i-just-have-a-lot-of-feelings

The scene where Connor and Evan meet in the lab is one of the most intense for me because I can just see both of them struggling so hard and they’re just on opposite sides of a coin trying to figure out how not to fuck this up and they’re both on guard and towards the end we see Connor really trying by handing him the letter but he sees Zoe’s name and his wall shoots back up and suddenly he’s on the defense again and it just feels so hopeless Because they were THIS close to maybe having somebody who could be there for them and the miscommunication just ruins it all and so many things could have been different​

what i say: I’m fine.

what i mean: i think it’s kind of really fucked up how Danny Phantom ended?? like they did Valerie dirty by not completing her story arc. They made Sam look like all she cared about was Danny Phantom. also the plot holes, the FUCKING PLOT HOLES. i just wish Phantom Planet was replaced by a whole 4th season with better closure. like its not cool that Nickelodeon forced Butch Hartman to do that like its really fucked up. im really sad about it. also fuck SpongeBob and Fairly Odd Parents for stealing the spotlight forcing Nick to do that. basic assholes. life’s unfair.

Just a theory about Wilford.

alright, just gonna get right on down to the nitty gritty with this one because i dunno, it makes me excited.

so! in mark’s february charity livestream, although he talks about dark, he drops this little piece of info, saying, “much like warfstache, [dark] doesn’t obey the laws of physics.” which got me thinking: alright, we know from mark’s words that dark bleeds into this world/reality from wherever he’s from. but just how does wilford break physics? well that, ladies and gentlemen and all configurations of being, is what i’m proposing…

wilford warfstache breaks physics by breaking the fourth wall.

now, hear me out on this, alright? let’s look at the markiplier tv video first.

after the third sequence of the jim twins delivering their news, we’re met with this short little clip of wilford trying to push his name away. typically in tv and film media, characters are unaware of the credits around them. needless to say, wilford is breaking the fourth wall because he too is aware of things that only the audience is made aware of, by trying to push his name away. 

another example is during the conference scene with all the other of mark’s characters, where he says, “it’s gonna change everything we know about television, trust you me.”

trust you me…. this one seems pretty obvious. we all know that these are just characters that mark has dressed up as, but it seems that wilford himself knows this as well. essentially what he’s saying here is something like “trust me because we’re the same person (mark)”. it’s very meta, but once again wilford is made very aware of this.

still with me on this? okay, now let’s take a step back further and look back at wilford’s ‘more?’ video from a date with markiplier.

when he first see wilford, he’s literally just a floating head, welcoming everyone to his “humble abode”. of all places to live, why live in some weird pink swirly dimension, am i right? 

even more so, wilford states “in all this time going through this game, have you stopped to ponder the possibility that you are not what you think you are?” once again here, wilford being meta and referencing the whole a date with mark experience, calling it a ‘game’ which pretty much is what it is.

the ending with wilford comes out to be the “true ending”, where you ‘discover the truth’ that you were actually chica all along. wilford knows this ending (and probably all the endings) and segues you to it. needless to say, overall, wilford seems to know everything about everything.

so yeah, this is just my understanding. i hope it makes sense! 💖

OKAY BUT SO MUCH HAS CHANGED KNOWING WHAT WE KNOW IN EPISODE 10???

victor was just chillin at this banquet and this guy who lost miserably shows up and starts a dance off?? this is a formal ass banquet like

and he starts this wild dance off and takes off his jacket and yurio joins in and victor is havin a good time in the background

and theN VICTOR JOINS HIM. and let me just say victor looks like he is having SO MUCH FUN. LOOK AT HOW HAPPY HE IS.

like this boring banquet turns into victor finding this adorable guy who gets drunk and starts a dance off and strips and pole dances, and they dance together and they’re already so happy and comfortable together, having so much fun. and this guy dances on him and grinds on him and tells him all about japan and where he’s from and how he should be his coach. and victor is GONE he is HEAD OVER FUCKING HEELS.

then victor after GPF he has kinda lost motivation and doesn’t know what’s next. and then this video goes viral of some guy skating his routine from GPF. AND IT’S THE ADORABLE DRUNK GUY FROM THE PARTY. so now victor is like time to take up his offer.

he shows up in his hot spring and is like time to be your coach!!!!

and then all his advances

make so much more sense. he probably just ends up thinking “he’s probably more shy when he’s sober!” but he does think that yuuri remembers it. and he’s so confident in his eros because BOY HE HAS SEEN IT.

victor wasn’t just teasing with a flirty personality. this was legitimate flirting. victor has been trying to get with yuuri this whole time.

we thought yuuri was chasing after victor, hoping for victor to notice him…. but in reality victor was chasing yuuri. he flew across the globe chasing after him. 

it’s like 3 in the morning but I just realised that when dizzee painted on thor in That Scene he painted him just like the picture he did of thor on the wall with rumi, with the blue and white stripes and the gold star on his stomach?? and then dizzee in his opera jacket and multicolour-painted skin. and it’s like. together they’re literally becoming these free and unafraid versions of themselves that they have only been able to express through art and,,,I’m just getting real emotional here

