesn’t know how to socialize all that well). He’s also a hacker.

But he has an alter ego, the vigilante duelist Playmaker. Did I mention he gets a transformation sequence?

Cause he does. The magical boy/magical girl jokes write themselves honestly.

(gifs by kaiba-cave – the gifs did not show up in the gif search unfortunately)

VRAINS introduces us to a new kind of dueling, VR dueling, where one logs onto the Link VRAINS (which stands for Link Virtual Reality Artificial Intelligence Network System) server to duel in the online world under an avatar(that usually looks/sounds different from their real world self). It also introduces Link Summoning to the game.

If you thought the Virtual Reality arcs in DM were something, VRAINS takes it up a level(also if you are at all familiar with the mobile game Duel Links, then the rules of the Speed Duels that are used in VRAINS should be familiar to you). I

All we know about the plot at the moment is that the world of Link VRAINS is under attack from a group of hackers called the Knights of Hanoi who seek to destroy it.

I’ve head comparisons made to .hack and SAO, but as I’venev seen eithe can’t vouch for them.

Also, if you like consistent animation quality, GX is the way to go, with Zexal and Arc V following close(VRAINS is looking pretty good to but only time will tell). No where near as many wonky episodes like DM had(Doma arc and Memory World Arc come to mind). Sure they have their off episodes in terms of animation(what doesn’t?) but not to the degree that DM had.

GX is fairly solid in terms of animation, especially in season 4 where it shoots up, a lot. While Zexal and Arc V are just, stunningly animated, and very bright and colourful (so when the animation dips for an episode or two you can tell).

5D’s has some good and some bad.

And the character designs, the character designs are fucking great ok? For all of them.

Where to watch!

Of course, the most important thing, after picking which one sounds interesting to you, is were to watch it.

I highly, highly recommend the subs over the dub(though you can watch the dub if you want, just take it with a grain of salt at times)

Of course, supporting the official release is best idea. Gx, 5D’s, Arc V and VRAINS all have official subs on Crunchyroll for your viewing pleasure, with VRAINS being simulcast! This means subs come up the same day the new episode comes out(every Wednesday). This is the first time it’s ever been done for Yu-Gi-Oh!

Ideally, this would be the way to go. However, CR does not have subs for Zexal(it does have the dub though so, maybe one day), and VRAINS is region locked in certain places(like Canada) meaning you will have to seek fansubs elsewhere. Gogoanime is my recommendation. Torrenting/downloading is the next best option.

If you want decent Gx fansubs, I recommend these ones.

All in all, they are all good, for various different reasons and definitely worth checking out, especially if you were/are a fan of the original. Or if you watched any of them dubbed and want to check out the uncut/unedited original versions, which are worth it.

Don’t just pass them over because ‘oh they’re spinoffs, they can’t be that good’. Actually, they can and are.

So I’m rewatching Transformers Animated for the first time in like… eons since it was cancelled bc Nostalgia and all that right?

And like… their Token Human ally, Sari Sumdac. At the moment She’s 7 years old. A small child, not even a decade old, and the first episode after the 3 part intro she’s established by the narritive as singlehandedly working like a caretaker of her obviously workaholic single father.

I remember a lot of people saying way back when that Sari was super annoying when she was young and after her upgrade that she was a massive Mary Sue, and while I’ll probably get to the latter later, the former is a little more interesting an answer to me atm.

Sari was 7 when the series started, she had her 8th birthday in a later episode and an offscreen 9th birthday before her big Upgrade. The intro episodes gave us some of her characterization, excitable young girl, sneaky, a true born Slytherin with cunning far beyond her years, yet compassionate, creative, and with the heart of a lioness. But this is the first peek we get into the normal, day-to-day lives of the Sumdacs, this is what we should be establishing as their normal routine, and what do we see?

We see a 7 year old girl having to hack her way into her father’s ‘office’ to give him some tea, is immediately (if tiredly) scolded for going places she shouldn’t, inquiring on her father’s dietary habits with a concerned yet clearly unsurprised look, before grinning good naturedly at his non-answers and carefully leading him toward the kitchens where he could eat something.

That’s not normal 7 year old behavior, and if anything it makes all the more sense as to why she acts somewhat irresponsibly with the Autobots, and with the Key. It’s the only time where she’s gone from taking care of people to being taken care of. Idk about you guys but when I was 7 years old, if my conversations with my singular parent were normally just me trying to get them to take care of themselves, It’d take me 0.08 seconds to act as much like a kid as I possibly could around my Big brother figures and Uncle figues, even if I get scolded for not taking things seriously.

I remember when I was first watching TFA that there was a sort of… vague sense of Dystopia  around Cybertron, and I’m sure when I get there that’ll be another rant entirely. But for now I just really wanna add Sari to my 'My presh child’ list.

(also, don’t even act surprised that Sari used her key on TutorBot Isaac, you should have known it was only a matter of time until she hacked it)

The Lady & The Shark


Put on your tin-foil hats and buckle up for a ride to Crazy Town, folks. I admit this one is out there.


In late July of 1974, a 13-year-old girl walking her dog in the dunes outside of Provincetown, MA, followed her beagle into a stand of stunted pines, and nearly stepped on the badly decomposed body of a young woman. For a time, the inconclusive investigation into her death gripped all of New England.

