It’s this quintessential millennial farming fantasy ‘cause I think we all secretly do want to live in a world so pure and so simple that we could just give up our horrible city jobs and move to a small town in the country full of really nice bisexual people. And Shane. Who’s mean. But I wanna kiss him anyway.
Griffin: You’ve got like, your own private elevator leading down to your- to your private living suite and you’ve got like a big, dome glass window underneath you. Just sort of looking down into, uh, down towards the Earth that you are floating over.
Travis: I wanna say that I know that this is a fantasy world in which Griffin is painting a picture with words, I literally just had like a real-life reaction [Clint laughs] to the idea of having a hole in the middle of my room that looks down thousands and thousands of feet-
Travis: -my stomach just dropped into my testicles a little bit.
There’s NO WOMEN on the x files writer’s room AGAIN and I’m so pissed off, I just… I’m gonna write. Because that’s what I hope to do some day, even if men like Carter don’t want me to.
Dear Chris Carter,
Women are powerful.
I’m gonna say it twice, because you don’t seem to understand. Women matter. I matter. Gillian Anderson matters. Dana Scully matters.
Every single woman around the globe is important. I know you don’t get it. That’s fine; let me explain.
A couple of months ago, I was watching a couple of interviews, and a lovely girl in a convention asked you about the character of Scully.
Oh, my dear Scully. I’d die for a fictional character you created. She’s strong and fierce, while kind when necessary. A mother and a fighter. A believer and a scientist. A lover, yes. A feminist.
But your words described her as you own fantasy. The woman that reigns in your dreams. A strong female, but always classy and demure. And that answered The Question, the one that’s been torturing me since I started watching your show.
So that’s why you wouldn’t let her be with Mulder.
Then I realized something. Scully wasn’t a real woman, at least not at first. Scully was a shadow, that somehow scaped from your fantasy and came into the world. Scully is her own mother, and she had to fight like every single one of us to reach a respectable place in a world full of sexism.
She didn’t do it alone. Gillian Anderson was her first companion, when she fought to get the same salary than her costar. She wouldn’t be the last. Every woman that wanted to be a doctor, or a scientist against every prejudice the society had was a part of her. Not just them; every agent, cop. Every writer, journalist that wanted to know the truth. Every lawyer. Every artist.
Every single woman that had to fight male prejudices was somehow Scully. That’s how she scaped. That’s how she fought.
You shamed her sexuality because you didn’t want her to be with Mulder. You wanted her pure. But then Gillian released her in All Things. So you kept writing like nothing happened.
That’s how it works to you. But your fantasy, the lovely girl of your dreams, is no longer yours. We freed her. We supported her. We fought on her side. She doesn’t belong to you, Carter, not anymore. Your own creation is a sign of something you refuse to believe.
She’s not ours; she’s us.
Thanks to her, I’m here now, writing. Because that’s what I wanna do, and she taught me to go for it. That’s how important fictional females are. That’s how important female writers are.
You seem to forget that women matter.
Thankfully, we live in a world that won’t let my little twelve-year-old cousin believe otherwise. We live in a world where my daughter will dream about being like Wonder Woman.
We live in a world were, thankfully, Dana Scully exists. And it doesn’t matter how much you and your male coworkers try to control her. Because she’s alive now.
Seventeen’s hip-hop unit recently released a new song and music video titled, Trauma. The song and video discuss each member’s personal experience with their possibly shared traumatic event, which many speculate is about their trainee days.
Trauma is defined as a deeply distressing or disturbing experience. A traumatic event can cause an individual: mental and emotional stress, nightmares, depression, and feelings of hopelessness. Post-traumatic stress disorder (PTSD), is an anxiety disorder that can develop after an individual experiences an extremely traumatic event. In this case, the individual is often triggered by experiencing or witnessing events that are similar to their traumatic event, which cause them to relive and revisit it.
Edward Hopper was a renowned American painter who is mainly known for the use of realism in his artwork. This style was used in many of his most famous oil paintings, often used to depict scenes of alienation and isolation. Hopper took ordinary objects and situations and painted them in a way that brought about feelings of isolation, in order to push people to examine and contemplate their own inner loneliness. His artwork is seen as a kind of therapy to the viewers that helped them move on.
