i rewatched this for the first time in probably a decade

You know, I keep seeing posts talking about what a horrible liar Kara is. But the fact of the matter is Kara is probably one of the best liars I’ve ever seen on TV.

But wait. The entirety of National City knows Kara’s Supergirl, you may be thinking. How can she be a good liar? But that’s the thing—her secret isn’t that Kara Danvers is Supergirl.

Kara’s only been Supergirl for the past year or so. But still, she’s been lying for well over a decade about who she is—and successfully. The thing about Clark—and they’ve addressed this in season 1—is he may as well be human. They’ve talked about this with Astra, and then they’ve shown this Myriad. Because in Clark’s head, he’s not Kryptonian. His powers make him stand apart, but when he solar flares, his most likely thought process is I’m human now. To Kara, it would be I’m now powerless. And there is a difference. Krypton is much more technologically advanced, yes, but that is not the only difference between Earth and Krypton.

I cannot emphasize enough Kara is not human. Kara’s alienness isn’t contingent upon her abilities—superpowers or no superpowers, she’s always Kryptonian.

And sure, plenty of people probably have figured out that Kara is Supergirl—but that’s pretty much it. What people know about Kara’s past is that she’s Superman’s cousin, and that’s it. And clearly, Kara is younger than Superman—most people aren’t going to think “yup. She was probably put in suspended animation in some way.” I mean the conspiracy theorists might, but not really the overwhelming people on Earth. (listen. You gotta draw a line somewhere)

Most people are going to think ‘Occam’s Razor’—that Kara’s mom, or dad, or both, got off Krypton at the same time as Superman, and a decade later had Kara, and that there’s a very good chance that Supergirl is half human, or at the very least born on Earth and raised as a human. It’s what’s logical, isn’t it? The simplest answer is usually the correct one.

But she’s not. English isn’t her first language, and she grew up with a very different culture, undergone a host of different experiences that most humans couldn’t even imagine. Hell, she wasn’t even born the same way—Clark was the first natural Kryptonian birth in years. That means Kara was not. Kara was born via the Codex—really, if James was surprised at the depths of Kara’s anger over losing Krypton (back in season 1—you know, where Kara got to have more than 3 emotions), or how surprised he was to find out what Kara’s family crest really meant, how surprised would they be at everything she’d decide to just stop hiding?

Because Kara is so very good at hiding. Kara Danvers is real, yeah, but it’s someone she had to build. One of the very subtle, but telling moments happened in the first episode of season two, when Kara and Clark were getting off the elevator, and Clark had a clumsy moment where he ran into someone and knocked all their things to the ground. After he apologized and helped the person pick up their things, Kara asked him “wow, you really have the whole clumsy thing down, don’t you?” “Oh no, that was real.” Key word here is thing. As in, I have a routine I go through to distract people and to seem harmless. And this is just the tip of the iceberg, of routines and acts Kara must go through to make herself seem human. Kara Danvers is real, but part of that identity is a persona she constantly embodies–clumsy, absentminded, horrible at math and science, cute but not drop dead gorgeous, a bit quirky always happy, harmless, invisible, human.

And so it’s not surprising that all of these people are figuring out her identity, but that’s not really what Kara’s held close to her chest, not like Clark. Kara’s anger and loss and just general alienness–that is her secret. This is what she’d confide, this is what she’d have to truly trust someone to reveal. This is what the culmination of trust would look like, trust in Cat or Lena or Maggie (or hell even Barry, who sure knows Kara is an alien but. He doesn’t really seem to grasp the implications of that–oh i didn’t realize Kara got mad).

For 10 years, Kara kept herself hidden, keep herself secret. But Kara’s secret isn’t that she’s Supergirl, a human with powers. Kara’s secret is that she is angry and mad and hurting. But most of all, Kara’s secret is that she is not human.

Little Kylux things I get emotional about at night

Hux and Kylo are rivals, and although I love their hatefuck-proneness as much as the next guy, rewatching the movie again (and again, and again) I became obsessed with the thought that their resentment might be pretty fucking recent, and that despite everything, Kylo trusts the shit out of Hux. Emotinal and biased meta under the cut.

Keep reading

kittyichooseyou  asked:

I have a klk question, and I apologize if you've answered it before, but, do you find any significance in Ryuko taking a big bite out of an unpeeled lemon in her introduction? Like, was it just meant to make her seem hard? Or like, does it have some subtext I don't understand? Is she ever seen eating lemon/drinking lemonade as a background thing? I've always wondered about this. Thanks.

I gotta be honest with you: I’m atrocious at talking about symbolism. There’s a reason that my hundreds of essays hardly ever mention it. 

So… I haven’t especially covered this before, but I can provide some Thoughts.