An attempt had been made to remove her head, probably with the blade of a shovel, but the decapitation had been unsuccessful. The killer had better luck taking off her hands, which were never found. Several teeth had also been removed, all part of an effort, one presumes, to make her impossible to identify. Her jeans and a blue bandana had been folded and placed beneath her head.

The press dubbed her the Lady of the Dunes and at the time of this writing, over 40 years later, no one has ever claimed her. She remains without a name or a history. Her killer has never been identified.

Much has been written about the Lady of the Dunes and I won’t bother to recap four decades of investigative work here. Deborah Halber dug about as deep into her story as anyone has ever gone in her book The Skeleton Crew: How Amateur Sleuths are Solving America’s Coldest Cases. I recommend it to anyone interested in the granular details of the Lady and also for readers of true crime in general.

For now, though, accept that to this day there are only a limited number of established facts. We know about the blue bandana and the Wrangler jeans. We know she was between the ages of 25 and 49 years old… although 30 seems a particularly good bet. She had expensive dental work. Her hair was auburn or red. She was fit, 145 pounds, and when she was discovered her hair was in a ponytail, captured by a holder with gold sparkles in it. There have been several attempts to reconstruct what she looked like. Here’s one of the most recent efforts:

That’s it. That’s what we know for sure. Everything else is conjecture. And in all the time since her death not one person has stepped forward to say, “I saw her. I met her a few weeks before she was found. I can tell you her name.”

But what if we’ve all seen her? What if she’s been in front of us for decades and we just never noticed?

Who’s in the mood for a ghost story?

Yeah. Okay.

So let’s talk about JAWS.


JAWS was filmed in Martha’s Vineyard in the summer of 1974. It was a famously challenging production; originally scheduled for 50 days of shooting, it took over 120 days to complete, and was continuously teetering on the edge of disaster. The work was worth it - it is the summer movie by which all other summer movies are judged. (The story of how the film got made is a fascinating narrative in its own right. Carl Gottlieb’s The JAWS Log is probably the single best recounting of those hot, desperate days on the beaches of Edgartown, MA)

It’s also my favorite movie. Nothing else is even close. It’s a story I’ve returned to again and again. I think I was nine the first time I saw it, on laserdisc, a format which predated VHS and DVD (God, I loved those big silver platters!). I’ve seen it at least once, almost every single year, ever since. I’m sure I’ve viewed the picture 25+ times. I can recite the lines in much the way a tent revival preacher can recite long passages of the Bible.

And yet I had never seen it on the big screen until this summer. In June, JAWS was unleashed on theaters once more to celebrate its 40th anniversary. Naturally, predictably, maybe inevitably, I was there. For the first time I saw the picture the way it was meant to be seen. On the big screen, baby, that shark’s mouth is just about wide enough to ride a bicycle into it.

I was watching in my usual tranced out state of dreamy pleasure… and then, suddenly, found myself half-lunging out of my seat, prickling with gooseflesh.

Now understand, I had only just finished reading The Skeleton Crew a few weeks before. The Lady of the Dunes is in many ways the centerpiece of the book, and unlike the other crimes Mrs. Halber explores, it remains infuriatingly unsolved. After finishing the book, I had spent a few minutes online, acquainting myself with the latest details… and studying the recreation of the Lady’s face.

And now, suddenly, impossibly, there she was… life-size and looking over her shoulder at me. There for a moment in a busy crowd scene, and then gone.

I settled back into my seat and after my pulse returned to normal, I was able to enjoy the film. By the time I got home I had mostly talked myself into believing I had fantasized the whole thing. Just to be sure, I queued up the scene in question my DVD and rewatched it, to see if my eye would find her once more. But no. At least on the 15″ screen of my MacBook Pro, at 11 at night, I was unable to spot her a second time.

But the thought wouldn’t leave me that my unconscious mind had, in fact, latched into something. In the weeks that followed I talked to several friends about what I had seen (or thought I saw). Finally, I broached the subject with an FBI agent I know socially. I expected a good bit of teasing. Instead, he raised an eyebrow and said, “You know, it might be worth going forward with your theory. There might be something in it. Odder ideas have cracked colder cases.”

With this modest encouragement, I watched the film yet again, going over the sequence in question on a big screen TV, frame-by-frame, with @VoodooDarling as an extra set of eyes.

@VoodooDarling saw her before I did.

Here’s that recreation of the Lady of the Dunes again.

And here’s a crowd scene that appears 54 minutes and 2 seconds into JAWS.

Is that her? On the left?

Isn’t it?

Let’s take a closer look.

Blue bandana. About 30. Fit, 145 pounds. I don’t believe those are Wrangler jeans, but a lady presumably owns more than one pair of jeans.

Is the Lady of the Dunes in JAWS?




I admit its pretty goddamn wild speculation. And yet…

And yet.

Let’s go a little further down this very dim, very narrow alley of fantastic conjecture.

It is impossible to say with complete precision when they filmed the “July 4th - Crowd Arrives” sequence, which is where this shot appears. But we know it was almost certainly shot in June, because they filmed all the “on island” scenes they could early. The water was too cold for swimming, and the malfunctioning shark wasn’t ready for the “at sea” material until late July.

We also know the Lady of the Dunes was alive in June and that the filming of JAWS was a big deal locally. Lots of folks turned up to try and get a peek at the stars, or the shark, or to see if they could sneak into a shot.

The geography works too. Martha’s Vineyard is a short hop from Provincetown. It would be no surprise at all if a girl summering on the Cape decided to take a few days to explore the Vineyard… especially with the added bait of celebrity to draw her in.

