is this how the journey will end

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WOULD SAMURAI JACK’s TRAINING WORK IN REAL LIFE?

It seems the Journey of our heroic Samurai has finally come to an end. 

He trained for a long time to become the physical specimen he was but would his training actually work in real life? 

or would it Absolutely Kill you, Well Today we analyze Samurai Jack’s Training

 and see how effective it would be if attempted in real life in another installment of ‘Would that Workout"

REBLOGS APPRECIATED

Just The Two Of Us

Will Smith’s “Just the Two Of Us” is such an important song for me. If you listen to the lyrics from beginning to end, it’s like he’s being a fatherly figure through his music. For his son and for listeners too.

Telling us about his experience and journey as a father. From the moment his son was born all the way to that present moment, which at that time, his son was 5. Will dishes about how his experience as a father makes him feel and what his duties and responsibilities are as a parent. Then he adds life lessons and parenting 101 in the form of lyrics as guidance.

“(Now dad this is a very sensitive subject)
From the first time the doctor placed you in my arms
I knew I’d meet death before I’d let you meet harm
Although questions arose in my mind, would I be man enough?
Against wrong, choose right and be standin’ up
From the hospital that first night
Took a hour just to get the car seat in right
People drivin’ all fast, got me kinda upset
Got you home safe, placed you in your bassinet
That night I don’t think one wink I slept
As I slipped out my bed, to your crib I crept
Touched your head gently, felt my heart melt
‘Cause I know I loved you more than life itself
Then to my knees, and I begged the Lord please
Let me be a good daddy, all he needs
Love, knowledge, discipline too
I pledge my life to you

Just the two of us, we can make it if we try
Just the two of us (Just the two of us)
Just the two of us, building castles in the sky
Just the two of us, you and I


Five years old, bringin’ comedy
Every time I look at you I think man, a little me
Just like me
Wait an see, goin’ to be tall
Makes me laugh ‘cause you got your dads ears and all
Sometimes I wonder, what you gonna be
A general, a doctor, maybe a MC
Haha, I wanna kiss you all the time
But I will test that butt when you cut outta line, tru dat
Uh-uh-uh why you do dat?
I try to be a tough dad, but you be makin’ me laugh
Crazy joy, when I see the eyes of my baby boy
I pledge to you, I will always do
Everything I can
Show you how to be a man
Dignity, integrity, honor and
I don’t mind if you lose, long as you came with it
An you can cry, ain’t no shame it it
It didn’t work out with me an your mom
But yo, push come to shove
You was conceived in love
So if the world attacks, and you slide off track
Remember one fact, I got your back

Just the two of us, we can make it if we try
Just the two of us (Just the two of us)
Just the two of us, building castles in the sky
Just the two of us, you and I

It’s a full-time job to be a good dad
You got so much more stuff than I had
I gotta study just to keep with the changin’ times
101 Dalmatians on your CD-ROM
See me, I’m
Tryin’ to pretend I know
On my PC where that CD go
But yo, ain’t nothin’ promised, one day I’ll be gone
Feel the strife, but trust life does go on
But just in case
It’s my place
To impart
One day some girl’s gonna break your heart
And ooh ain’t no pain like from the opposite sex
Gonna hurt bad, but don’t take it out on the next, son
Throughout life people will make you mad
Disrespect you and treat you bad
Let God deal with the things they do
'Cause hate in your heart will consume you too
Always tell the truth, say your prayers
Hold doors, pull out chairs, easy on the swears
You’re living proof that dreams come true
I love you and I’m here for you

Just the two of us, we can make it if we try
Just the two of us (Just the two of us)
Just the two of us, building castles in the sky
Just the two of us, you and I

Just the two of us (Just the two of us)
Daddy loves you, daddy loves you
(Just the two of us)
For the rest of your life
(Just the two of us)

(This is a good song dad, how much am I gettin’ paid for this dad?)

The whole record is wrapped in love. Nothing he speaks about when it comes to teaching his son is problematic. AT ALL.
• how his son makes him feel
• being a male & it being ok to feel
• how his son should go about treating women
• how to process and deal with his OWN feelings and emotions (heartbreak, pressure, stress, rejection, ect)
• it being ok to cry
• picking yourself up and moving on
• character traits to possess (what type of person you should strive to become)
• Assuring his son he’ll always stand behind him & have the love of his father

ANOTHER IMPORTANT PART! At the time i do believe Will Smith wasn’t with his son’s mother anymore. Will wants his son to understand that their relationship is not effected by Will and her separating. Throughout the song, Will’s focus is on him and his son’s relationship hence “Just the Two Of Us”. However Will does briefly explain the separation between himself and his son’s mother by saying “It didn’t work out with me and your mom, but yo, push come to shove, you were conceived and loved.” There was no disrespect, no shade or animosity included when discussing his son’s mother.

Everything this song embodies is why it’s one of my FAVORITE songs! It’s inspiring and gives insight on the dynamics of a healthy relationship between father and son. It can definitely be used as a guide to help young and older men understand how to be a father to their sons. Will’s delivery on his fatherhood can also bring clarity and reassurance to current father’s who are already fulfilling their roles and building relationships with their sons. Hell, it can probably change some current fathers who are trash, for the better as well. But yea, I’ve loved this song since before i was a teenager. It’s so good. Thank you Will.

averagetaynara  asked:

Hi! Sorry to bother you. I was just thinking, with the AU and Sam never existing there, does the idea of a hunter!Jess from the AU as Sam's happy ending sounds plausible to you?