Many similarities and parallels can be drawn between the music video for Seventeen’s song, Trauma, and Edward Hopper’s paintings. The two art forms share similar: colors, framing, use of space, use of shadow, and overall message. Whether or not the cinematographer(s) intentionally modeled Trauma after Hopper’s work, similarities between the two clearly exist and they should not be disregarded.
Click “Keep Reading” for Entire Music Video Analysis.
The first thing that caught my attention in the Trauma music video, was how the mise-en-scene (fancy film/theater term for the arrangement of scenery and props in a shot) managed to capture the feeling of isolation in a variety of different ways for each room. After the quick montage of different shots of the music video, we are first introduced to each room and member individually.
Mingyu’s room appears to be a minimalistic living room, kind of like the ones seen on display at IKEA. His environment is surrounded by tangled bits of rope and thread. Out of all the rooms, his environment is the most inhabited by props and is the least empty. However, his environment still captures the feeling of isolation through the scene of Mingyu staring out the window, the single lightbulb, and the single cup.
Next we are introduced to the odd props used in Vernon’s room. His room is comprised of: a pile of sand, a collection of fans, and a single window on the left wall. His room achieves the sense of loneliness with the lack of furniture and props that would one would expect to find in his room. The high angle wide shot of Vernon sitting in the only corner of the room does an excellent job of capturing the solidarity, because he is sitting in front of the window, the only place in the room that receives light (aside from the odd unknown room to the right that we are not shown). He is also seen sitting away from activity in the room (the mound of sand that is surrounded by the circle of fans).
S. Coups’s room is the third room that we see, and it too, is rather minimalist and resembles an IKEA display. Again, their is a scene that uses a high angle wide shot to make the subject, S. Coups, look small in relation to his setting, while also emphasizing the sparsity of the room. The cinematographers also used lighting to enforce the mood. The human eye is naturally drawn to light, once we register the location of light sources of this scene, we realize how much darker the rest of the room is in comparison, thus achieving the feelings of loneliness when coupled with the high angle wide shot.
The last room, Wonwoo’s room, is the most desolate and bleak of all four rooms. The only prop in his room is the chair that he is sitting. Unlike the other rooms, the window in Wonwoo’s room is located in the center of the room where the audience has a clear view of it. This is intended so that viewers pay close attention to Wonwoo and his shadow, in both his medium and wide shots. The emptiness of the room and emphasis on his shadow, are truly representative of what it means to be isolated.
Building Structure + Rooms + Walls:
The building/room itself is symbolic of being desolate, lonely, distant, disconnected, and empty. Although all members are existing in that one long room together, each member is separated by walls and space. Even in the few shots at the end where all the walls are removed and we can see the entire distance of the room, from Wonwoo to Mingyu, each member stays and exists in his own space. Essentially, even though the physical barriers were removed, they were all still trapped in the end by some kind of psychological event. Each room’s contents can be also interpreted as a symbolic representation of each member’s personal experience with trauma.
Windows Showing the Outside:
It is surprising that we were able to see actual places (or depictions) outside of Mingyu’s and S. Coups’s windows. Mingyu’s window showed a few neighboring buildings, while S. Coups’s showed a green space and a some kind of body of water. These quick shots of the the “normal” world outside, help to contrast it against the quirky and “fantastical” room, that the boys occupy in the video.
Mingyu + Rope / String:
“I’m in trauma its got me sick / Stuck in trauma I’m going to sing / Blah blah blah blah why can’t I forget / That’s my trauma my trauma yeah.”
Mingyu sings the chorus of the song, which talks about the inability to let go of the traumatic event that is haunting him. The items contained in his room are bits of string and rope. These items can be interpreted as symbolic representations of how he may have felt in his own personal experience with trauma. These items suggest that his traumatic event may caused him to feel tied down or restrained, effectively preventing him from doing or obtaining some kind of goal.
Vernon + Fans + Mattress (Sand Discussed Later):
“Trauma got me bae bae / I dropped out when I was in the 2nd year of middle school basically / Boxed in boxed in my lonely world / Stuck in my fantasy like dreaming it to be real life / I waited with no thoughts but okay I realize / If it’s like this I’m going to stay alone I don’t know what to do / Blocked whispers blocked your phone raise your volume / I don’t wanna be alone / I don’t want to forget imma sing this song anybody listening.”