First and foremost, the lemon scene has been largely understood as a homage to FLCL, a coming-of-age anime worked on by Gainax—the studio that Hiroyuki Imaishi and Masahiko Otsuka left to found Studio Trigger, which is the team behind Kill la Kill

In the first episode of FLCL, Naota, the protagonist, refuses to drink the rest of the sour, “Lemon Squash” pop that his friend Mamimi didn’t finish. He claims that he “[doesn’t] like sour drinks” and proceeds to toss the can aside.

However, at the end of the episode, Mamimi offers Naota the sour pop again, and his reaction changes. While he repeats his sentiment—“I told you, I don’t like sour stuff”—Naota doesn’t toss the can aside this time, instead guzzling the drink down.

So, when Ryuko, the protagonist of Kill la Kill, begins the first episode of her show not just forcing herself to consume something sour, but does so purposefully, without flinching… there’s probably something there. Kill la Kill’s director Imaishi did work extensively on FLCL, after all.

But what exactly is meant to be conveyed in either series is entirely dependent on how the “sour” symbol is understood.

On the one hand, the “sourness” could be a symbol of “first love.” For Naota to accept the drink in FLCL would be to accept an “indirect kiss” from Mamimi, who had been drinking from the can previously. The “first love” idea seems supported in Kill la Kill, with Ryuko noting, after Mataro steals her lemon (at least in the original Japanese script), “You’re that eager to learn what first love tastes like?”

Mataro: Bitch, don’t try to be all witty! I’ve had my first kiss!

And with the idea of “first love” comes the idea of childishness. Though it may have some… Unfortunate Implications, in both FLCL and Kill la Kill, it could be said that getting into a first romantic relationship is a sign of growing up. The fact that Naota initially refuses to taste “first love” represents his initial refusal to come of age—and the fact that Mataro in Kill la Kill insists that he has had his first kiss (or “get[s] way more action than [Ryuko]!” in the dub) represents his desire to seem “grown-up” and experienced.

Ryuko’s utterly blase eating of the lemon would then also imply that she has had romantic relationship(s) in the past and is not afraid of them.

However, with all of this, the “sourness” could simply be a larger metaphor: a metaphor of adulthood, maturity, that kind of stuff. Naota deciding to take in the sourness at the end of the first opening episode signifies that his show is going to feature his coming of age—something he initially didn’t want anything to do with, but that the story is going to push him to experience regardless. Ryuko immediately biting into a lemon could then signify that she’s already come of age, but—and more likely, considering Kill la Kill’s ending—it could also signify that she’s not afraid of the hardships, challenges, and “sourness” that comes with coming of age.

In this way, I also see the “sourness” as a bit of a metaphor for moving forward rather than running away. The lemon pop in FLCL is first featured when Naota struggles to tell Mamimi that his brother is seeing someone else—a hard, difficult, “adult” situation that’s not fun and not comfortable. Naota throws the can away, perhaps representative of how he wants to run away from this problem. At the end of the episode, though, Naota has revealed the truth to Mamimi, and he then drinks the pop, signifying that there’s no more running away: he’s growing up, whether he likes it or not.

But disregarding the FLCL tribute, a character introduction that features the character biting into a raw, unpeeled lemon is powerful on its own. It tells audiences right away that this character is badass—whether her lemon-eating is because she’s not afraid of growing up or hardship or “first love” or because of any other reason, you shouldn’t mess with this chick.

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.


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”.

buznook31  asked:

I'd like a meta explaining what the point of the coffin scene was, from Eurus's view. What is she looking for in this trial? Is she just trying to use Molly in order to hurt Sherlock, just for fun? Is she trying to show Sherlock he's truly blind when it comes to love? What does this scene doing for Eurus? Thanks!

Hello! I like this meta request! :D So my first thought about what you bring up is that with the coffin scene, as with most of the other stuff that happened at Sherrinford, this was about Eurus and Sherlock. It really wasn’t so much about the other people, despite there being other people involved at times. So I definitely don’t believe that Eurus had much thought about Molly specifically, other than the fact that she knew Molly loved Sherlock and therefore she was useful. The test itself wasn’t to see what Molly did or said, it was for sure about Sherlock. 

So this is where it gets interesting to me. Because I think Eurus motivation is twofold here at Sherrinford. And although it could seem like the motive was just to put Sherlock through some sort of elaborate torture session, I don’t think that’s really what it was. 1) Eurus wanted to put Sherlock under a microscope and carefully study his reactions and behavior in each scenario; vivisection, like he said. Because he’s the emotional one and she’s the actual sociopath. So to her, this is the unknown that she’s trying to study. And on that note…2) I think she was trying to teach herself, in a way. Some of these concepts like sympathy and compassion and love, they’re totally foreign to her and not only does she not properly feel those things, it’s also been decades since she personally experienced being given those things by others. So here is where the coffin scene in particular is meaningful, not just for sherlolly, but also for Eurus.