Hi! Please forgive the late reply! And you could never bother me! (okay, you could, but you sincerely didn’t) :)

This is an interesting idea, especially since they brought Jess back into the text with Dean mentioning her while speaking to Mary. However, I do believe that the reason the writers brought Jess into that context was twofold: 

  • as a callback to the inciting incident that began Sam’s journey towards learning the truth of his demonic heritage and how that’s informed his sense of self ever since
  • as a beautiful reminder to look at Jess and Sam as a mirror for Cas and Dean, especially at the moment of Cas’ death in 12x23, where Sam dragging Dean from the AU World is more or less, beat by beat, the same visual narrative as that of 1x01, where Dean did the same with Sam as Jess burned on the ceiling

However, I sincerely doubt they planted her as a way of possibly linking to her return. It’s not impossible, but improbable to me, because I believe Sam’s happiness lie in getting to finally stand on his own two feet (12x22 had me screaming and jumping around at the emergence of Leader Sam) and be allowed to grow up. This has started now, as his big brother has finally been able to let go of his core character motivation of protecting Sammy at all costs. 

(That’s not to say the brothers won’t still have each other’s backs! They will choose one another not because they’re family, but because they truly love each other and neither would ever leave the other behind.)

I’m posting a longer ask-reply on several asks I’ve gotten regarding the AU World so I won’t go too deep into that here, except to say I do not believe this world will be explored in any actual depth. I believe it will be like Purgatory, where we’ll be allowed a sense of what the world is like through Mary fighting to get back to her boys (possibly fighting Lucifer in the process, or even having to team up with him, which would be awesome) but the AU World will most likely not be adding too much into our known world because, as far as I see it, there’s no real point. 

For hunter!Jess to be believable, they would have to build a backstory for her, which means delving deeper into the AU World - its history, its rules and cast of characters - than I think they’ll take the time to do. 

So my answer is going to have to be no: I don’t think it’s plausible they’ll bring hunter!Jess back as Sam’s happy ending. Partially because he doesn’t emotionally need her to in order to complete his character arc, and partially because it would just be a hurdle of continuity to introduce her this late in the game.

Thanks for the ask, and your patience, and I hope this answered your question!

xx

Masterpost - The Journey

This story tells the unseen moments of the love story between Owen and Amelia. From the first time they heard about each other, to their first interactions, how they fell in love and eventually got married.

For example, how exactly did Owen and Amelia end up in an on call room in the beginning of episode 11x16? How did they go from having pizza at the end of 12x10 to waking up together in bed in episode 12x12? So much happened off screen but we never got to see it.

Whoever follows my My Boys Universe knows that it follows up with Omelia’s married life, right after their wedding on the 12x24 finale. But instead of going forward with Owen and Amelia’s lives, this time we will take a look back and basically go through the developments that happened between the episodes and were never shown.

And just like in MB, everything that happened on the show, happened. I don’t change what’s canon. I merely add. Everything Amelia and Owen lived before and after these scenes have also happened in these stories. As always, I will remain loyal to the show. 

Before each new part, I will explain the timeline in which it sets and we will move forward little by little.

And now, I invite you to explore with me the missing parts of Owen and Amelia’s interactions, from their first encounter, through their ups and downs, all the way to their wedding day and subsequently, their married life.

This is called The Journey. 


1 - 2 - 3 - 4 - 5


Thank you @bafy-usy for the amazing edit!

The 10 Elements of a MAIN CHARACTER

To all the writers who have ever been told “Your characters have to be three dimensional!” or “They should be well-rounded!” and just felt like saying: “What does that even MEAN?! What goes into a 3-dimensional character? Specifically? And how do you go about creating one?!”

Good news. There’s a way. 

Great main characters – heroes, protagonists, deuteragonist, whatever you want to call them – have ten things in common. Ten things that are easily developed, once you know what to create within your character. So no one will ever be able to tell you “needs to be more three dimensional!” ever again. Ha. 

1) Weaknesses: Main characters should be flawed, but I’m not saying this because it will make them more realistic (though it will) – I’m saying they need to be flawed because if they’re not, they shouldn’t be a main character. Story is another word for change, or more accurately, character growth. Not character as in “fictional person”, character meaning “heart and soul”. Story is someone’s character changing, for better or worse. Main characters at the beginning of the story are lacking something vital, some knowledge of themselves, some knowledge of how to live a better life, and this void is ruining their lives. They must overcome these weaknesses, if they’re going to become complete, and reach a happy ending. There are two types of weaknesses: Psychological and Moral. Psychological ones only hurt the main character. Moral ones cause the main character to hurt other people. Easy.  

2) Goal: Characters exist because they want something. Desiring something, and the fight against opposition for that desire, is the lifeblood of story; and because character is story, it’s also desire that can breathe life into words on a page, and begin the process of creating a real person in a reader’s mind. It’s this ‘desire for something’ that sparks that first connection between reader and character. It makes us think “Well, now I have to find out if this person gets what they want.” This is a powerful link. (How many mediocre movies do we suffer through, when we could easily stop watching, because we’re still trapped by that question of “what happens?”) So if this is powerful enough to keep people watching an annoying movie, imagine how powerful it can be in an excellent story. 

Like in Up, the goal is to get the house to Paradise Falls.

3) Want: If the main character wants something, they want it for a darn good reason. Usually, they think that attaining the goal will fill the void they can sense in their lives, the deficiency they can feel, but don’t know how to fix. And they’re almost always wrong. Getting the goal doesn’t help anything; which is why, while pursuing that goal, they discover a deeper need that will heal them. Which brings us to …

4) Need/Elixir: Main characters are missing something, a weakness in their innermost selves is causing them to live a less-than-wonderful life. Through story, these main characters can be healed. Once they discover what’s missing, and accept it, and change the way they live to include this truth they’ve uncovered … they’re healed. Learning this truth, whatever it is, forms the purpose of the story for the main character. The reader, and the character, think the story is about achieving that big tangible goal the premise talks about; really, underneath it all, the story is about someone achieving a big intangible truth, that will ultimately save their life and future. Often, this need is exactly what the character fears or professes to hate. 

Like Finding Nemo, where Dory states exactly what Marlin needs to learn. 