Vernon’s rap is clearly about feelings of loneliness and alienation. His rap discusses the lonely world he was living in, which caused him to often fantasize about a life other than his own. It is rumored that he dropped out of school because balancing trainee life and school was too much for him, and he was homeschooled for the rest of his education. If this is true, it is very fitting of the song. I imagine that being homeschooled can be quite lonely. The items in Vernon’s room was a pile of sand and a collection of fans. I am not quite sure on the fan symbolism, but I noticed that they are all mainly arranged around the pile of sand. There is a superstition in a few cultures, including Korean culture, that associate electric fans and death. Supposedly, if a electric fan is running in a closed room with closed windows can lead to death. I do not think that the cinematographers are alluding to death with the use of fans in this scene, I think they are meant to represent something else and it is a coincidence, but who knows. As for the stack of mattresses, they can be interpreted as symbols relating to his loneliness. Beds are places many people who feel sad and lonely, resort to. Sleeping is often used as a coping mechanism to help people take their minds off whatever it is they are dwelling on.
S. Coups + Ceiling:
“I barely spat out my breath, it’s like I forgot how to do it / I myself miss you that is the hardest for me / Dizzy thoughts come where the light given to me widens / Unlike the stage where I am in my mind is only one square meter.”
S. Coups’s rap sounds as if his traumatic experience is causing him to suffocate; the only place where he is safe from this thoughts and feelings is on stage. Besides his sparse room, there are several low angle shots of him, in which light is let in from above, through a bunch of tiny holes in the ceiling. These shots are also reminiscent of holes one would poke in the metal top of a jar containing some kind of live insect or creature. This imagery ties into his lyrics about his difficulty of breathing.
Wonwoo + Shadow:
“Unforgettable things about my accustomed immaturity / My inner doubts that’s appeared in my head trauma / What has been my reason of existence / It’s disturbing me on purpose like a mudfish even if I’m mourning uh / I’m going to sing no I’m going to trap my trauma even more yeah / My mind is sickened and it’s going deeper to the ground on its own / Even more deeper more deeper it can’t find it by myself / I don’t know where this trauma will end up until I need a hand to hold.”
Wonwoo’s rap is quite clearly about dwelling on past mistakes and getting lost in his own dark thoughts. I believe he mentioned something similar to this in a vlive, something about how he used to be unable to express his thoughts and feelings with others, but has since then opened up. His shadow is also quite symbolic in the fact that it really emphasize how alone he used to feel.
The sand is used both in Vernon’s room and in shots with Wonwoo and his umbrella. I am not entirely sure what the purpose is but I think it relates to the idea time.
Rope / String + Cat’s Cradle:
Ropes and string were briefly discussed in Mingyu’s section about symbolizing constraint. The scene in which Wonwoo and Mingyu are tied to opposite sides of a pole by a single rope, suggests that they are constrained by each other. If one of the two tries to loosen the rope on his side, it may harm the other. This is similar to the scene of Mingyu and Vernon playing Cat’s Cradle, while S. Coups is tightrope walking across. Cat’s Cradle is a game that can be played alone or with as many people as you want. The game involves attempting to make new designs with the string without disrupting your previous designs. One wrong move and the game is over, one wrong move made by either Mingyu or Vernon, and game over for S. Coups.
Room of Mirrors:
Each member has a scene where they are rapping/singing in a room of mirrors. In those scenes they are forced to confront themselves and possibly their traumatic experiences, because there is nowhere else to look.
Conclusion + Meaning:
Assuming that this was in fact about their trainee days, makes quite a bit of sense. Although they may have all been together the traumatic experience of being a trainee together, it does not mean that they shared all their own personal struggles with one another (room and space symbolism). Being in a group together like that in that kind of industry, means that everyone has to constantly be aware of each others actions, so as not to create an unfavorable situation, such as a “scandal.” What they say and do can impact the whole (rope and string symbolism). Within in the entertainment business, there is always a constant worry if a group or individual will be successful. In Seventeen’s case, it is rumored that the group was supposed debuted awhile ago, and the reason they finally debuted was because of their company’s financial problems; they were a last shot. In an industry of high competition, constant new faces, and consistently younger talent, time can be a concern (sand symbolism).