You all know that everyone left around the same time after Oliver’s party last night, but that Oliver was the last one to go, and that Felicity walked him to the door and they lingered, both of them wanting to say something but knowing that they didn’t have to, because they’re finally, finally finding the same page again, and it’s so, so significant and amazing. They stood at the door for a long moment, neither speaking, until Felicity reached for his hand. Oliver saw her moving, his hand already coming up to meet hers, like they’re goddamn magnets or something, and their fingers touched, oh so softly, gently… and then more, slowly, their fingers sliding against each other’s, against their palms, against the insides of their wrists. You know that they both watched their hands, amazed how such an innocent touch could mean so much more. You know their fingers tangled together, that they simply enjoyed each other’s touch, finally able to enjoy such a simple, tiny thing that they had denied themselves for so, so long. And then Oliver laced their fingers together, squeezing her hand before bringing their interlaced fingers up to his lips as he looked at her again. Her eyes were glued to their hands but she felt his gaze and she met his eyes right when he kissed the back of her hand. He whispered, “Thank you,” and they both knew it wasn’t just for the party, just as much as they both knew that if he kissed her right now, she wouldn’t stop him. But he didn’t, because while that would be so amazing, realizing everything that’s always existed between them, there’s an even stronger urge to do this the Right Way, starting with another first date.

(they’re gonna have another first date and i’m emotional as hell about it)

anonymous asked:

Why is being strong and indepant racist? It's better than seeing sana cry over a guy a whole season.

Um… Where do I start? 

I don’t think you can apply white woman tropes to WOC. In media, white women are usually seen as desirable. They are the love interest. They are the damsel in distress. They are 100 things wrong with that. It’s rooted in misgony. But it’s how white women are portrayed. So fx having a Noora season, where she was strong and independent and didn’t need no man, would be great because it’s breaking the norm. With Sana it just kinda reinforces it.

WOC are usually seen as TOUGH or BADASS or SASSY and INDEPENDENT. There’s nothing really wrong with that on a surface level. Those are good traits, right? Admirable. 

But when are we the love interest? When are we the damsel in distress? We’re always shown as care takers, but when is someone going to take care of the brown or black woman. 

It’s a harmful trope because it’s meant to desexualize and therefore dehumanize WOC.* 

THAT’S WHY YOUSANA WAS IMPORTANT. You had a brown girl with hijab being desired. When do you ever see that?

Season 4 was problematic in a lot of ways. It kinda just reinforced a lot of racist tropes with Noora, Yousef and Sana triangle. Noora was constantly uplifted as pretty and “wife material”. It might’ve been fine, if it was meant to comment on Sana’s insecurities growing up in a Nordic country. BUT like a lot of things Julie did this season, she was like, am I being racist? NO, I’M NOT. YOUSEF LIKED SANA THE WHOLE TIME. NOORA THREW HERSELF AT HIM. 

Also, Sana crying doesn’t make her weak. She’s a 17-year-old girl with a crush. Of course, she going to cry over him liking her friend. 

Don’t dehumanize her in order to make her a STRONG INDEPENDENT WOMAN^tm  because you don’t see brown girls worthy of being desired. 

*there’s also an opposite trope meant to oversexualize WOC, which is a whole-nother important topic. 

february 18, 2017 | bought myself milk & honey

i was in a weird mood. i felt like writing. i’ve been writing for the past couple days. i couldn’t stop writing at the coffee shop. all of my thoughts were spilled into the pages of my journal. i couldn’t stop writing about you. i couldn’t stop thinking about you. i have been inspired by the books i’ve read, with all of their words beautifully woven together. i was also inspired by ed’s new song, how would you feel. damn that hit home so hard. and so accurately put all my feelings into that song.

last night, i woke up in the middle of the night, grabbed my phone and jotted down three notes about thizzee in part ii that i was convinced i needed to share with you all when awake so here goes:

- the yellow brick road: when thor and dizzee run away from the cops in the animation in the club scene, the road that dizzee creates to the opera is literally a yellow brick road.

this seems like a pretty obvious reference to the wizard of oz, where dorothy and her friends walk it to find the wizard in the emerald city. for those who don’t know, after wwii it was very common for gay and queer men to refer to themselves as friends of dorothy (hilariously leading the navy, while investigating homosexuality in their ranks in the 80s, to think there was some gay mastermind called dorothy that every gay person knew, but i digress). and while in the film, the wizard turns out to be a fraud, the ‘queer friends’ (that’s what they’re literally called in the book, i’m not kidding) learn to accept themselves as they are.