5) Ghosts: 

Not this kind of ghosts.

Ghosts are events in your character’s past which mark the source of their weaknesses and strengths. Because these happened, the character became who they are. All we need to know about backstory are these moments, because who the character became is all we care about. There’s really only one ghost you absolutely need: the source of their moral and psychological weakness. Something happened that knocked the character’s world off kilter, and everything from that moment onward has been tainted by what happened. This moment haunts them (hence the name), and holds them back from uncovering that need that will heal their weaknesses. Pixar are masters of this: the source of Carl being stuck in the past, curmudgeonly, unable of loving anyone new? Ellie dying; his ghost. In Finding Nemo, the source of Marlin being suffocating, protective to the point of being harmful, possessive, and fearful? His wife and 99% of his children being eaten in front of him; his ghost. 

6) True Character: These are the strengths, values, convictions, fears, faults, beliefs, worldview, and outlook on life that make the main character who they truly are. 

7) Characterization: This is everything on the surface of a main character. The way they look, talk, act, etc. All of this originates from those deeper elements of their being, the strengths, values, ghosts, weaknesses, needs, that make them who they truly are. So often, you can think of this as a facade they’re projecting, a way to shield the the truth about themselves, how they wish to be perceived. The story, and the other characters, are slowly going to see deeper than this characterization, revealing more and more of the reasons it is the way it is. 

8) Arc: If the character is going to change from “Incomplete Person” to “Complete Person” there’s going to be a journey they go on to make that possible. The external story, the pursuit of that big tangible goal the premise is about, is causing an inner journey to take place. What they have to do in pursuit of that external goal will apply pressure to those weaknesses, and pressure causes change. This process has seven steps, but if I write it all here this post is going to be obscenely long. So I might wait and give this its own post.

9) Changed Person: Who is the character going to be at the end of this story? They better be different, or else the story didn’t work. How do they show how different they’ve become? What is the moral choice they make, that spins their trajectory from “the future doesn’t look so great” to “happily ever after”? This should be known right away, maybe even before anything else is settled about the character. This gives a distinct end goal, a way to work backwards, a destination in mind that you can navigate towards.  

10) Fascination and Illumination: The surface characterization, and the brief glimpses of the true character underneath create curiosity in the reader/audience. What the character says, and the implied subtext beneath the dialogue, creates a puzzle the audience wants to solve. Actions they take work the same way; if the writer indicates there’s deeper motivation behind why a character behaves in the way they do, we buy into solving that mystery right away. We can’t help it. “Who are you really? Why are you the way you are? And how is that going to effect the story?” These are all the unspoken, almost not consciously acknowledged, questions that fascinating characters provoke. Searching out meaning, connecting the dots to find the truth – we can’t resist this. We’re not fascinated by tons of backstory and exposition about a character; we’re fascinated by story, by mystery, by the technique of withholding information and having to interpret and hunt out the truth on our own.  So gradually, the story and the characters will force that character to reveal a little more, and a little more, until we have a complete picture of who this person is. Crucial that this information isn’t told up front. Gradually illuminate it. It’s just like getting to know a real person. 

So how does this work in a real character? Let’s take a look at Flynn Rider/Eugene Fitzherbert, because almost everybody has seen that movie. 

Moral Weaknesses: He’s selfish. He’s a little greedy. He’s a little rude. He uses his charisma and bravado to keep people at a distance from the real him. 

Psychological Weaknesses: Insecurity, fear of vulnerability, feels like the real him (Eugene) would be unwanted, unlovable, and have nothing – just like when he was an orphaned kid. Also, he doesn’t know who he wants to be, what he wants to live for. 

Goal: Flynn wants to get that crown. So he has to get Blondie to see the floating lights, so she’ll give it back to him, and then they can part ways as unlikely friends.  

Want: Why does he want the crown? What does it mean for him? He actually states it (reluctantly) in song: “I have dreams like you, no really. Just much less touchy feely. They mainly happen somewhere warm and sunny. On an island that I own, tanned and rested and alone. Surrounded by enormous piles of money.” He senses there’s something off in his life, something is missing. But he mistakenly believes this missing piece is money, which will allow him to buy a lonely island, where he can live out his days as Flynn and no one will ever know Eugene. 

Need: “All those days chasing down a daydream. All those years living in a blur. All that time never truly seeing, things the way they were. Now she’s here, shining in the starlight. Now she’s here, suddenly I know. If she’s here, it’s crystal clear, I’m where I’m meant to go.” He wants a crown … he needs to fall in love with Rapunzel. He needs to love something more than himself, and find out that love isn’t something to fear and push away. He needs to abandon the 'Tales of Flynnagin Rider’ ambition, and get a more worthwhile, new dream. 

Ghost: The source of all of his weaknesses can be linked to his “little bit of a downer” childhood as an orphan. Interestingly, he isn’t aware of another facet of that ghost, and Rapunzel points it out to him. “Was he a thief too?” she asks. He looks taken aback, before answering “Uh, no.” Something’s gone wrong. The choices he’s making are not living up to that original role model.  

Characterization: Flynn’s charming, funny, smart, charismatic, and arrogant (in a somehow charming sort of way). He’s also rude, contemptuous, and sarcastic. All traits that help him keep up that 'swashbuckling rogue’ facade, and push people away from the real him. 

True Character: Underneath all that, he’s a Disney prince. That pretty much sums it up.  

Changed Person: “Started going by Eugene again, stopped thieving, and basically turned it all around.” He started the story as the guarded and evasive Flynn, he ends as the selfless and thoroughly-in-love Eugene. 