Seventeen’s 4th mini album Al1, is a turning point in their musical career. Trauma is one of four songs and videos that is supposedly a prequel to Al1′s title track, Don’t Wanna Cry. With this in mind, it makes sense that they would revisit their trainee days if they are trying to mature and experiment with different sounds and styles. Considering all of the aspects: the elements in the music video, the symbolism, the connection with Hopper’s paintings, and the speculation about it being about their trainee days, says quite a bit. All of these elements added up suggest what Hopper tried to convey with his paintings. This song and music video function as a way for the members of Seventeen to confront their traumatic experiences and feelings, in order to move on and grow from them.
i wanna talk about daydreams for a sec, because i absolutely live in mine. my entire life i’ve been so enthralled by the worlds in my own mind, that at times i prefer to be left alone with them. even as a kid i loved playing by myself, being a spy or a mermaid or something, and playing alone meant i never had to explain my intricate fantasy to anyone else.
i’m 24 tomorrow and i have to wonder if i’ll someday be lying next to my spouse and still playing out fantasies in my head. will i be driving my kids to school and spacing out about what if i were an FBI agent?? what if i were the avatar? what if i were a famous celebrity? it’s weird to think about bc my life right now is so empty, and i’m fully aware that my daydreams fill the void, and as a kid it was just all about fun. but if/when i do have friends/a spouse/children/fulfilling career, will my want for daydreams simply dissipate? is it really just a coping mechanism, or will i always be living half in reality and half in imagination?
i hope i never lose it tbh. it’s hard to imagine my mind without it, what would i think about in the car? in the shower? in bed? god only knows. but i will say that i hope parts of my reality someday become as good (or almost as good) as my daydreams. it would be nice to have that particular brand of happiness be a permanent thing.
It should have been an ordinary evening at the bookstore but one forbidden book later, Baekhyun finds himself in another world. And the king there is everything short of prince charming.
Author: baeconandeggs, chanyeoloving Side Pairing: kaisoo, hunhan Length: Oneshot Status: Completed Genre: Smut, Fluff, Angst, Powers/Supernatural AU, Royalty AU, just a really beautiful fantasy world I wanna live in Rating: NC-17 Warnings: mpreg, highly intense smut
Admin Summer: possibly the most beautiful fic I’ve read since the fest started. (like what are those descriptions???? SO VIVID AND BEAUTIFUL) everything is so beautiful, the dialogue, the characters, the struggles, (AND THE ANGST OH MY GOODNESS) it’s so cliche but it’s so beautiful. I can’t stop reading it. baekhyun and chanyeol are both so beautiful here. the author deserves not just kudos but multiple awards for this. this definitely makes my top 10!
I just noticed there's a TBWF demon character sheet out for roleplaying, so naturally I wanna DM something for a few friends, but i've got a few questions about the world of TBWF before I start. 1) What do demons do in their daily lives? 2) What exactly does the neucoun do? 3) What is higher hell (human hell)? 4) Does the world of TBWF have a black market for human goods? 5) Does anyone hate LD? If you can't answer these questions for plot reasons, that's fine, thanks so much!
It depends on who they are, really. And as much as it may seem that they live in a fantasy-esque world, they’re pretty parallel with the Human Fold. (eg. floap-powered television and the unavoidable reality tv brought to you by Amiha, the media mogul forest demon; the Infernet where humans and demons interact with each other in certain interdimensional-forums unaware that they are in fact waging flame wars with inhabitants of different dimensions, black markets selling illegal merchandise ranging from human bones to unlicensed Pafhelo team t-shirts, etc)
Neucoun makes sure that both Heaven and Hell gets their fair share of human souls. They are also in charge of ending worlds if the humans produced from them is unbalanced (ie if an unimaginable percentage of the humans go to Hell/Heaven). They also do audits to make sure the leaders of both folds aren’t breaking rules / scheming against each other. They also have a bunch more duties but I’m not gonna elaborate on that for now.
Higher Hell (and Lower Heaven) process souls so they’re turned into energy and fed to Lower Hell (or Higher Heaven)
They do, actually. (if by human goods, you mean stuff humans use like human-made radios and human-made cellphones) It’s not exactly illegal but it’s usually only found in the black market. Human goods like hair, bones, meat etc are also not exactly illegal (the kidnapping part is illegal tho) but it can lead to investigation from authorities.