I’ve said it before and I’ll say it again, Eurus face at the end of that phone call spoke volumes. She was blown away. It was momentary, but she was moved and speechless. So not only did she have her conclusive “results” for Sherlock, but she also got to see before her eyes what that sort of love is like. (And by that sort of love, I do mean romantic love and if anyone doesn’t get that that’s what that scene was about then I’m sorry but they need to rewatch) In her face you can see that she’s both in awe and also incredibly sad. She’s probably thinking, “I’ve never experienced anything like that and I never will.” She may also be hurt, thinking that here’s her brother, so desperate to save this woman who loves him and he loves in return, and yet he doesn’t care as much for her, his own sister. Which is why it’s really wonderful and heartwarming, albeit bittersweet, that Sherlock does actually save Eurus when all is said and done, kind of completing the “lesson” for her. Caring saves people. Maybe not always physically or literally, but it does.  

So…basically I think Eurus intent in the coffin test was to push Sherlock and study his heart with romantic love in particular, and in the process she was the one who got schooled. And I actually like to HC her shutting the video feed off after telling him to move onto the next room in his own time, and then kind of breaking down herself. Maybe both Sherlock and Eurus were overtaken by their emotions at the very same moment for their own reasons. And if that doesn’t give you all the feels, I don’t know what will lol! :’((

alright, the bullshit with the new hiveswap trailer is making me curious on what the fuck is even going on, resulting to me analyzing on all this bullshit. but lets get it settled. if you need to rewatch the trailers, ill be kind enough to provide links. 

trailer one

trailer two

the first trailer starts off with a glimpse of the home from the outside. Lights are strung around the house as monsters wander. There’s evidence strewn about of jude and joey playing around. As it moves onto the next scene, it’s a family photo wall. 

This the easy part, establishing that this is indeed set in the beta kids universe. We can see grandpa and Halley, the dog that Bec was cloned based off of, beta mom, nana, and presumably, the kids of grandpa and the unknown woman that goes by the name A. Claire, the parents of our protagonists Jude and Joey. Judging by what we know of Grandpa and his similarities to jake, alongside the sign from her that calls him her biggest fan, this woman is probably an actress that he ended up marrying and spawning off kids with. 

The scene proceeds to switch around, giving an idea of the time period, presumably the early 90s, considering the game console she has and the movie posters Joey has in her room. So at this point in time, the Beta kids have yet to land on Earth.

As it pans over to Jude, it shows him to be a conspiracy theorist type, also one with an inquisitive side, He has pigeons, which I can only assume are carrier pigeons as well as other strange objects he’s collected. And the calendar he has in the background shows the current month to be November with one of the dates circled. 

A part of me wonders what exactly this is for, but the only conclusion I can consider is November 11th, aka 2x3prong day, which happens decades later in an alternate universe, so that curiosity is tossed out the window. More than likely it could be his birthday or some shit.

An interesting part of his tree house, however, is 

all these tally marks on his tree. He is clearly marking down leading up to something, be it passing dates till an event or how many times he has seen one of his illusive creatures. Or it could be a minor background detail i’m looking way to deep into.

guess they got a new dog after halley died 

look at her fucking door. those paper figures, why does the second to last one look like roxy. like i know beta mom is in this but dude

so beta mom is the babysitter, so presumably, i would say she helped joey decorate this shit, and considering the state their house is in, it doesn’t seem like A (the mom) or Jake are doing their parental duty of being around to keep an eye on their kids meaning beta mom is around a lot.

Then it pans over to Alternia. Yet, it’s also not? This is something that truly seems so obvious but I’ve never even realized until the second trailer was released. This is the universe made by the alpha trolls (Karkat and friendos), the beta kids universe. And since it’s a universe, that means this is a whole new Alternia. It’s so obvious but it’s not.  We see Xefros Tritoh witnessing the switch between his moirail, Dammek and Joey. This part of this Alternia which I’ll refer to as Alt. C, is shown to be more urban than the settings of Alternia we were shown in Homestuck.

Then we move onto trailer two. As shown in the first few seconds, this seems to be in the attic of the home. There a numerous globes riddling the area, grandpas gun, a pair of legs under the chair (maybe a mummy), and the center of attention. The large machine hidden under a tarp, the reason Joey and Dammek switched places. 


like at fIRST i thought it was a stupid fucking FLARE BUT NO JUDE DOESNT MOVE AT ALL IT JUST KINDA WHIRLS OUT OF HIS WINDOW. Like??? its understandable if its one of his weird devices that he probably made..okay that might actually be it. Like i doubt it’s the lantern next to him. Plus the weird lght goes all the way around the house??? 