Fascination and Illumination: Imagine if everything about Flynn had been told, right up front. We know he’s an orphan, we know he’s upheld a fake reputation, we know he’s a kind and loving guy underneath it all, we even know about his “tales of Flynnagin” childhood dream. You know what happens? We like him … but we’re not interested in him. There’s nothing we need to find out. There’s no curiosity. And if there’s no curiosity, and nothing being illuminated, your story’s not going anywhere. So instead, we find out – alongside Rapunzel – more about Flynn as the story progresses. And that is how it should be. 

So!

Developing characters in this way, I’ve found, really reduces worries about how “well-rounded” and three dimensional I’ve made them. They feel real to me. And besides helping me create characters, this ten element technique has also let me analyze characters I like, which is strangely fun. It’s a great way to figure out why a character works, what causes them to be so effective, and how you can go about creating them yourself. 

Yeah, I’m a bit of a nerd. 

But if you want, try it out. Develop a character. Analyze a character. You might find it as useful/fun as I do.

anonymous asked:

So, im gay. But I'm only 12 so most people dont believe me and are like "Its just a phase" but i know its not because being open and free to like who i like has made me the happiest ive ever been. What do i do?

First of all, I am hardly an expert on any of this, so please do not take my words as a final authority. But, I believe you’re the only person who knows you the best. No one else has authority over what you’re experiencing. For me, I started realizing I liked boys at around 8 or 9, and it was confusing but I was also alone and had no one to bounce my experience off of. And also, who you like is not a set thing. It can always change and shift, so if you identify as gay right now, that’s awesome! If that’s not how you identify later in life, that’s great too! Sexuality can be fluid. There’s no pressure and however you identify as at a certain time, that’s valid cause you know you best. If this identity is bringing you the most happiness, it sounds like that’s the thing to listen to, but again, I don’t have authority to say. Proud of you for being unafraid to openly start asking questions about this. The journey in figuring yourself out never truly ends! I hope no one pressures you in any way in determining your own identity!

How to Read Tarot Cards When You Don’t Know Shit

OR: HOW I STOPPED WORRYING AND LEARNED TO LOVE PRACTICING TAROT

This is a simple exercise I’ve done really to hone my intuition while divining. I like to pull a three card spread (past, present, future) but you can really use whichever spread you’d like.

Major Arcana:

  • Most trump cards can be self explanatory if you’re good at word association.
  • The Fool card starts a story that follows a journey through to the World, the end. Everything in between is character development.
  • Death does not mean death. Unlike most horror films, its appearance can actually signal a new beginning or change.

Minor Arcana:
Know what each suit means or symbolizes in general.

  • Cups: Water, focuses on your emotional self, creativity and romance, following your heart over your head.
  • Pentacles: Earth, focuses on your physical self, material ideas like business or wealth, manifestation.
  • Swords: Air, focuses on your mental self, action and concentration, intelligence and conflict.
  • Wands: Fire, focuses on your spiritual self, intuition and inspiration, values and flaws.

All in All: 

  • Use the context clues in the imagery of your cards to guide your intuition.
  • Don’t worry about misreading a card or getting anything wrong. This is really about trusting yourself and your gut instincts.
  • Don’t be afraid to take the surface value of the card during this exercise. It’s just an exercise. 

I hope this helped you if you’re just starting out, want to try a different method to divining with tarot, or just want to generally work on trusting your gut.

Originally posted by scampthecorgi

The Element EVERYTHING in Your Story Needs

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

There’s hope.

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

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

I didn’t care.  

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

So what is a Story Reason? 

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

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

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

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

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

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

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

Because of the turn of one scene … 

The next scene happens. 

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

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

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

Turn: “I have a lead." 

Because of that …

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

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


Because of that …

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

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

Because of that … 

She has to question a rude yoga-performing elephant. 

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

Because of that …

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

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

Because of that …

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

Turn: “It’s night?!”

Because of that …

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

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

Because of that …

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

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

Because of that  …

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

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

Because of that …

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

Turn: “Ice ‘em.”

Because of that …

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

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

I’m gonna stop there.

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

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

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

And you know what would have happened then?

Zootopia would have made everyone bored. 

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

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

I hope it works for you too.

4

“It’s this role that brought us together and the world of ‘Star Trek’ that we shared in common from the beginning, but our friendship evolved very quickly past all that. I would say, by the end of his life, it was only one of many facets of how we connected and how we came to respect and love each other. He was just an incredible guy; I miss him a lot. But I feel like my approach to this film, which was the first one we’ve made without Leonard, was to really just honor him and carry on his legacy as best I can. I thought that Simon and Doug did a wonderful job of involving Leonard in this film and honoring him and making it a part of Spock’s journey. That was important to me and really satisfying. I think that it turned out quite beautifully.” – Zachary Quinto on honoring Leonard Nimoy in ‘Star Trek Beyond’

100 Scurvy Pirate Prompts

Me amigos, ‘tis be ye cap'n @promptguy. Thank ye fer all th’ submissions. I translated some to be more scurvy pirate. 'tis might be th’ best list so far.