Of course this is far from being even vaguely conclusive. The girl in my isolated frame of JAWS wears a blue bandana, but what of it? In the next sequence, on the busy beach, there are half a dozen women wearing blue bandanas. It must’ve been the style. Furthermore, it sure would be nice if her hair was in a ponytail, looped with a holder that has gold thread in it. But her hair is loose. It would be great if those were Wrangler jeans, but my Google Fu suggests they aren’t.

Here’s all we really have: an extra who bears a startling resemblance to a girl who turned up dead, some coincidences of time and geography, and a writer of horror stories who has a “feeling.”

Not exactly case closed, huh?


I create fiction for a living and I am always my own first audience. Telling stories to myself (especially ghost stories) has been my great pleasure - and compulsion - since childhood.

I am under no illusions about the situation here. I was watching JAWS, under the influence of The Skeleton Crew, and my subconscious invented an exciting little story about the Lady of the Dunes on the spot. It was so good, I persuaded myself it might be true.

It IS a helluva what-if, isn’t it? What if the young murder victim no one has ever been able to identify has been seen by hundreds of millions of people in a beloved summer classic and they didn’t even know they were looking at her? What if the ghost of the Lady of the Dunes haunts JAWS?

I know: to believe an extra glimpsed in JAWS is the verysame woman killed outside of Provincetown is a leap into the extreme hypothetical. That said, before her death, this woman had a life, and some of that life was spent on the Cape during the summer of JAWS. The odds are long that the Lady of the Dunes appears in the picture… but maybe not unimaginably long.

I turn this possibility over to the greatest puzzle solving instrument humans have ever created: the Internet. Give JAWS another watch. Look for the Lady.

Did you spend the summer of 1974 on the Cape or on the Vineyard? Were you in JAWS? Who else was there, the day they captured you on camera? Who did you talk to between shots? What do you remember?

This woman does not have a name:

Does this one?

anonymous asked:

avatar: the last airbender if youve seen it for the ask game?

I haven’t seen Avatar in its entirety in like…a decade so bear with me here

Favorite Male Character: Zuko

Favorite Female Character: Katara

Least Favorite Character: Zuko’s father

Favorite Ship: Zutara

Favorite Friendship: Zuko’s and Iroh’s bond warmed my heart

Favorite Quote: “That’s rough, buddy.”

Worst Character Death (if any): can I say Aaang despite him coming back to life

This made me so happy you have no idea Moment: When Sokka finally kissed Suki for the first time. That was a good ass day

Saddest Moment: Probably when Aang found out that Gyatso was killed while visiting the Air Temple. That shit messed me up as a kid

Favorite Location: Kyoshi Island probably??

Send me a fandom!

anonymous asked:

I've been rewatching a lot of classic anime recently. I was surprised to remember how progressive and globally-minded old anime are. Trigun promotes messages of acceptance, peace, and forgiveness, while the entire third season of Slayers is about how people should value foreign cultures on the same level as their own. I feel like the trend in modern anime is of rising nationalism, exceptionalism, pro-war/military themes (ex: GitS: Arise, Mahouka, Shingeki no Kyojin). Is it all in my head?

Finally answering this because Christmas! Yay! :D!

I definitely agree with you on all of those points and while it’s probably a pretty obvious answer to a lot of people, especially on a site like Tumblr, it’s worth reiterating that popular media most anywhere to some degree often represents the current state of political discourse and whatnot and that definitely goes for Japanese stuff, anime included.

I don’t think it’s a coincidence that a lot of older anime and manga were more, for lack of a better word, existentially sensitive compared to some of the more popular stuff that we’re seeing now. Both of those industries, while they had existed prior to World War II, obviously flourished in the wake of the Allied occupation, so you had these creators that had not only “lived through,” whether literally or not, events like the atomic bombings of Hiroshima and Nagasaki, but also just the general terror that the imperial government had increasingly come to subject its own nation to over the course of decades. In the latter case, free speech was very much so stifled and it absolutely wouldn’t surprise me if some famous creators who lived in that era had been subject to censorship themselves.

So when the war ended, even if not every wrong committed by that government was righted (Hirohito, the emperor at that time, was notably excluded from the war trials, ostensibly to maintain social stability), there were a lot of creators who had come away feeling their own vulnerability and relative insignificance upon having a foreign power successfully breach their country for the first time in its history and it was a collective trauma that they weren’t intent on seeing people repeat in their lifetimes. The influence of this mindset in terms of manga and anime that was created in the immediate decades following the war really can’t be understated. Astro Boy, for instance, was Tezuka’s attempt at inspiring Japan to harness science for progress and greater good of mankind, rather than just making weapons and whatnot that hurt the earth and its inhabitants better. Barefoot Gen is a very earnest portrayal of the tragedies that befall atomic bomb victims in an attempt to criticize the sort of Japanese exceptionalism that helped create the situation and continues to this day in many respects. And then there’s, of course, gekiga as a whole subgenre that was fundamentally concerned at exploring humanity’s flaws and how they contribute to how the human condition in general is experienced.

And then I think the reason why you see that spirit still extend to works from the 80s and 90s is because a lot of those creators who got their big breaks were either on the younger end of that generation that experienced the war and the reconstruction or were children of people who had witnessed it for themselves and grew up around that era of profound introspection at the societal level. Even if their implementations of some of the themes in their works aren’t always perfect, especially with respect to minorities and foreign cultures, I would agree that there was often still that spirit of historical atonement and a desire to engage the outside world in meaningful dialog to help bring people together and make humanity grow collectively.