Then it shows Joey crawling through some dang vents with all these elctric snappings like joey youre cute with ur lil baby face and smile and bean fingers but CHILD PLEASE

After that, i assume she is in the basement. Gotta bunch of wierd shit like blue ladies and suits of armor. Her captchalogue currently contains the weird mysterious key i’m going to call the Cherubic Key, the dog treats, what I assume to be pins, batteries, and some spices hell if I know. In her strife folder whatever thing has two little dancing shoes and the flash light she’s presently wielding. Then there’s the walkie talkie off in it’s own section so that is an odd one. Shit’s probably like on her person and not a weapon or whatever. 

then over in jude’s perspective, who the hell are these dancing assholes and why do the claire-harleys live next to a castle

Right after those assholes are done dancing, it goes back over to Joey where the Cherubic key wraps itself around her wrist,  forcing her to use it against her will on the strange device that was under the tarp. It wiggles itself in and the link between Alternia and Earth is established, the green light, taking Joey to Alternia as the red takes Dammek to Earth. 

but really, how the FUCK do they have this device? Like it’d kinda make sense if grandpa got it on his adventures but..really? Maybe it was something that was already in the house who knows, but a link between Alternia in earth that has ‘CHERUBS’ written all over it? That shit’s weird. 

Then it goes to Alt. C, with the heiress of this universe, Trizza Tethis having herself plastered on Xefros’ TV. In the background we can see pictures of himself and Dammek, alongside Xefros’ lusus. Also Alternian discs are hexagons?? 

Then Joey and Xefros riding past many alternian hives on the back of Dammek’s lusus. This was just a really sweet scene to think that Dammek’s lusus trusts Xefros enough they would let Xefros plus an alien ride him through Alternian streets. 

Back to beta earth, joey is throwing down with some monsters in one messy ass kitchen, more evidence to show that parents aren’t around much and joey and jude don’t know how to take care of themselves. 

Then the part that pisses me off the most. 

this part. The glowing green and twitching font. This is the kind of font and effect used for First Guardians. Bec has yet to be cloned by DD, and the possibility of this game having any mentions of Sburb/Sgrub SHOULD be impossible as that isn’t what the game is about. Yet the first guardian effect is used on this text. what the fuck whatpumpkin?

anonymous asked:

i don't want to be a pessimist here, i really hope destiel is endgame and after s12, and after i read some of your meta, (which is amazing btw), i mostly believe it will be, but i shipped johnlock too, and all the subtext and even text and the foreshadowing and all those hints that johnlock is endgame was all for nothing...or maybe just for queerbaiting, and i was really butthurt about it that i'm afraid to put any hopes up for destiel, how do you think destiel is different than johnlock?

I may be a bit controversial on tumblr about Johnlock because…. well I didn’t really see it like it was blatant and going to be canon, I saw it as subtext that was something they added to give it a bit of pizazz without thinking they were actually in love or that it would be endgame canon. 

I really enjoyed the first seasons of Sherlock (I just cannot get my head around how the last season worked at all, maybe I need to try again, but it just didn’t make any sense to me) and my interpretation was that Sherlock might be a bit romantically interested in John, but push come to shove he was more intellectually interested in him and the friendship they forged and I never really saw John as being romantically interested in Sherlock at all.

I felt like they added the subtext, which for me, was subtext only, to add a bit of spice to their chemistry and their character bond, but without actually meaning to make it romantic.

Now I see this differently to Destiel in that I read Destiel as 1. much more blatant because of the continuous and abundant nature of it, given that it is now nearly 9 years and much more material to work with due to there being…. around 135 hours of SPN since season 4 v 15 hours of Sherlock

2. But also that it is written into the script in terms of the fact that it has a real effect on the PLOT, not just sitting alongside it as subtext to be ‘enjoyed’ (I say ‘enjoyed’ because I know how painful it was to fans who really wanted it and it didn’t happen but for a lot of people I think it did add to the enjoyment of the show by deepening their character bond). Whole seasons don’t make sense without taking into account the deep feelings between Dean and Cas, I mean… seasons 4-6 are all about Cas saving the world because of his love for Dean, season 7 is one big long metaphor for Dean’s innermost thoughts and depression about Cas, season 11′s mytharc plots rests on Dean’s love for Cas and how Amara uses it… 

I totally feel for anyone who felt queerbaited by Johnlock because I genuinely do think that they put subtext in there on purpose thinking it would be a great addition to the chemistry but had no intention of going through with it as it was just that, a fanciful way to deepen their connection without it really being actually scripted love (honestly this is wanky, but I really don’t rate Martin Freeman as an actor, I find him so cold that it wouldn’t surprise me if they upped the written subtext in order to counter his wooden performance),  I just don’t think they realised how much people would feel cheated by it.