The general demographic has a neutral/positive view of LD. He does his job properly and there’s enough presence of him in important Hell-wide ceremonies for people to regard him as a respectable authority figure. He’s aware of his responsibilities and actually makes professional decisions for the betterment of Hell (in the beginning chapters, he even finished a century’s worth of paperwork so he could tune in on the tournament without his work getting in the way). He’s a great leader but he’s a bored asshole in person.
Take a shot my brother and you’ll set yourself free.
Take a shot my sister and your strut will be fleek.
Take a shot my people if you wanna have peace.
Take a shot for those who died to live free.
Destined to be a revolutionary I understand the energy inherent in me to create reality out of fantasies.
A pensive force forces me to pick up my stencil,
a mighty pen or pencil that might hold potential.
Essential to the narration of an inspired individual,
A kid that will change the world.
Spreading Peace Happiness and Making Love not war.
I grew up poor but my family worked hard to make sure we ain’t ever loss.
I strive to be a GOD because every one of them is a Boss.
Steps made of stars keep my head straight up,
Bumping Tupac Lamar, Nas Cole, and Biggie Smalls.
A mind full of passion and heart full of love,
Let’s gain some compassion for our mother above.
Our world dies slowly,
As we preach about the holy,
We keep the children bony, tho there’s an abundance of money.
Too many white lies have destroyed black lives,
I’m here to remind you all that we are ROYALS….
SO LETS US ALL RISE!!!
♦ good girls go to heaven, bad girls go everywhere ♦ memories destroy us ♦ maybe we’re from the same star ♦ whatever happens, you’re my light ♦ we may not have it all together, but together we have it all ♦ but darling, this is not wonderland ♦ can we act like we never broke each others heart? ♦ trusting people is like touching fire ♦ everyone seems normal until you get to know them ♦ you need a little bit of insanity to do great things ♦ we’re just lost souls, aren’t we? ♦ I could look into your eyes until the sun comes up ♦ because alcohol tastes better than tears ♦ the rebel in me will never die ♦ let’s get drunk together so I can kiss you and then blame it on the vodka ♦ I miss the taste of you ♦ you are obsessed with finding someone to love you because you can’t love yourself ♦ I cared too much and that destroyed me ♦ a part of me was lost in you ♦ there’s a devil in your smile ♦ sometimes to stay alive you got to kill your mind ♦ we all have darkness inside of us, and some of us are better at hiding it than others ♦ fake people don’t surprise me anymore, loyal people do ♦ if this is reality i am not interested ♦ just two kids, stupid and fearless ♦ we were just a bounch of trouble kids who wanted a feel of what real life felt like. ♦ she wanted to be a poet, but deep down she was a poem ♦ all we need is love ♦ we are just kids in love ♦ I don’t care how complicated this gets, I still want you ♦ we blame society, but we are society ♦ you ruined my favorite song ♦ you can find love in the same place you lost it ♦ destroy what destroys you ♦ I feel bad for people who never go crazy ♦ black is not sad, black is poetic ♦ it hurts because it mattered ♦cool kids never sleep ♦ i’m a teenager, my music will tell you a lot more about me than my mouth ever could ♦ i broke my rules for you ♦ i’m all yours, i’ve got no control ♦ I just want my past to be a blur. ♦ collect moments, not things ♦ sometimes we need fantasy to survive reality ♦ cause all that you are is all that i’ll ever need ♦ your voice was the calm after the storm ♦ there are so many types of art but you are my favorite ♦ I just wanna be yours ♦ you never know the last time you’ll see a place. or a person. ♦ we all go a little mad sometimes ♦ love is a dangerous game ♦ don’t break my heart, you live there ♦ lost in a world that doesn’t exist ♦ first, learn how to make yourself happy
In writing fantasy and with the inclusion of people of a variety of different races would it be disrespectful to exclude racism? Most of the stereotypes and prejudices I focus on are in relation to the class structures and depending on the story sexism. The same history doesn’t apply as it’s fantasy and I’m doing my best to not fall into any tropes but I’m stuck between worrying that it’s disrespectful and standing my ground that I’m writing fantasy where I want racial equality to exist.
Personally I think it would be odd to me if racism was completely absent, when you do have sexism and classism. These things are always intersected. I don’t think there needs to be a focus on all oppressive systems, but they shouldn’t be ignored in the entire book as well.