  1. “Which lovely booty ye be eyein’? th’ curvy wench’s or th’ shit-barnacles ye can’t spy wit’ ye eye in yon chest?”
  2. “oh me god! th’ boat be leakin’!” “No, that’s just bilge rum”
  3. Scribe 'bout a scurvy pirate that be scared 'o th’ ocean
  4. Ye discover that Prompt Guy be actually th’ Flyin’ Dutchman
  5. A pirate ship encounters sirens who use their song to lure them. th’ band 'o pirates give a go’ to escape but 'tis later revealed that th’ sirens don’t want sink them but join them
  6. 'tis ye first day on ship, 'n ye’re in learnin’. All th’ other members on board be experienced 'n professionals at their ship except 1. That one be ye “trainin’ laddie”… a child Jack Sparrow.
  7. “walk thee fuckin plank ye scallywag”
  8. Ye be th’ cap'n 'o a crew 'o Githyanki band 'o pirates, 'n ye be huntin’ ye quarry in th’ astral plane. th’ problem be, ye quarry consists 'o a ship full 'o illithids, or mind-flayers, who had previously enslaved ye kind wit’ their mental powers
  9. Ye got captured by band 'o pirates. be tellin’ a story on how ye end up becomin’ cap'n fer that scurvy pirate ship. Bonus points if ye scribe a way ye do it that dont murder anyone nor end up wit’ physical harm.
  10. Bin got a pair words fer ye scurvy dogs: “Shark Bait.”
  11. Poseidon, th’ God 'o th’ Sea, has chosen ye as his vessel. He whispers in ye mind, “by sea be th’ only way to travel.” ye embark on a journey, killin’ anybody who dares take an airplane or car.
  12. Ye’ve always thought that havin’ a peg leg’d be cool, but arh, the maintenaince yeh have to do to keep up yer cool appearance!
  13. “ye’re seriously makin’ me swim th’ plank again?!”
  14. A pirate cap'n goes on a mission to reclaim th’ pirate ship that was stolen from him 'n free his crew members from imprisonment
  15. Ye have traveled long 'n far in search 'o an infamous treasure that ye 'n ye crew have be searchin’ fer fer 16 years. Upon discoverin’ it, ye open th’ chest only to find a map leadin’ to another treasure. th’ value 'o friendship.
  16. They shout that treasures best be hidden on land. Yer cap'n be sayin’ they’re all lyin’. Yer cap'n be sayin’ th’ best place to be hidin’ treasure be in th’ heart 'o a storm.
  17. Ye ship be sunk, ye maties abandoned ye, but ye still have th’ gold… 'n spiced rum.
  18. Ye be kidnapped from ye home in th’ dead 'o nightfall 'n brought onto a ship wit’ a crew 'o 100 band 'o pirates. As ye look on in fear, they all bow below before ye. One 'o them introduces themselves as ye First Matey. ye be now their cap'n.
  19. Ye muster onboard a scurvy pirate ship, hopin’ to get some doubloons 'n th’ comradery ye sorely missed in th’ navy. But turns out th’ ship ye ended up on has a secret ye would never have guessed…
  20. A forbidden lust story between a sea cap'n 'n a siren he meets at sea.
  21. Ye’ve always wanted to be a scurvy pirate. ye even got ye chance when a fleet 'o them attacked ye town. th’ problem? ye’re a 'land-lubber’ 'n 'tis isn’t a nice world. ye’ll have to prove ye can handle bein’ a scurvy pirate just to make it out 'o th’ brig
  22. Ye’ve just taken control 'o a merchant ship only to find that th’ entire crew be more scared 'o th’ 4 year barnacle-covered girly offsprin’ 'o th’ wealthy tradesman ye’ve locked away. When she smiles, ye spy wit’ ye eye storms in her eyes - 'n then she laughs…
  23. Ye find a cursed treasure. When a piece 'o gold be spent it disappears. How do ye spend ye loot.
  24. “No women allowed on board!” says th’ cap'n. He finds out, one by one, that every member 'o his crew be a woman wit’ a fake beard.
  25. That scurvy scalawag Blackhearted Benton just stole yer ship wit’ all yer lovely booty! GET IT BACK!
  26. “Stop playin’ yer dratted cello, matey, 'n help me sword fight off Blackbeard!”
  27. Ye be th’ first astronaut to be sent to explore th’ galaxy. Suddenly, ye re stopped by space band 'o pirates, 'n be forced to choose between roamin’ aimlessly forever or joinin’ their crew.
  28. Ye got into th’ piratin’ business fer one reason - so ye can afford a ship in Malibu.
  29. “Remind me; if women be bad luck, why do we have a female cap'n?”
  30. Mermaid band 'o pirates. They find new islands 'n take down their enemies wit’ th’ help 'o sea creatures. Their ship be called “Poseidon”
  31. Band 'o pirates that set out to be villains accidentally return as jolly guys by screwin’ plans up
  32. Ye be a feared scurvy pirate who can control all th’ monsters roamin’ th’ seven seas, however ye worst enemy can control th’ oceans themselves.
  33. tell an entire tale in pirate talk, me hearty…
  34. Ye character just got accepted into MIT 'n be sailin’ towards th’ “scurvy pirate Certificate” (pistols, riflery, rowin’, fencin’.) wee do they be knowin’ that these courses be taught by actual band 'o pirates.
  35. An underground illegal racin’ rig has be started that involves scurvy pirate ships battlin’ though a rum track in a Need fer Speed style wit’ steampower-ups included
  36. Ye awaken on a scurvy pirate ship, last thin’ ye remember before 'tis was shoutin’ to a guy in th’ tavern at port. th’ cap'n had bought ye 'n ye be now sailin’ on th’ ship, what happens while ye be at sea?
  37. “HAND ME THAT MAP OR SO HELP ME I’LL CUT IT OFF YA HANDS!”
  38. You turn on the Pirate Speak in Minecraft under language options as a joke, but then ye start findin’ that yer land lubber mates in reality arrrre beginnin’ ta talk like ol’ sea dogs, and even tha signs ‘round yer town turn inta Pirate Speak. Soon a squaky bird takes to perchin’ on yer shoulder. Tha townsfolk begin ta ask fer yer okay on things o’ trivial matter. Yer first mate, who lost 'is leg years ago ta scurvy, suddenly had a peg 'stead of a prosthetic. Congrats, matey– yer tha cap'n of tha town
  39. “Arrrr! the hour to loot EA 'o their precious Sims lovely booty!!”
  40. 'tis not uncommon fer a scurvy pirate to loose a hand or a foot on his travels. ye 'n ye crew dig up a chest full 'o hands 'n feet.
  41. Ye swore on a loved one’s grave that ye would someday sail to th’ legendary Grand Arcada, an ocean which none have ever found. this day, ye awoke to find ye ship stolen from ye - 'n th’ strange people seem to be changin’ ye course…
  42. A pirate loses his scurvy pirate accent 'n has to go find a different ship because they don’t fit in anymore.
  43. Ye find an ancient treasure map, 'n indeed, under th’ “X” thar’s buried treasure. But what’s under th’ “Y” 'n “Z”?
  44. Ye cap'n has caught a deadly disease, 'n be on th’ verge 'o Davy Jones’ treasure chest. ye 'n ye crew decide to pull one last raid wit’ them. th’ big one.
  45. Th’ band 'o pirates 'n th’ vampires have come to together to stop th’ ultimate evil. How do ye defend yourself?
  46. Cap'n Gus has a secret, his magic beard grows more wild 'n tangled wit’ every wind it ensnares. Cuttin’ a hair causes a mild breeze, a lock 'o his beard unleashes a strong wind. Now, captured 'n condemned to execution, he asks if he could shave
  47. Ye be th’ cap'n 'o th’ most infamous scurvy pirate ship on th’ seven seven seas, ye 'n ye crew have be through pretty much everythin’ together. Currently ye be on th’ hunt fer mer-people, they fetch high prices on th’ black market fer their beauty. What ye crew dont be knowin’ however be that ye be a mer-person 'n ye 'n ye kind only have tails when ye peglegs get wet.ye’re in th’ middle 'o a bath in ye quarters when ye first matey bustles in to speak to ye 'bout th’ ship’s course.
  48. Ye be a notorious scurvy pirate. ye’ve always be able to outrun th’ navy, but 'tis the hour they’re gainin’ on ye. ye agree to make a deal wit’ one 'o th’ lesser captains. What do they shout to ye?