With Dean and Cas, their story is much longer as stated above which enables it to go much deeper into so many more romantic tropes, for them to be portrayed as much more of the romance than the buddy trope, I think they fulfil like 67% of romance tropes? where most couples on tv / in movies settle at most around 10-25% ish? This is because they are able to do so due to the pure length of time we have been watching them and because they are actively portraying it in this way. I’m trying to remember how many Dean and Sam fill and Sam and Cas fill? I think Dean/Sam is like 12% and Cas/Sam is probably about 2%! So there is a real reason why it is so strong with just these two…

Season 12 is all about taking it now from the subtext into the text, we have been watching it with a similar “will they won’t they” attitude towards TPTB as with Johnlock up til now, even though it was scripted and much more plot - related I believe, there was still a chance that they would potentially back out, even if it didn’t make sense for the story, it was still a possibility because I think a lot of the GA don’t really see the way that the story doesn’t make sense without it.

For example in season 11, I think many of the GA just look at the top level and don’t read into WHY Amara couldn’t contact Dean without going through Cas, how her forced bond with Dean was not as strong as his chosen bond with Cas even though she was GOD’S SISTER or WHY Amara’s whole interactions with Dean were all about him repressing his emotions, loving, but it being clouded in shame, holding himself back. 

I mean some people were shocked at some of what Dean said in 12x22, they were also shocked at how Dean acted in 12x11 and a lot of this season said he was OOC, which he absolutely WAS NOT, he was entirely HIMSELF and that was the point! That he had DROPPED the facade so his true self was showing through in snippets and I’m sure these people will be absolutely shocked when he acts more and more like this in season 13.

I feel like to get through to some people Dean literally has to say something blatant like “Sammy I’m done pretending, this is me, deal with it, oh and by the way, I like dudes too” before taking a big bite of a Chicken Parmeggiano and ordering an ice cream sundae and getting back to business, cos man the point is, he’s not that different, there’s just a few things he keeps locked away, but his whole character isn’t going to change.

Anyway, same goes for Destiel, it’s going to have to be eased in slowly but made blatant now and I feel like season 12 was the first part and season 13 should be the second, before it can go canon, so that people aren’t shocked by it, in exactly the same way as they did Performing!Dean this season, ramping up the subtext before taking it into the text and then finally making it canon.

So now after season 12 it feels to me that with all the bad PR around queer baiting with Sherlock, with all the bad PR around Supernatural (if you google queer baiting SPN comes up on the first page), it would be diabolically stupid for the new showrunner to ramp up the subtext like this and bring it into the text as he did from mid season 11 onwards, without taking it towards endgame canon.

It doesn’t mean they will for 100% sure but I would be so confused if they didn’t now, it would literally be the worst kind of ongoing, not just subtextual but textual now queerbaiting and a total shambles of a PR disaster as well as making NO sense to their own story which has been so carefully crafted for over a decade. 

I don’t think they’re THAT stupid to take a beautiful story and rip the soul of it out, destroying their credibility as writers as well as PR Hell…

I have trust in Andrew Dabb until proven otherwise :)

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)

heyiwaizumi replied to your post “it’s so weird watching the first few episodes of yugioh where Yami…”

Wait what ?? Wtf. I feel like I need to watch the sub version?????

hahaha ok, i should’ve ALSO MENTIONED that i’ve been reading a lot about the manga and spending way too much time on tv tropes and reading about season 0 material and i think at least in the very first volumes of the manga, Yami was just this stronger entity that Yugi could “call upon” (so to speak) to deal with bullies and bad people who threatened him or his friends, but that was IT, y’know? it was just a case of, “oh, i’m just gonna let HIM deal with this” but Yami wasn’t really his own person

and i had those thoughts in mind when i started rewatching the entire duel monsters anime from the beginning, and so on the first episode, there’s this scene where Yami’s gonna draw a card but he feels like his deck is farther and farther away from him

and in the dub, i REMEMBER that Yami says something like, “c’mon, Yugi, we have to focus!” or SOMETHING ALONG THOSE LINES (bear with me, it’s been probably a decade since i last watched those first eps)

but in the sub, he says, “no, I’m just afraid of drawing my next card!” or something

so i just thought it was really interesting that from the get-go, the dub clearly states that they’re two different entities, while in the sub it kinda seems like Yami thinks of himself as Yugi, at least in a way, AT LEAST THAT’S HOW IT LOOKS TO ME HAHA

Why I love Maleficent, and Dragon Queen

I ship DQ, OQ, and DOQ and sometimes, as the five DOQ shippers know, we get hate and skepticism as to whether really really like Dragon Queen or are purposely hetting up a queer ship (protip: 2 gals and a guy is still a queer ship).  I thought i’d made a little list.  Yes, there haven’t been many episodes with Maleficent, but her character just intrigues me, deeply. 

Why I like Maleficent:

1. It’s Kristin Bauer.  I’ll get this out of the way: I have a huge crush on Kristin Bauer and I love how she just commands whatever scene she’s in.  She’s gorgeous and wonderful and brings a lot to the character.

2. Maleficent is open.  There are so many characters that put on a brave face, that say things they don’t mean, that hide their lesser instincts.  Maleficent puts it all on display.  It’s THERE.  When Lily came back from New York?  That face of hers was just full of pain and relief and regret all at once.  It killed me.  