I definitely agree with what Alice said. Although the intention of wanting to have racial equality within your fantasy world is admirable, you need to make sure to go the right way about it. Declaring that it doesn’t exist simply isn’t a feasible reality for your story when you have elements of classism and sexism involved, as well as different races. As Alice said you don’t have to focus on all oppressive systems but addressing it with a nice explanation of how racial equality was achieved can be a respectful way to make racial equality feasible in your story.
I understand what you’re intending, and that’s a story that doesn’t have the barriers of racism in the world and thus doesn’t dwell on those struggles.
I personally think it’s okay not to dwell on. But as Alice and Lori mentioned of intersectionality, racism/classism/sexism do go hand in hand, so if you’re making a world free of racist prejudice, you might need to craft a sturdy explanation for this (at least for yourself). And also recall that intersectionality must exist on your end as well, regardless of if racism is a thing in your world.
You and I still live in a place where racism and our history exists so still be mindful of not perpetuating harmful tropes and stereotypes that might not be a trope if such a racism-free world truly existed, but will tick a nerve for those of us from the other side.
For example, if you decide to make a Black woman character this “strong” image of female empowerment who also happens to be the one who doesn’t need no man, who always and only saves herself, etc. then you’re perpetuating a racist trope in our world. So remain intersectional and aware even in a story that doesn’t have racism.
Though, in fact, you could technically write a story in our world that doesn’t divulge into racism and racial discriminatory issues. Not every POC wants to read a story where their presence has an attached subplot of racism and micro-aggressions, especially in fantasy, all the time. We get enough of that in the real world. Sometimes we’re here for the adventure, too.
my favorite quote on the subject is this:
idk do people not get the concept of escapism
Like yes we know living as a PoC/woman/LGBTQ/person of a marginalized group comes with oppression and institutionalized ugliness and yes the media should reflect the reality of the situation but hey that doesn’t mean every story about girls should be about how shitty it is to be a girl or how every story about LGBTQ should be about the bs you face, sometimes we want to live in a fantasy world too where we’re unapologetically awesome and our story isn’t always about how we have to overcome prejudice or deal with the harsh realities of being a PoC but about how we’re going to discover treasure planet and slay dragons and fight off criminals and save the universe
I just wanted let people know I'm Jimin biased and I can't stand seeing "some" shippers or other peoples' hate for Jimin. I'm really tired of seeing some people making disrespectful, immature, childish, arrogant, stupid, mean, inhumane, unnecessary, rude comments about Jimin. It's not just about Jimin but these days it is. I really can't believe how some of you can still think members hate Jimin. For God's sake my mind can't even imagine this. How animal you are to think members can hate eo.
They wanna teach us to love ourselves. And I think you guys should try to love yourselves because you can’t love something/someone without loving yourself first. Please live your own “hate” fantasy on your own world. And I’m sure some shippers gonna be like “oh I don’t do this. Xx shippers don’t do this. We are respectful.” Well, hello! Every ship has this animal shippers in their fandom.So even if you don’t do this please don’t let others too. Let’s take care of each other. ( wJimin biased one)
you put it into words perfectly. like i have nothing else to add on because this was so amazingly well written. i agree 100000% anon..
Honestly im really fuckin sad bc you look at godkin blogs and some of them have like, really cool, detailed ways to worship them and like??? It sounds so cool and i wanna do it but then again they arent a god and its just gonna fuel their ego
goshhh i know. like i’ve said this before but i would love it if these people stopped pouring all their creative talent into bs past lives and like wrote some fiction instead? some of them are suuuper imaginative and i would love to read about it in the context of a fictional fantasy world or the like. it’s really kind of a shame.