Nowadays, I think the younger creators working in Japanese pop culture that are really just getting started with their careers grew up in a time that was disconnected from the aftermath of all that trauma just long enough that they don’t necessarily feel that they can relate to it, that Japan had already done what it needed to do to move on before they really came along. They probably grew up either during the bubble economy in the 80s or right after it burst and coupled with the perpetual recession and Japan’s political problems both internally (eg: Aum Shinrikyo, Akihabara stabbings, etc.) and externally (eg: territorial disputes with China and South Korea, issues of how to interpret that WWII legacy, etc.), they also see Japan as a vulnerable, but often from the perspective that either its democracy has failed to service them in some way like with the recent Diet elections or that it’s under rhetorical attack from forces that “just don’t know when to let go,” even if from an outside perspective such issues tend to still have merit in addressing them today. So it’s almost like they feel as though Japan is being compartmentalized and slowly driven to irrelevance by some outside force or another and think that an aggressive stance needs to be adopted in order to maintain its current place within the overall world order on some level. “We must recognize within ourselves of Japan’s specialness, its exceptional nature because we live in a world that doesn’t afford us that recognition and validation,” essentially.

Of course, there were older works that were very pro-military and extremely right wing in content and there are newer works now that still maintain that older popular spirit of inclusion and whatnot. At the end of the day, often the understanding of people outside Japan with respect to the state of its pop culture and whatnot is limited to what’s deemed worthy of translation and localization, right? But overall, I would agree that there has been a concerning rhetorical shift in popular media in recent years that, while not without some potentially legitimate roots depending on your own personal stances on things, has led to the rise of themes and types of content that would have once been more readily relegated to those political fringes. I’m not saying everybody who makes those sorts of works is pushing a specific agenda that I might disagree with or that people who enjoy them are bad or anything, but I will admit that the tonal shift is a huge reason as to why I don’t engage with a lot of recent Japanese media outside of games as much as I used to. I think the country will get out of this funk eventually, but it’s in a period where a lot of outstanding issues are finally coming to a head, so that society is undergoing a lot of growing pains that other places contended with decades ago.

I hope that makes sense. Thanks for the awesome question! It’s great when I get to talk about stuff like this! :D!

So a thought accrued to me: About “Fridging” on Supernatural and its infamous treatment of women (not what you think).

(aka the things your mind cooks up at midnight)

As a consensus, we all seem to agree about the deaths of Mary, and subsequently - Jess’s - as such. TV Tropes lists them as prime examples, too.

But, in a traditional/classic SPN-ish way, I would like to argue that “Fridging” on SPN has been subverted from the get go - we just didn’t know it back then.

One of the greatest things about the Pilot of SPN is the fact that we are thrown into the story somewhere in the middle of it - we have more then two unaccountable for decades to try and figure out, plus a thousands years long legacy line that we aren’t even suspecting of yet. 
We are shown Mary’s death, and we are shown Jess’s death. Bookends. Both propel the hero to action. Common. Tragic. 

Yet something is different. 

A character is killed off in a particularly gruesome manner and left to be found just to offend or insult someone, or to cause someone serious anguish… the doomed character may be killed by natural forces or by a character who doesn’t have the intent to cause someone else angst - in this case, the intent comes from the writer, who wants to rouse strong emotions in another character… The term… “fridging”… was popularized by comic book writer Gail Simone (she) compiled a list of instances of female comic book characters who were killed off as a plot device. ” (TV Tropes).

It is considered a cheap writing ploy, lazy. Non-creative. Plus, women, again.
And maybe, at first it does seem so. 

So Mary is our first “fridged” character, then.
Well, I wouldn’t be so sure.

When, seasons later, we get to see the YED and his machinations in the past, we witness a strange thing: A female character making “The Sacrifice” to save her loved one: Mary selling her soul unborn son to the devil for John’s life.
This way, condemning herself and her future. 
The fact she goes into the nursery and gets killed? More of a casualty on YED’s part. I honestly think he could care less. And it backfired.
The fact that he killed her, bit him in the ass - he had to go and make circles and backtrack and rethink his plans and SEND BRADY TO FIND A JESS TO KILL in the first place.
Because killing Mary? Big mistake. It propelled John into hunting, and Sam and Dean into what they are - and that is NOT an easy target, for either Lucifer not Michael. Seriously, go and rewatch “In The Beginning”. He didn’t want Mary dead. He even wanted to assure her an apple pie life. As long as he isn’t “interrupted”.
I think, as time passed, and YED had to run all over the USA for little Sammy, he cursed himself to hell and back for killing Mary and not being stealth enough.

Which brings me to Jess. She was created by the YED to be killed. She was conditioned. Her place in Sam’s life was premeditated
I wonder how much of Sam’s choice was involved in falling in love with her. Not to question their love, though. That was genuine, in my opinion. But what did she do to make Sam notice her? I wonder how much of it was Brady’s doing - “Hey, he likes when girls/Sam likes to do that and that”. Sam cared for Brady, we know that. We don’t know the actual extent of their friendship, but we do know he introduced Jess to him in the first place. All to kill her later. 