3. Maleficent is loyal.  Regina locked her up in dragon form for nearly three decades.  Maleficent doesn’t care.  She’s still loyal to Regina.  When the other QoD doubt Regina, Mal is there to stick up for her (even though, my headcanon says Mal knew Regina was full of it.  Regina was a terrible actress and Mal knows her better than that).

4. Maleficent had the greatest potential for darkness, but she never fully utilized it: We saw her have the darkest heart between Cruella and Ursula, yet we saw Maleficent perform caring, selfless acts too.  But I love the fact that she had such a potential to fall into the abyss of darkness even further.

5. Maleficent loves deeply.  She loved her unicorn enough to give up the Dark Curse to Regina.  She loved Regina enough to take the Dark Curse and keep it from her – for no other reason than she didn’t want Regina to open herself up to a darkness she  could not control.  Maleficent loves her daughter fiercely.  Those moments with Lily in Storybrooke and those moments where she is protecting a yet-to-be-born Lily in the EF show how much she loved, and suffered, and missed her child.

6. Maleficent is a teacher.  I just love that there’s a spellbook out there, that she carefully constructed spells and potions and sought to share them with the world.

7. Maleficent is flawed and human.  She resorts to pain killers in the form of magical curses to take the pain of failure away.  She suffers and tries to find an ability to cope and there’s something so relatable at that.  Since when is a dragon relatable?  Sure she has a blood lust for those who wrong her, and that’s wrong, but…there’s something that makes me want to wrap her up in a blanket and send her to AA.

8. Maleficent is seductive.  This is part Kristin, but the way she moves, the way she looks at other characters, she’s a little temptress.  And it definitely draws you in.

Why I like Dragon Queen:

1. They challenge each other.  We’ve seen glimpses of their relationship.  We’ve seen Regina push Maleficent to get her fire back (I mean literally, but also figuratively).  We’ve seen Maleficent challenging Regina, pushing her to be more.  We’ve seen Maleficent even try to pull her back from the darkness and fail.  Their relationship is dynamic, complicated and interesting.

2. They believe in each other.  i just kinda love that Maleficent was the one to bring Regina over to the rest of the Queens of Darkness.  She was convinced she was evil (or was she?  did she know it was all a lie and just wanted to see her?).  And Regina was so happy when Maleficent switched sides  in Storybrooke.  They are the most adorable mass murdering couple to ever exist.

3. They are both loving mothers.  Maleficent only had an unhatched egg to care for, but she loved Lily fiercely.  When Snow goes to apologize, Maleficent reminds her that the only apology needed is to her daughter.  She loves that daughter fiercely.  Regina and Henry well….there’s nothing I can say other than that’s a big chunk of the show there. 

4. They are emotional, sensitive villains who love deeply.  They are feisty little mass murderers who want to be loved, and seen as worthy of love.  Maleficent is older, and I always assumed she saw a bit of herself in Regina.  And it became scary when it got out of control. But the fact they have such deep feelings make them such an interesting  couple.

5. They forgive one another.  Maleficent forgives Regina for years of locking her up in dragon form and ultimately getting her killed.  Regina forgives Maleficent plotting with Gold - a man who Mal knew manipulated her - almost immediately.   

6. There’s chemistry.  Kristen and Lana play these roles beautifully, and every scene they had together had me mesmerized.

7. They have a  rich history.  There’s so much more I want to know, and so much more I think about.  We saw Regina as a baby queen, first introduced to Maleficent.  We know Regina was studying her spellbook.  We know she fangirled and cheerleaded Maleficent as she enacted revenge on Aurora. We know that they know each other very well, well enough to exploit one another’s  weaknesses. There’s a lot there that you can explore in fanfic. There’s a lot to REGINA that can come out by exploring this relationship - both as a romantic one, and as a friendship one.  I want to know so much about her past and descent into darkness.  

8. They care about one another, deeply.  It’s even every facial expression.  When they reunite in Storybrooke they seem too damn happy to see each other to not care.   We know somewhere down the line, Maleficent had convinced Regina to trade the dark curse for her sleeping curse.  But what was she going to do with the dark curse?  Perhaps she traded it purely to keep Regina from succumbing completely into darkness.  Later, though Maleficent was trying to stop her from enacting the dark curse for her daughter’s sake, I like to think she was also looking out for Regina a little, too.

I probably could say more, but my memory is short, and parts of S4 are now… difficult for me to rewatch.  

But I love this relationship and I think it has potential and a lot of explore.  I think there’s a richness to Regina that could be found in this relationship too.  And no, I don’t think that this is the ONLY relationship that has the potential for growth and depth of character - of course not!  But there’s a reason I like this relationship and want to see more (though if they did it, I’d be fucking holding my breath the entire time worried they would ruin it and devastate me again).  But this ship isn’t about putting others down.  It’s about celebrating a character that I feel has more of a story to tell, whose own story could let me know Regina a little better.