1. The Run and Go - Twenty One Pilots (You’ll have to watch me struggle, from several rooms away, but tonight I’ll need you to stay.)//2. Longest Night - Howie Day (You and I, caught in a fading light, on the longest night.) //3. Sidekick - Walk The Moon (Well it just occurred to me the one that I need could be right here by my side.) //4.You Make Me Feel - Cobra Starship (What I been missing in my life, what I been dreaming of, you’ll be that girl.)//5. A Drop in the Ocean - Ron Pope (A drop in the ocean, a change in the weather. I was praying that you and me might end up together.)//6. Shelter - Birdy (I find shelter in this way, under cover, hide away. Can you hear when I say, I have never felt this way?)//7. Tear in my Heart - Twenty One Pilots (She’s the tear in my heart, take me higher, than I’ve ever been.)//8. When the Day Met the Night - Panic! At The Disco (When the moon fell in love with the sun, all was golden in the sky.)//9. Ho Hey - The Lumineers (I belong with you, you belong with me, you’re my sweetheart.)//10. Mirrors - Justin Timberlake (Cause I don’t wanna lose you now. I’m lookin right at the other half of me. The vacancy that sat in my heart, is a space that now you hold.) //11. Proof - Paramore (It’s really hard. I can’t cry in your arms, cause you’re not here. It’s not your fault, and if it was I wouldn’t care.) //12. Demons - Imagine Dragons (Don’t wanna let you down, but I am hell bound. Though this is all for you, don’t wanna hide the truth.) //13. Say Something - A Great Big World & Christina Aguilera (I’ll be the one if you want me to. Anywhere I would’ve followed you. Say something, I’m giving up on you.) //14. Au Revoir - OneRepublic (Let’s play a game, where all of the lives we lead can change. Let’s play a game, where nothing that we can see, the same.) //15. House of Memories - Panic! At The Disco (And when your fantasies, become your legacy, promise me a place in your house of memories.)
Anyway I wanted to address two things, Bryke’s “Hetro Lenses” comment and the people who are defending this post saying shit like “Well it’s Bryke’s show they can do what they want who are you to judge them!” and “Stop hating progression guys!”
First of all in regards to the stupid “Hetro Lenses” comment let me just say this, I didn’t despise the scene because of my sexual orientation I dislike the scene because it felt forced and poorly written.
Bryan stop making up excuses for your shitty writing and just learn how to except criticism, you and Mike seem to be living in this fantasy world where you only hear what you wanna hear and ignore everything else. You probably surrounded yourselves with yes men and ass kissers during production because you’re not used to responding to people that don’t like your work.
Playing the homophobia card is a fucking childish cop out because you’re basically telling everyone who’s criticized you that the reason they hated the final scene between Korra and Asami was because they were too hetro to understand how LGBT people act and I cannot even begin to describe how fucking stupid that sounds. Because guess what? I’m straight and one of my closet friends is pansexual so don’t you fucking sit there and tell me I could never understand LGBT culture because of my heterosexuality.
The problem here isn’t homophobia the problem is your shitty writing because like I said in my response I could not buy Korra and Asami as a couple because the interactions between the two were so poorly written and forced they became unintentionally laughable. For example the “bonding” scene in the car at the start of Book 3 that was so cheesy that I could not stop laughing at how bad the writing was. And the dinner scene with Mako and Wu came off as trying way too hard to imply that the Korra had feelings for Asami.
And I’m sorry but no matter what you say I cannot forget the fact that Korra stole Asami’s boyfriend from her at the end of Book 1 and didn’t bother telling her about it. Not to mention the fact that in Book 2 not ONCE did Korra ever come up to Asami and ask if she was okay with her dating her ex. Korra just comes off as someone who puts her own needs above those that she’s supposedly in a relationship with. For example when Mako came up to her with proof that someone was trying to start a war between the north and south tribes how did she react? By completely ignoring Mako’s evidence and continuing to be one sided in her views. Hell she went behind the president’s back and tried to get Iroh to support her in her quest for war!
Plus while we’re at it why was Asami even at Varrick and Zhu Li’s wedding when her father just died not too long ago? I mean Hiroshi died trying to save his daughter’s life you’d think Asami would do everything in her power to get the city to acknowledge his sacrifice but nope she’s at Varrick’s wedding because…..reasons.
And again the problem with the scene is that Asami is the one who comes up to Korra at the wedding to open up to her not the other way around, she might as well have come up to her and said “Can I get you anything mistress?” because that’s what her character became at that moment a handmaiden who’s only purpose is to be at Korra’s beck and call.
Believe me when I say that The Joker and Harley Quinn’s relationship in Batman the Animated Series was less one sided than this and that’s saying a lot!
But anyway if Bryke want to play the homophobia card and pretend that the people criticizing their shitty writing are all homophobes then by all means go ahead all it does is show the world how they are unable to handle any form of criticism be it negative or otherwise.