  49. Arr, ye main character be kidnapped by a scurvy pirate at sea! It turns out th’ sea isn’t what it seems to be when he throws ye overboard to die….
  50. Ye cap'n has be noticeably feelin’ down, how does one scurvy pirate cheer up their cap'n back to their jolly self?
  51. What do ye do wit’ a drunken sailer?
  52. Ye’re a pirate who’s totally new to th’ business 'o stealin’ treasure from authoritative figures 'n don’t really be knowin’ what ye’re doin’. Suddenly, a dragon shows up 'n offers to tutor ye in piracy. What next?
  53. “What be land? I have forgotten.”
  54. Ye’re an undercover employee 'o th’ british government onboard a pirate ship on 'tis way to an uncharted island. ye mission be to find out what th’ band 'o pirates be goin’ thar fer.
  55. A pirate wit’ a rubber duck hand instead 'o a rusted hook
  56. Lesbian pirate flirtin’ wit’ sirens
  57. Ye were sent by th’ British government to spy on a notorious cap'n. ye join his crew 'n climb up th’ ranks 'til ye become his first matey. A few days before ye be to betray him, he tells ye a secret that changes everythin’. What be it?
  58. Th’ cap'n has gone missin’ overnight. ye, a mere chef, be th’ only one who can manage to control th’ crew. ye need to find whar ye cap'n has gone to.
  59. She was they best cap'n to sail th’ sea’s. She was Black Beard.
  60. Band 'o pirates be pillagin’ ye village, lookin’ fer somethin’. What they’re lookin’ fer be a wee unorthodox
  61. Th’ year be th’ far future, 'n space travel has be achieved. th’ human race has be denied entry into th’ galactic federations set up hundreds 'o years before their time. So, instead, we become space band 'o pirates. All 'o us.
  62. All ye pirates be sufferin from th’ evil scurvy, no matter how much citrus or undercooked meat they brin’ on th’ poop deck. they shout yer crews favoured wi th’ devil, but wee do they be knowin’ ye’ve just found th’ third cure to th’ scurvy
  63. “fer th’ last the time, don’t be puttin’ me tattered eyepatch in th’ dryer!”
  64. Ye look almost exactly like th’ female version 'o ye twin brother. Unfortunately, ye twin brother just so happens to be th’ notorious cap'n 'o a pirate crew. One day, he be killed, 'n th’ crew asks ye to pretend to be him so as to continue
  65. Th’ mermaid they pulled from th’ ocean turns out to be a jolly fighter. Maybe too jolly. Sh just killed th’ cap'n.
  66. Ye got scurvy. How ya gonna hide it from th’ cap'n?
  67. Ye pirate ship be stuck in 5 O'clock traffic. Somehow.
  68. Ye’re a stowaway on th’ dreaded cap'n LongBeard’s ship, tryin’ to find out whar he hides his treasure. Only problem be, ye’ve gotten caught sneakin’ around below deck.
  69. Ye’re th’ only jolly scurvy pirate in ye crew. ye’ve be tryin’ to keep it a secret, but then ye ship happens to sail past a group 'o sirens…
  70. Ye command one 'o th’ fiercest scurvy pirate ships in th’ seven seas. Just th’ mention 'o ye crew sends fear into th’ hearts 'o men 'n women. th’ only thin’ be, ye’ve never stepped foot on a boat.
  71. Ye’ve be travelin’ th’ seven seas fer a while now. Nothin’ can stand in ye way; ye 'n ye crew be unstoppable. 'til one thin’ crossed ye paths. What be that one thin’ 'n how do ye overcome it?
  72. Ye be th’ toughest scurvy pirate around. ye won many fights, pillaged many towns, 'n plundered dozens 'o ships. nothin’ could stand in ye way to riches, not even- oh god be that a baby on ye ship? who brought a baby?
  73. Ye be sailin’ th’ seven seven seas when yer lovely booty grows peglegs 'n starts swimmin’ off. How do ya catch a swimmin’ treasure hoard?
  74. Ye be a sea cap'n. Suddenly, ye ship lifts into th’ air. ye’re bein’ raided by sky band 'o pirates!
  75. Due to men believin’ eatin’ fruit was too feminine, th’ seven seas be now ruled by female band 'o pirates who beat their weakened males counterparts. Now, ye’re at a parrrty drinkin’ ornge spiced juice wit’ th’ victors.
  76. All ye pirates knows only women be sailors. Can ye think 'o anythin’ more unlucky than to have a scurvy dog onboard a ship? Still, rumour has it that th’ fiercest scurvy pirate ship 'o them all has a only-male crew.
  77. Ye meet Sodomy McScurvyLegs 'n buy a fitness regime. It opens up a whole new seven seas fer ye, an endless sea 'o knowledge… 'bout lovely booty.
  78. Turns out 'tis eyepatch be cursed to ne'er come off! Too bad ye put it on t’ wrong eye!
  79. Yrr secret island has been made into a parking lot and is overrun by scurvy lawyers while you were pirating. How do you fight lawyers? Your treasure is under that asphalt.
  80. Th’ cap'n 'o a magical sailin’ pirate ship takes several orphans under her proverbial win’s as new crew members
  81. “I lost m'hand to a shark, but I lost me eye to…”
  82. A rollickin’ scurvy pirate adventure from th’ point 'o view 'o th’ ship’s sea monster: th’ cat
  83. A classic pirate adventure wit’ a cursed object. Part 'o th’ curse be that th’ scurvy pirate cap'n 'n crew can never leave th’ ship 'n must come up wit’ creative ways to plunder, pillage, 'n eventually break th’ curse.
  84. Cuddle band 'o pirates- th’ fluffiest, snuggliest scurvy pirate crew ye can imagine, inexplicably survivin’ through skill 'n pluck in a grimdark hyper-edgy universe, rebellin’ against th’ grim 'n gritty status quo wit’ unflinchin’ optimism 'n hugs.
  85. “How th’ muck did ye get onto me ship 'n why be ye naked”
  86. “So ye meanin’ to be tellin’ me th’ map, which ye bought off a street vendor at Ivery Island, be an authentic map that leads to a literal buried treasure. scurvy dog, speak 'bout cliche.”
  87. Ye be highly disappointed when ye discover that th’ famous deadly 'Kraken’ be actually just a nutcracker.
  88. Two pirates travel th’ seven seas lookin’ fer lovely booty, but it turns out all they really want be each others lovely booty
  89. Ye finally come home from a year at sea 'n have to explain to ye main wench how ye got syphillis
  90. A scurvy pirate find th’ greatest treasure to be had: an island covered in lovely booty.
  91. Ye’re a pirate explorin’ uncharted waters when suddenly a giant hand made out 'o rum rises out 'o th’ ocean holdin’ a small baby wrapped in seaweed. th’ hand places th’ younglin’ on th’ deck 'o ye ship 'n disappears back into th’ depths. ye now have a child 'n a lot 'o questions.
  92. captains, greedy 'n tough 'n mean. But th’ strange thin’ 'bout him be that he wears a metal mask, 'n no one in th’ crew has ever seen him without it. One nightfall, ye resolve to spy wit’ ye eye th’ cap'n’s real face, so ye sneak into his cabin 'n sneak a peek 'o him sans mask. 'n what ye spy wit’ ye eye makes it clear to ye why ye cap'n would hide his face.
  93. Perhaps givin’ band 'o pirates Google Maps wasn’t th’..best idea
  94. Ye somehow became a pirate cap'n. One problem - ye be knowin’ nothin’ 'bout navigation…or ships…or fightin’ in general. But ye look well in a pirate coat 'n a hat, so thar be that.
  95. Ye’ve be captured by pirates, 'n thrown in th’ brig. th’ cap'n’s trusty parrot flies in, 'n says he can help ye escape.
  96. “Matey, yer lovely booty be th’ only one I be diggin’ fer t'night.”
  97. Ye’ve found pirate treasure by sheer dumb luck, but now th’ ghost 'o th’ lady pirate it belonged to be hauntin’ ye. 'n if that wasn’t that be all you can take, she’s got a crush on ye.
  98. Yer on a boat when suddenely yer First Mate throws 'imself over with no apparent reason. You dive in after him and find a grotto. What’s beyond it?
  99. Ye be that one guy on th’ ship that can swim. Somethin’ has jammed th’ rudder, stoppin’ th’ ship from makin’ it to port.
  100. Pretend ye’re a pirate 'n ye’ve just buried ye treasure. Draw a map 'n scribe below detailed instructions on how to find it again.