Originally posted by reginasevilpanda

Stiles is something – or how agent McCall totally didn’t kill the chemist!

I’ve been saying Stiles is something for ages and I know the entire Meta Pack is with me on this. We’re not entirely sure what yet but I have a suspicion it has to do with belief

Some have perhaps already seen the promos and previews for next week and knows that Lydia adds Stiles’ name to a list (i suspect the one from her grandma’s code.) That just drives this argument home, and truthfully I didn’t see that until after I had spent a minute shrieking with glee for 10 minutes scaring my coworkers after watching episode 4x08. (Does that make me a BanGlee? Terrible pun I know, moving on).

I know I’ve CSI’d this scene earlier and given a somewhat plausible explanation for which direction the bullet came from and why the bullet didn’t hit Stiles. I still think that could explain – or at least serve as an explanation that Agent can use when writing up his little report - that is what he see and hear him do in the beginning of 4x08.  But I don’t think that is what happened and this episode gave us the final proof!

Now, credit must be given where credit is due, because this is a joint meta pack effort and we have spent a lot of time discussing the shooting scene from 4x07 and we found some strange discrepancies.

Let me present them for you.

  • It is a miracle the bullet didn’t hit stiles. It is possible, but takes a VERY SKILLED MARKSMAN to pull off that shot. And we have no evidence Agent is one. He admits to Scott in 4x08 that he’s only shot and killed someone twice before. Not a lot of experience. The Sheriff probably have more skill than agent McCall. He did shoot the rope holding Deaton remember. AND agent was wearing full hazmat suit which would make it virtually impossible for him to do this with any kind of accuracy. Hardly ideal conditions for a Jack Bauer level shot.
  • The bullet wound in The chemist’s forehead is dead center, like a third eye. If agent made the shot, we’d think he’d aim more to the side to ensure the bullet had a bigger chance of avoiding Stiles.
  • The bullet wound does not look like an exit wound. First of all it is very small and second of all it has gun powder residue around it. Look at the black tinges around the wound. Entry wounds has this, not exit wounds!

  • We see a light go off at the same time as we hear the shot fired (see gif below), but it’s too bright to be from the gun. It lights up the entire room. Stiles is associated with flickering lights…
  • Look at this gif – we clearly see that the chemist’s head whips backwards, then forwards before he slumps to the floor. That indicates that he’s been hit from Stiles’ side and not the back.

  • Add to this Stiles’ bewildered comment to agent when he emerges from Coach’s office : “Where did you come from?” If this was the savior with the gun, wouldn’t he be exclaiming “Thank god you came!”

So based on this the meta pack concluded the shot came from Stiles’ side and we believe it was Stiles who caused it. Take a look at the gif again – he does look scared, but not as scared as he should be. He’s concentrating. Using his power, saving himself.

Okay, and now for what we see in 4x08 that I believe supports this theory.

We get a scene with Agent McCall making his report on the incident. We see him removing the bullets from the gun and putting it in a plastic bag.

This is his gun                                                        

This looks very much like the same type of gun that Braeden shows Derek later in the episode

Okay, not the best screencap, but we see it’s a similar handgun. And more importantly – she even gives us a lecture on it.

Braeden: You’ll like this one. The legal clip size in California is 10, you always will remember how many shots you’ve fired. Running out of bullets can get you killed.

Thanks for that Braeden. Now let’s go back to Agent McTall (snickers)

If the legal clip size is 10 and he’s fired one shot that leaves…. 9 bullets left. But wait a minute – how many bullets are in that bag? Let’s count them shall we.

Well, i’ll be damned! It’s 10 bullets! Agent McCall didn’t fire any bullets - meaning the bullet that hit the chemist must have come from his own gun - remember it was pointed straight at stiles’ head and he was in front of him. Somehow Stiles has the ability to make the gun turn on it’s master so to speak.

Here’s another shot of the bullets if you want to do your own count

Still 10!

You might think that sounds outrageous, but let me quietly remind you of all the other “impossible” things Stiles has managed. And if we do a rewatch there might even be more!

  • stiles streched a handful of mountain ash into a line of several meters
  • stiles managed to hold a paralyzed werewolf afloat in a swimming pool for more than two hours
  • stiles is shit at lacrosse, but managed to score numerous goals during the final game in s2
  • stiles managed to hold up a support beam and a shitload of shaky ground with a simple aluminum bat
  • he managed to overpower ethan - an alpha! - at the creepy motel when he wanted to take a saw to his chest
  • maybe he even saved cora in the ambulance because he believed he could? it was a werewolf infected by mistletoe and he saved her by giving her the kiss of life…!
  • Stiles fixed his jeep without having the first clue how to do it
  • Stiles seem to have extraordinary strength for a human - managed to hold on to the lacrosse stick with one hand while simultaniously studying his crime scene photos - Coach was yanking on the other end using both his hands. And also when holding down the werewolf Brett at Deaton’s he held his own. And also Scott in 3x01 when Derek burned the tattoo…

And now with Stiles added onto a list made by a banshee, i’m thinking things will finally come into light- and yes I use the word light deliberately - He is the light of Beacon Hills according to the MTV Character bio :)

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!