And as for the people defending Bryke let me just ask you this when The Last Airbender movie came out back in 2010 and you were all rightfully pissed off at it did a little voice in your head come in and say “Well who are you to criticize M.Knight! It’s his movie he can do whatever he wants with it! You being a fan of the original cartoon doesn’t entitle you to jack shit!” if the answer to that question was no then congrats you understand the difference between a constructive argument and a cop out argument.
See the people drinking the Bryke Kool Aid fail to understand that just because something catered to them doesn’t mean that it’s above criticism. I’ve tried time and again to like The Legend of Korra but I just could not meet it halfway and just because I enjoyed Book 3 doesn’t mean that it’s above criticism and it doesn’t mean that just because I enjoyed one season of a show doesn’t mean that I’m gonna recommend it to my friends.
Also I hate this idea that just because the final scene was “progressive” that we should automatically forgive the show for its faults, well no I’m not gonna do that because if I don’t say anything about how bad the writing on Korra was and how poorly handled the final scene was then what’s to stop future shows form making the same mistakes? As a writer you need to put writing above everything else, world building, character relationships and story arcs will come naturally to you if you focus on making your writing as good as possible. This is something Bryke didn’t do in the finale, they put more effort into how the final scene will play out than they did anything else. Like for example Mako didn’t learn anything, Bolin and Opal’s relationship was wrapped up quickly, Tenzin and his family became background characters, Lin and Toph’s relationship was ignored, Katara was nowhere to be seen and the fact that Zhu Li would marry someone who treated her as badly as Varrick did over the years really goes to show you that Bryke could not write believable relationships to save their lives during Legend of Korra’s three year run on the air.
But according to the Bryke apologists we’re supposed to forgive all that because Korra and Asami got together in the end, yeah sorry just because two females got together in a children’s show doesn’t mean I’m gonna automatically drink the Bryke progression flavored Kool Aid.
And if you wanna label me an Avatar Last Airbender fanboy then by all means go ahead because I honestly could care less what the Bryke apologists think of me.
Like I said in my response to Bryke’s post, they knew they had a bad finale on their hands so they decided to have Korra and Asami get together in a pitiful attempt to pander to one side of the fanbase and toot their own horn about how “progressive” they are.
I look forward to reading all your angry responses Bryke apologists.
Dipper’s Speech to Mabel (aka the monologue that made me cry five times)
Dipper: Mabel, listen. I might not have all the answers. I’m not stylish and I’m not cool and I can’t make pugs appear out of thin air. But I know one thing well – and that’s you. and I know even though you might act like it, you don’t wanna be in this fantasy world. You’re scared of growing up. And who could blame you, I’m scared too. Look, real life stinks sometimes okay, I’m not gonna lie. But there’s a better way to get through it than denial and that’s with help from people who care about you. That’s how we’ve gotten through our whole lives. Just look!
Dipper: “Mabel! I’ve found a way to fix your photo!” Mabel: “What? You have a wig?” Dipper: “No, but I have a razor!” Dipper: /shaves line down head Mabel: “Haha… you’re crazy!” Mabel: /shaves identical line down head
Mabel: /slides Valentines under door to Dipper
Dipper: We’ve always been there for each other.
Dipper: Mabel, I thought you were living a fantasy, but look at me! I actually thought I was gonna stay here and be Ford’s apprentice. Spend my entire teens cooped up in a basement in a lab coat? How ridiculous is that? I don’t know what’s gonna happen in the future, but whatever it is, you don’t have to fear because we’ll do it together. I’m not taking Ford’s apprenticeship. We’ve traveled to heck and back to get you and we’re going back together. Leave this fantasy world. Let’s beat Bill and grow up together!
Mabel: You mean it? You’re really coming home with me?
Is any of it real? I mean look at this. Look at it! A world built on fantasy. Synthetic emotions in the form of pills; psychological warfare in the form of advertising; mind-altering chemicals in the form of food; brainwashing seminars in the form of media; controlled isolated bubbles in the form of social networks. Real? You wanna talk about reality? We haven’t lived in anything remotely close to it since the turn of the century. We turned it off, took out the batteries, snacked on a bag of GMOs while we tossed the remnants in the ever expanding dumpster of the human condition. We live in branded houses trademarked by corporations built on bipolar numbers, jumping up and down on digital displays, hypnotising us into the biggest slumber mankind has ever seen. You have to dig pretty deep kiddo, before you can find anything real.