And in that regard - Jess was CREATED TO GET FRIDGED BY THE YED. Yes, I argue it wasn’t the writer’s (as in - Kripke’s) fridging act - but HIS CHARACTER’S. (Yes I understand the the character is a tool of the writer, yet it wasn’t as random as another fridgings - like Charlie’s for example - that was solely a writer’s ploy.)

So. Following that logic - Mary and Jess weren’t “fridged” by the writers - but by the YED. Mary - by accident, Jess - on purpose. 

Which, makes me back-step and think.

There was a fridging, though, and it happened even before that, and it propelled those two I’ve just discussed.

And it wasn’t a fridging of a woman.
It was a fridging of a soulmate (as questionable/arguable that is is irrelevant), though.

And again, it was a machination, YED’s machination: killing all of Mary’s loved one to make her desperate enough to take the deal.
He killed John.

John Winchester was the first “fridged” character on the show, people. 
Not Mary, not Jess. 
And he probably never even knew. 

And no one ever talks about it. 

John was killed off solely to become a bargaining cheap for YED to seduce Mary with. (Her parents too, but he never intended to bring them back - that would be just foolish - they are hunters with contacts and knowledge. Plus it was all rushed over by Dean’s presence. Although….we know that past couldn’t have been changed - guhhh I’m having a headache. In any case, Mary did the best she could in memory of her parents - she named her children after them.)
It’s all the other way around - Mary was the one to suffer "serious anguish" and get desperate and mad enough.

Haven’t the deal been the purpose of this whole ordeal - Mary would have become the Vengeful John Winchester of Supernatural.  

And I think this is something to rethink and reconsider:

Contrary to popular belief, the first fridged character on Supernatural wasn’t female - but male: and it was John Winchester.

twsunnyday  asked:

Hey!! I saw a gif post recently of the scene where Scott bites Nogitsune!Stiles and Kira stabs him, and I realized that Kira's katana wasn't covered in blood or anything else. I don't know if this was already talked about or not, but I was just wondering if it meant anything. Thanks in advance!!

I just watched that entire scene just a few days ago and you’re right, there’s no blood or anything.

And i think it goes together with the fact that his body just crumbled and broke into dust instead of collapsing like a normal body would. There’s something to it, i’m sure. 

The question then becomes - did it turn to dust because it had been dead for a really long time and without the fly there was nothing holding it together any more? Or because it wasn’t a “real” body in the first place? Or is the reason simply because Scott bit him and “changed the body”? That didn’t happen with Satomi - she wasn’t an alpha at the time either and simply held Rhys steady using her claws to his back - much in the same way that Peter and Derek did to Jackson actually come to think of it… 

As soon as he was stabbed the fly that was animating him escaped and that was when the body turned to dust. Compare it to what happened to Rhys and it’s a whole other story. His bandaged body was also animated by the fly and when it was driven out his body also fell to the floor, but it didn’t crumble. In fact Noshiko hid it in the wall and Stiles and Malia found it decades later where it looked like it had been decomposing in a normal kind of way.

I’ve been thinking for a while that there’s something strange going on with Stiles and perhaps there’s been more of him throughout time. Lots more. Like Orphan Black more.

I’ve been seeing him next to cyclones all  through my season 2 rewatch. Cyclones in itself is interesting and there might be a connection there but what if it’s a double meaning. Or a meaning plus a clever play on words? cyCLONE.

This image from the 2006 yearbook has been haunting me for ages

Let’s zoom in on number 24 right under that cyclone. And with the lacrosse ball right under it, it looks like an exclamation point. and the word “cyclone” has been cut so it basically says “clone”. 

Home of the Beacon Hills Clones… what if it literally is just that?

That looks an awfully lot like Stiles. but this is the 2006 yearbook. In the episode 2x08 where this is shown the year is 2011 and Stiles is a sophomore and 16 years old. If that is Stiles he might have been at school at the same time as Derek. The fire was six years ago that is true, but what if the stiles in this photo is a sophomore or older then he would have been in high school at the time of the fire. Is this why he remembers it so readily when they first meet Derek? And also why he recognizes him? And could this also explain the comment about “he’s just a few years older than us”. Is it residual memories of a previous clone-body? I know that the pilot script had Derek described as 19 years old, so this is probably way off base, but it amuses me and gives me all kinds of fun fic ideas that i will never turn into anything other than a rough draft. </ramble>

calicokat-teenwolf​ actually touched upon clones in a post the other day as well, so i know i’m not the only one playing with thoughts on this (and that is strangely comforting because sometimes i do think i’m taking things to far. but at least i’m not alone in my madness :))

Callie also mentioned that Lydia added Stiles to that list of Eichen House patients that died by Brunski’s hand ten years ago, which i think is a very good point that could support this.

Then there’s the strange occurrence of Stiles creating a second body that just materialized from the floors at Scott’s house. Is this the work of Stiles? Whenever he “dies” or his body is destroyed beyond repair he somehow just creates a new one. 

And look at nogi!stiles in the background. He’s the one animated and controlled by the fly, and he was also the one to spew out all the bandages, so it’s easy to assume it’s something he wanted to happen. But he looks surprised and scared. 

Stiles’ body has at that point been cut open with a knife and ridden hard by that fly, and the wound is not healing according to Deaton so clearly dead or in the process of dying. Is that what Stiles does when he’s about do die? He clones himself?

It sounds far-fetched i know. Not really sure i believe it myself, but it’s a fun theory to explore. 