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?

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.

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].

Keep reading

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 :) 

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.



Today is the 20th anniversary of the Gargoyles television premiere.

It might sound stupid, but Gargoyles has a ton of importance to me still. When it first came out my parents were a little iffy on us watching it - after all, the gargoyles themselves looked purposefully “demonic”. But the first episode we happened to catch was the episode where Broadway accidentally shoots Elisa. We were stunned. For starters, what a fantastic episode. Secondly, holy shit did they just have an episode about gun safety and a main character got shot? There was blood, I saw blood!

Right away I was hooked. Obsessed, even. I couldn’t stop thinking about this show. Every time it came on I was glued to the television set. I had entire episodes memorized in no time, and I remembered details about it far better than I remembered those pesky “school” details.

Gargoyles is when I really started to focus on art. Yes I’d been drawing since I could hold a crayon semi-correclty, but Gargoyles REALLY sparked something in me. I couldn’t stop. Suddenly I needed to learn, I needed to improve, I needed my skills to be enough that I could draw and design my own characters for Gargoyles, so I could feel closer to the show that meant so much to a lonely kid. I was obsessed with drawing, I was unstoppable.

I remember worrying that, for some reason, drawing gargoyles was probably bad. I kept it hidden for the longest time. In retrospect I’m not even sure why. My parents let us watch the show, they even liked it (when Elisa and Goliath kissed, my mom shouted “FINALLY!”), so the logic in my young head didn’t really track. But for months (maybe even years) my closet was stacked high full of my secret gargoyles drawings. I didn’t mind the secret. If anything it made me feel even closer to the show, like my obsession was something special. Again, kid brain and kid logic.

As lonely and maybe sad as it sounds (sometime in this story we moved halfway across the country, so my crippling shyness wasn’t the only thing preventing me from having friends), it’s amazing what Gargoyles did for me. Where my art had started out just a means to an end to be closer to the show, it became something much more important. Suddenly I was wanting how-to books and really actually improving and learning.

Then, the internet. Oh my, the internet. Once my dad figured out that I was getting more serious about my art, he wanted to scan the pictures in and show them off online. We had a cute little family website that was perfect for this. I watched while he showed off my Gargoyles fanart and I wondered what else the internet had to offer for this.

Oh my goodness, what it had to offer! I was floored. The fanart, the fanfiction (an entirely unexplored thing I’d never even considered - I had all these characters I’d made up, you mean I could write and post stories about them?! Granted I was 12 or so at the time, in retrospect the answer to “I can post my fanfic?” should have been “oh god no please don’t”)… the fans, meanwhile, were friendly and welcoming people. I was… well, very 12 years old… and made some idiotic comments here and there. Rather than chasing me out, I got PM’d and had things gently explained. Once I figured out kind of how to navigate the fandom, I felt comfortable and welcomed pretty damn quickly.

I’m still friends with many of those people to this day, including some of the more amazing artists and writers that I assumed would always be out of my league. And, well, they kind of still are - but I’m no longer a starry-eyed 12-year-old too afraid to talk with the cool kids. In any case, I found myself carefully studying others’ fanart, learning from them, getting ideas, tentatively showing off my own work (which was well received… I was 13 when I started posting more art and people were impressed at what I could do “for my age”… like the art wasn’t great but since I was 13, that shit was fantastic)

I don’t quite remember what I felt when the show ended (which was after season two, we don’t talk about The Goliath Chronicles… even as a kid I knew that show was bullshit)… I was probably upset. For all I know I’ve repressed those memories and I actually spent a week in bed inconsolable and sobbing and holding my action figures close.

But what I DO remember is that the fandom carried the show on. That sense of belonging that a lonely kid found in Gargoyles was continued for real through the fandom, through these people I’ve kept in touch with and grown with for the last seventeen years of my life.

When Gargoyles came out, it showed me so much. It gave me a rich and dark and beautiful story, complex characters (hero and villain alike), and a lifelong love of urban fantasy (I maintain it’s no coincidence so many Gargoyles fans love Dresden Files)…. It sparked a passion for art and character design and writing that I’ve kept up with ever since. It gave me a sense of belonging that I craved, even before it introduced me to the fandom and the friends in it that I’ve loved for almost two decades now.

I can say without any hesitation that I wouldn’t be where I am today if not for Gargoyles. Yes, I know, it’s just a show. But what that show has created, inspired, and brought together is something that has shaped me as a person in huge ways. I can never, ever express my love for this show enough. And yes, I’ve rewatched it as an adult - it holds up.

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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