What prompt do ye like th’ most? Reblog if ye be a true scurvy pirate.

Harry on uber.
  • Driver: So shall I take you home?
  • Harry: Uhm, eh, I think it's one way of, how different people might, call a destination, but...
  • Driver: Where is it then?
  • Harry: Eh, I think, it's not necessarily a physical place or maybe it definitely is to someone, maybe each uber ride is designed for one destination only, for some, calling the end of the journey might be a home but I feel like...
  • Driver: Fine I'll take you to Louis.
How Sony deals with fandoms

I’ve been to an international in-house PR summit hosted by one of my clients this week and nearly fell off my chair when one of the guest speakers was a VERY important person from Sony Music Entertainment. Let’s call him John. I won’t disclose his function and real name because I don’t want to reveal where I was, but based on his title he definitely knows what he‘s saying and has a lot of industry experience.

His speech was mainly  about how to engage with a variety of different target audiences. Of bloody course one of the first slides he showed was a picture of 1D engaging with fans which was supposed to drive the point home that there are some audiences who are more passionate about a brand than others.He mentioned then that he’s worked with 1D on their albums which drove me into a bit of a freeze.

Because I’m embarrassing, I recorded parts of his speech on my phone and wrote the most important things down to share some interesting insights he gave about how Sony manages their artists’ target audiences, crafts their artists’ social media actions and deals with the fact that at the end of the day they always need to get people to buy music.