- mork in an afro: when little wolf calls dizzee ‘mork in an afro’ at the club after their first performance it’s kind of shrugged off lightly (for dumb non-americans like me, mork refers to a tv-series called mork & mindy where robin williams played an alien called mork). but later, when dizzee is making the comic for thor, it comes out a lot more hateful and dizzee is visibly stricken.

once again, someone is pointing out how he doesn’t fit in and is actually hitting all of his insecurities bang on by calling him an alien, the same thing he has come to see himself as. like, ouch, my heart

- finally, the third note i’m pretty sure is related to The Painting Scene, and specifically dizzee painting on thor. i had to screenshot it because this is all it says:

so there’s that

Tom's Mother headcanons

》 maybe Tom’s mom can’t talk (at least not the way anyone can understand). She’s just making noises. Maybe Tom has never heard his mother say ‘I love you’
》 she’s so big a and Tom is so tiny, so she’s scared to show affection because she could crush him. Maybe Tom has never been hugged by his mother
》 she couldn’t play much with her son because she would never fit on the slides/other stuff on the baby children playground. Or she could never hide during hide and seek (but Tom always pretended not to see her so she wouldn’t feel bad)
》 so many things she can’t do because of her size, horns, voice or lava tears
》 she’s basically just a big cinnamon roll but everyone is scared of her
》 loves her son more than anything even if sometimes she’s not able to show it

I have this headcanon that the first night Lena sleeps over Kara’s she wakes up to the sound of Bruno Mars’ “Treasure” coming from the kitchen and a very jolly Kara singing along. She steps out to find the blonde dancing while making pancakes and she just can’t believe what she’s seeing. Kara senses her and starts dancing toward her in her cupcake underwear and baggy t-shirt, spatula in front of her mouth as a microphone, “You know you can make my wish come true, If you let me treasure you”. Lena can’t control her emotions very well so she looks down and shakes her head, cheeks burning. Kara just wraps her arms around her tightly and softly sings, “You are my treasure, you are my treasure”.

The pancakes forgotten.

Guys. GUYS.

In the season 3 finale when we see Clarke entering the City of Light, her hair is pinned back and clean and shorter (a.k.a. Clarke with the Good Hair was back).

In these scenes, she looks VERY similar to her in S1. Her hair, the jacket, the Henley tee, it’s all the same as what we see through the entirety of the first season.

But here’s the thing. When we see Clarke take the flame, she’s not wearing either of these. Her hair is still in those god awful dreads that symbolized her desire to run from her people, her desire to hide amongst the Grounders.

Clarke’s version of herself in the City of Light is a reflection of how she sees herself, a simulated version of who she understands herself to be. Which means that Clarke knows that her attempt to assimilate into Polis was not true to who she is. She knows that she was not meant for intricately braided hair, for black war paint, for leather corsets and metal spikes lining her shoulders.

She knows that the real Clarke Griffin belongs in a leather jacket from the Ark, hair tucked from her face so that she can see the world around her, eyes sharp and ready to protect those she loves most. Clarke knows that she is Skaikru, has always been Skaikru, and that will never change no matter how much she tries to run from them.

Now here’s where I start having a lot of feelings. Throughout the entire third season as we learn more about the COL, ALIE continually expresses the idea that once they take the chip, there is no more pain, no more sadness. The City of Light is essentially a computer simulation of the essence of a person’s most free and happy memories.

Take Jasper, for example. When we see him in the City of Light, he’s carrying an ice cream cone with a smile as he crosses the street:

Note that he is NOT wearing the same clothes as season 1 (no goggles, no leather jacket, etc.), but rather the same clothes that fit in the metropolitan setting. So it’s clear that people in the COL are not limited to the clothing they have in reality.

So then it begs the question: why is Clarke wearing clothes she already owns in a place where everything else is new?

I think the answer to that question lies in the concept of the City of Light itself. Again, bear in mind that the COL was created to represent the user’s abstract idea of happiness, of freedom.

Clarke’s attire is notably different from everyone else around her in this scene. It is exceptionally different from what we had just seen her donning just a scene beforehand. Which means that if she’s wearing an outfit and hairstyle that is pointedly different from that which she went in with, one that is almost identical to her daily attire during her time at the Dropship, it means that Clarke’s happiest memories are from that time. 

It means that Clarke Griffin’s idea of happiness and freedom is tents, campfires, a hundred delinquents, and co-leading with Bellamy Blake.

Luke Garroway is like the physical embodiment of that quote, “All that pain and misery and loneliness, and it just made him kind.” Like he has every reason in the world to be angry and full of hate, but instead, he just took the betrayal of his parabatai and reinvested all that pain into a drive to help others as a detective and stand by and protect Jocelyn and Clary, to help frightened new Downworlders to get used to their new powers and find a safe harbor in the world. He took his suffering and made it into compassion. He carved out a new place in the world after he became a werewolf, and dragged himself from ruins to being successful, capable, a father figure, and an Alpha/pack leader. He is such an inspiration, and deserves to be celebrated for his journey as a person. Luke Garroway doesn’t get enough credit.

Black Sails is really gay but the thing that makes it so great is that it’s gay on top of having really great writing, great acting, storytelling, exciting developments in every episode without ruining things or breaking character for shock value.

Like no, I probably wouldn’t have watched it without all the gay. But also I probably wouldn’t have watched it 3 times without everything else about it that’s great.

I don’t know I’m just so used to cringing through mediocre acting and writing or just stuff that straight up isn’t that interesting because it’s jumping all over the place and you don’t have time to get invested before it’s over or onto the next thing.

I just really appreciate Black Sails. It’s not perfect by any means and yeah it’s important to talk about that but it’s also so much better than any other show I’ve found.