And while i’m at it - could this be why he never seems to get hurt? I mean aside from that time when Gerard gave him a beating and he crashed the car in 3x12 we’ve never seen him with any cuts of bruises. Even when his face is slammed into steering wheels, he’s hit by car parts, he tumbles down stairs or is knocked over by berserkers. If he’s a clone or not really in a normal kind of body, that might be why he doesn’t get hurt the way you expect a perfectly normal human to be. 

And he has a strange knowledge of drowning and what it feels like, ref his conversation with Morell. We have Lydia hearing the echo of a mom drowning her baby at the Glen Capri. Stiles was standing right next to her at the time. 

I’m going to quit now before i dig myself too deep into something i can’t get out of. But to answer your question, yes it’s highly suspicious that the host body just crumbled like that and there wasn’t any blood on the sword. Also the sword didn’t shatter this time. That might also be a clue?  

Or I’m just seeing non-existent patterns. Not ruling that one out either :) 

ATX Television Festival Radio Interview ft. Randy Harrison, Gale Harold, Peter Paige, Robert Gant, Ron Cowen and Dan Lipman.

Henry: We’re here with the cast and creators of Queer as Folk. We have Ron Cowen and Dan Lipman who are the creators of the show, welcome. Gale Harold, who played Brian [Kinney], Peter Paige, who played Emmett [Honeycutt], Randy Harrison, who played Justin [Taylor], and Robert Gant, who played Ben [Bruckner].

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A calm hush came over the auditorium, filled with adults and children of all ages, as the lights began to dim and I can think of very few companies who garner such immediate respect from their audience more so than Pixar. The customary short film Lava began and the quiet remained, we watched an anthropomorphised volcano sing as he longed for his love. It’s not the best short Pixar have produced, nor was it the worst. Obviously, it’s visually stunning, especially the time-lapse sequence of clouds moving and the sky changing overhead (having lived with several animators during my time at University and knowing just how much work went into such a sequence, it made me feel a little ill), and my only criticism of it is it’s perhaps a bit too twee

Lava ends leaving everyone to sit quietly satisfied in anticipation of the headline act. There was one small problem however. As the Disney ident lit up the screen, it refused to leave, remaining half faded to black for a minute or two before somebody left to alert a member of staff. We then sat in a darkened auditorium in front of a blank screen for around ten minutes before the film started again. Unfortunately, as the screen faded came to life one more, we were returned back to the beginning of Lava; an audible groan emanating from everyone over the age of eight filled the air. I’m sure the groan wasn’t representative of the film’s quality, more so a combination of anticipation to see the main feature and the fact that Pixar shorts don’t have much rewatch potential and only really require one viewing to understand them completely.

“Do you ever look at somebody and wonder what’s going on inside their head?” it’s an opening line that probably began Inside Out’s first pitch, swiftly encapsulating the narrative and overall theme of the film in a single sentence. Inside Out is magnificent even by Pixar standards, and possibly even their smartest film to date. Not once do the creative team of director Pete Docter and writers Meg LeFauve, Josh Cooley and Ronnie del Carmen assume children need their comedic storytelling dumbing down, and as a result they’ve created a level of intelligent comedy that can be universally understood and appreciated by its entire audience. 

What I mean by their smartest film to date is that here is a film that’s fantastical in its entirety, convincingly depicting something equal parts scientific and emotional. Creating a film based on science and the idea that emotions interact with each other forming who we are as people; but visualising it with a level of whimsy befitting a child’s imagination is a task perhaps impossible for anyone other than Disney/Pixar. For a long time I thought they were mad for not thinking of this idea sooner, but then reflecting on the idea, I realised that perhaps Inside Out is an idea Pixar have always had in the back of their mind but never felt they could accurately depict it, to the best of their abilities, in the way they wanted to in the studio’s first two decades. Such an explanation would make sense, because Inside Out is a visual feast both stylistically and conceptually, and I feel that had it definitely would have been a huge success at any point in the last ten or fifteen years, but probably not on the level that it will be today. Pixar had to get this one right, not just because they’re coming off a period seen by some as a decline, but because they’re stepping into new territory. They’re no longer creating characters modelled around things that already exist in our physical world, nor are they creating monsters which everyone has imagined at some stage in their life. With Inside Out, Pixar had to create characters that inhabiting the limitless world of the human mind, ironically a place more creative and more powerful than our own brains and imaginations themselves can conceive of. 

Unsurprisingly, they succeeded in doing so and no amount of description on my part will ever truly do the film justice. Inside Out has to be seen.

The film is a testament to the ingenuity and consistency of Pixar, because it’s everything we’ve come to expect from them; a concept scrutinised to the smallest detail, then fully realised on-screen, covering every conceivable aspect of its premise applied to a master class in storytelling. At its core, Inside Out is a study of how our emotions change with us, surrounded by smaller ideas such as how our emotions interact with each other, how they can forge and change our memories, how they shape us as individuals and how emotional maturity begins. Each one of these concepts is explored throughout the movie, not one after another but simultaneously interacting with one another constantly. 11-year-old Riley’s emotion operate on the same level; Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Disgust (Mindy Kaling) and Anger (Lewis Black) all work from the same command console at her HQ, each emotion performing their functions as-and-when needed, with each emotional task is a collaborative effort. 

Beloved by her parents, Riley is an bright and energetic young girl, and as such, Joy is unequivocally the emotional Team Leader, in a state of perpetual motion ensuring her job is done correctly. Joy is the star of the film by a mile; borderline frenetic, her feverish quest to keep Riley happy highlights the notion that happiness requires the most work with clarity and humour. Joy is coercive, confusing and borderline manipulative, but never malicious or ill willed. As Riley edges closer towards her teen years, events begin to unfold that to her will change her life dramatically, as a result her brain goes into emotional overdrive and it’s here that our story truly begins.

It’s difficult reviewing a Pixar film, not wanting to spoil anything. To describe any aspect, any second of the film, would be depriving you of discovering it yourself, which brings with it an overwhelming sense of wonder. Nostalgia plays a big part in the success of Pixar films, I’m sure, as each release the same feeling of childhood wonder arrives in me. Whenever I watch Up, Wall-E, Toy Story 3, I’m taken back to being a child watching the first Toy Story or Monsters Inc for the first time and being amazed long after I’d left the cinema. 

Inside Out is as surprising as it is brilliant. I tired to second guess where the film was going at every turn and each time I as wrong. I mean, sure, there is the Totally Unachievable Objective™ in the middle of the film, like there is in every Pixar film (and, to be fair, the majority of mainstream cinema) but even I couldn’t anticipate how the five central characters would move past this. The thing is, it’s this impassable obstacle that is the film’s one flaw. That’s it. However, I can’t in good conscience even mark it down as a flaw because I understand the absolute necessity of it as a narrative tool. We tend to forget sometimes, because they’re so good, that Pixar films are first and foremost kids films, and Pixar know their target audience very well. The issue being that children aren’t renowned for their ability to graspi subtlety, especially the very young children that come to see these films, so the fact the protagonists have to overcome some challenge to succeed has to be fairly obvious and very dramatic for it to be understood. Pixar is the only studio, bar maybe Dreamworks, who are allowed to use this narrative tool and me not be at all bothered by it.

I don’t know what it is but Pixar clearly love trying to make adults cry, or maybe just making me cry (although I’m sure I’m not alone in this). Not only did I have to fight back tears during Inside Out but I had to do so twice. TWICE! I didn’t even think I was going to cry twice during Up or Toy Story 3. Once again it’s a testament to the originality of Inside Out, I was so immersed in this amazing, hyper-fairytale funfair theme park science lab of a world that I just stopped thinking. Or more precisely stopped overthinking. Watching Toy Story 3 for the first time, I was immersed, incredibly so, but my cynicism and adulthood had me scanning for minute mistakes or flaws. I wasn’t doing so intentionally but the film’s release was such a surprise, we were all caught somewhat off guard and many of us were sure something had to go wrong. With Up, so many people had hyped it up I was determined not to find it heartbreaking. I did obviously because I’m not dead inside, but I feel like I had protected myself against the most devastating elements of the story through prior warning. Inside Out though… I experienced as a child would have and my viewing experience was heightened tenfold. After seeing the first trailer I avoided all subsequent promotional material like the plague; I wanted to just sit and absorb as much of the film as I could without any preconceived ideas of what it was, from viewing four hundred different trailers months before. As a result Inside Out hit me hard, because I went through the emotional rollercoaster in real time with these characters, not knowing what was going to happen next and not being able to prepare myself for it. I laughed so hard, smiled constantly and as I’ve said really had to fight back tears because Inside Out is a part of all of us. It’s our emotions, our memories good and bad, playing out in front of us reminding us of who we are now and who we once were. This film has done the really annoying thing, of creating a world I so desperately want to be a part of because, although it’s scary sometimes, and dark and difficult, it’s fun, exciting, colourful and every moment feels important. The emotions living inside of Riley’s head, this is their reality and they take what they have to do very seriously. Riley’s emotions employ the seriousness children do when playing a game of their own invention and it’s this focus, this inhabiting a particular world wholly in our minds that we can all relate to.

Inside Out is perfect. Some people may disagree with me, but for what it is - a children’s film designed to entertain everyone who watches it - it couldn’t have done anything more to succeed in doing so. Pixar have a story that happens outside and inside of several characters heads, involving hundreds of different characters and locations and not once - NOT ONCE - does it feel overly saturated, chaotic or out of control. I will go on record as saying I consider Inside Out to be Pixar’s greatest film. It doesn’t build on the success of previous films nor does it draw on our perceptions of other things. Inside Out takes our brains, our emotions and our imaginations and shows us all, adults and children alike that we’re all different, we’re all special and we’re all very important to a lot of people.


Those are some cobalt blue eyes of yours detective

I disappeared from tumblr about a year ago. It happens. I’m back because I figured you guys were the ones to turn to about these theories.

I’m a Flash fan. Never was a huge fan of the comics, didn’t think I’d be a huge fan of the show. It wasn’t a dislike thing. I actively dislike the characters of Green Arrow and Batman and I love things surrounding them. It honestly never came up. (That being said, Barry Allen was always my preferred Flash) I’m a DC girl at heart, so I realized my lack of Flash knowledge was sort of… a hole in fanbase. I know plenty about characters I don’t actually follow, take the two aforementioned for example.

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Kabby In “Bitter Harvest,” Part 3: “What Was That?”

I had too many thoughts on the Kabby scene in 3x06 to condense into one meta, so I’m splitting it up into four sections. PART THREE: Marcus Kane Just Wants Snuggles, You Guys!

Part 1 here

Part 2 here

Part 4 here

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anonymous asked:

I know this is probably random, but I was rewatching for the 100th time the "Sammy, close your eyes" moment and I don´t know why it suddenly hit me hard, not for the first time over the last decade, the impossible depth behind such a simple word. Just "Sammy", and everything they are to each other is revealed there. I sometimes feel completely amazed and overwhelmed by the force of that nickname, and i will never be able to put into words what it means to me, but i wanted to share the love :)

that was one of the strongest scenes in the show and it carries so much emotion

so much devotion between these two brothers, who couldn’t care less if the world ends as long as they have each other

they kill, they die, they lie, they do anything for each other, and they’d do it again

the expression on Sam’s face when he looks at Dean, who is about to kill him, it’s not a man there, it’s a little boy

a little brother who trusts his big brother more than anything, who knows he’ll do the right thing, who’s willing to sacrifice himself if that’s what it takes

and Dean’s eyes, he knows about this, how many times has he asked Sam to close his eyes, whether they were playing hide and seek or if Dean was killing a monster and didn’t want his brother to see it.

the way they say each other’s name, the way they look at each other, how devoted they are, it’s the greatest love of them all, that saves and dooms the world.

I just have to dump some thoughts on the brilliance of how similar the Doctor’s confrontation with Ashildr was with his confrontation with the Half-Face Man back in Deep Breath. I’ve not managed to rewatch the episode yet to solidify any kind of in-depth analysis, but I need to get this down while it’s in my head.

The Doctor asks the HFM to look out of the window and tell him what he thinks of the view while they’re airborne in the ‘escape capsule’. The HFM responds that “it is beautiful”, to which the Doctor immediately says that it isn’t.

“It’s just far away, everything looks too small. I prefer it down there - everything is huge. Everything is so important. Every detail, every moment, every life clung to.”

This is the same reason why the Doctor refuses to take Ashildr with him, which takes us a little further back to an exchange between Amy and the Doctor.

Amy: Then why am I here?
The Doctor: Because! Because I can’t see it any more.
Amy: See what?
The Doctor: I’m 907. After a while… you just can’t see it!
Amy: See what?
The Doctor: Everything! I look at a star and it’s just a big ball of burning gas, and I know how it began, and I know how it ends, and I was probably there both times. After a while, everything is just stuff! That’s the problem. You make all of space and time your backyard and what do you have? A backyard. But you, you can see it. And when you see it, I see it.

The Doctor knows that you can’t live your life detached from the setting, looking from afar at the people who begin to look more like an ant colony the further away you get. That’s when you start to lose a sense of the value of life, of making every moment count, and your own sense of self.

It’s significant that this comes up from Deep Breath because that was also where the question of where the Twelfth Doctor got his face came from, and we had it answered last week in The Girl Who Died.

“I think I know why I chose it. I think I know what I’m trying to say. I know where I got this face and I know what it’s for. To remind me. To hold me to the mark. I’m the Doctor – and I save people!”

He remembers one of the ‘little people’ he saved from a fixed point in time, a ripple in a pond - the Roman marble merchant and his family in Pompeii. He remembers this while he’s stuck in a tiny Viking village with people who, just a few hours earlier, were doomed to die - and the Doctor was okay with that. It’s just one village, what difference does it make to history? He will mourn their loss and move on. Except he won’t, because that’s not what the Doctor would do, and it was down to those ‘little, insignificant people’ from that ‘little, insignificant village’ to remind him of what he was starting to lose.

“We all change, when you think about it, we’re all different people; all through our lives, and that’s okay, that’s good you’ve gotta keep moving, so long as you remember all the people that you used to be.

I think Ashildr comes out of The Woman Who Lived with a bit of this wisdom.

Also, I think there’s a funny little bit of a double-entendre going on with the title in-relation to ASOIAF/Game of Thrones. Likely purely a coincidence, but a neat little overlap which came to mind.

“Allow me to give my lord one last piece of counsel,” the old man had said, “the same council that I one gave my brother when we parted for the last time. He was three-and-thirty when the Great Council chose him to mount the Iron Throne. A man grown with sons of his own, yet in some ways still a boy. Egg had an innocence to him, a sweetness we all loved. Kill the boy within you, I told him the day I took the ship for the Wall. It takes a man to rule. An Aegon, not an Egg. Kill boy and let the man be born.” The old man felt Jon’s face. “You are half the age that Egg was, and your own burden is a crueller one, I fear. You will have little joy of your command, but I think you have the strength in you to do the things that must be done. Kill the boy, Jon Snow. Winter is almost upon us. Kill the boy and let the man be born.”

The first part is about Ashildr as the girl who died, the girl from the Viking village where she lived as somebody who made puppets and told stories - just like the Doctor, “just a bloke in a box, telling stories”.

The second part is about the woman who lived, who emerged from that battle now immortal and who we catch up with 800 years later. She’s lost almost all memory of who she once was, but (this is where the thematic contrast between Doctor Who’s optimism vs ASOIAF/GOT’s cynicism comes in) we know that “if something can be remembered, it can come back”.

She’s still telling those stories, writing down her adventures - the things she loved, the things she lost. We then conclude with her becoming a protector for the people the Doctor leaves behind when he runs off to experience the next chapter in his own story, leaping across the pages, while Ashildr as to experience the story word-by-word.

Catherine Tregenna did a beautiful job of interweaving a lot of the thematic developments over the last half-a-decade, you can really see that she gets it, just like Jamie Mathieson. It’s wonderful to see these new writers coming to the show who have such a strong grasp of the themes and characters right off the bat, so I really hope Catherine writes another episode in the future.