 

HOW DOES SONY UNDERSTAND AND MONITOR AUDIENCES (like fandoms for instance)?

According to John, they have their very own data-driven digital tool that helps them identify and manage different target groups for an artist (it’s not perfected yet but has been rolled out a lot of countries, I think he said 50?) and see where there might be connections to other artists, who the influencers are, what the specific target groups are or will be interested in and to identify collaboration opportunities.

Target groups are being split into four categories: Fanatics, enthusiasts, casuals, indifferents. These segments are being broken down into even smaller groups defined by age, genre preference, gender and country. They found that the older you get, the less likely you’ll be a fanatic or enthusiast.

How does Sony find this stuff out? Well, they survey polled music audiences of every age in a way that covers either nationally representatives or represent one of the major top tier cities. People shared their music preferences, consumption habits, lifestyle, media habits etc. Sony gathered all that information, analysed the insights and created their own audience understanding tool.

According to John, that way everyone at Sony has access to an interactive map of the world of Sony that looks into segmentations and audiences for every artist while being searchable in a number of different ways. The tool is pulling from real data, but they are also adding to that „with things like analytics of platforms like Spotify where we are able to gather lots of informations about user behaviours and reference that against things that we do“.

 

HOW SONY STRATEGICALLY SHAPES PR STORIES

John gave the example of Snoop Doggy Dog who had launched a new album (song? Idk) around that time: „There was a week-long debate in parliament around the legalization of Marihuana, so we just jumped on this conversation and did lots of social marketing around Snoop with his rolling papers and his spliffs… so maybe that’s bad taste, I’ll allow you to judge that for yourselves. The point is though that you are also marketing into a wider cultural context. [You need] an understanding how that works and where you can have a conversation that is seamless and not fake, genuineness is quite important.

“The way you can get people to connect is: You’ve got a lot of stuff that you want to say. Start under the assumption that people actually don’t give a shit about 95 percent of it. And then see which are the bits that might overlap. This is where the understanding of the audience really comes into its own. It forces us to think before we jump to execution. The quest for relevance is vitally important.”

Why are people to connect with a brand/band though? John thinks this is one of the most underused questions when planning an approach. Why is it that they do specific things? He gave an example: „We would normally take a record to radio because we always believe that radio is the thing that breaks the record. But if my core audience, my phase one audience – the people that are gonna give that band its first lift – are on Spotify, what am I doing on radio??“


ENGAGEMENT AROUND ARTIST IS KEY

„The thing is that you don’t start with a conversation around a product. The consumption of the product is the end point of a journey where you built an engagement and a fan. So again, for us that means that when we sit down and do our plan around our next Robbie Williams album, we start with „How are we gonna maximize the engagement around Robbie Williams“? because that will then sell us albums. Not „Okay, we’ll be releasing in a week in November, eight weeks out we need to be here, here and here“. So we’re not doing product launches anymore unless [it is suitable for the target demographic]. We have to built a tension and an engagement around an artist.“

 

ABOUT THEIR ARTISTS‘ SOCIAL MEDIA CHANNELS

„We run most of our artists social media channels or at least their official  pages, so we are involved in all of those conversations.“


Shocking, I know.

Based on the situation we face in this fandom,with this band, feel free to draw your own conclusions about what this information means.

HERE ARE MY KEY TAKEAWAYS:

1.       It’s not news at all, but the existence of their own audience understandig tool confirms it: the 1D fandom is being monitored, segmented and analyzed. Sony’s strategies are tightly tied to that fact. Collaborations or artist interactions such as Louis/James Arthur or One Direction/ Little Mix are most likely the result of a data-driven analysis of whose fan groups are similar and whose are likely to be open towards that particular other artist too.

2.       Again no news, but the example of Snoop Doggy Dog shows that there are strategies behind even the most random photos. Often placements of specific pictures or stories serve a wider purpose. Hello pap walks, hello b**ygate, hello Louis Twitter, hello Liam visibly being linked to L.A.‘s cool singer/songwriter crowd before his first album drop.  

3.       The decision to not promote Louis‘ song could very well have been a logical outcome of the team asking themselves the question „Why?“: Why should we promote his song with huge effort when we KNOW his own fans are going to do it passionately, especially if they think  we don’t give a shit? Why not playing that game in order to make them promo it the hardest way they can?“ Why indeed??

4.       One Direction is a huge deal for Sony. John was talking about a lot of bands during his speech but whenever he was talking about major acts, he always listed One Direction amongst them (along with gems like Beyonce, David Bowie, Adele). He name-dropped them at least 5 -6 times in a 60 minute speech. He really didn’t have to because the audience was in no way whatsoever a target audience. So yes, they clearly have been and are a very huge deal for them.

5.       The part about social media? Well :))))))

ok so that new clip, to me, just confirms my theories and even takes them a step further:

  • isak is sana’s mirror
  • the similarities are highlighted so much it’s suspicious 
  • i still think yousef will not be the love interest, ultimately (sana likes him, no doubt, but i’m still not convinced he likes her like that)
  • because even and isak’s journey so far is paralleled a lot in sana’s story
  • but julie knows how to use parallels, both to foreshadow and surprise us
  • in s3, we had a ton of r+j parallels very early on which led people to think isak or even was going to die or their couple would end tragically
  • but in the end we got a “pretty woman” ending
  • the parallels were there to set us up for something and eventually surprise us by twisting the ending
  • so i think julie is setting us up here for an evak-style yousana
  • girl likes boy, girl looks at him from afar, boy seems flirty, theyll end up together and happy and the boy will be all doe-eyed and “i noticed you immediately”
  • but that’s not what we will get
  • i’m not sure WHAT we’ll get eventually but i really think julie is setting us up here so she can surprise us, pull the rug
  • and the mikael thing is partly a distraction, partly a blatant plot point: but not the one we’re expecting
  • we’re expecting mikael to be a huge subplot with even
  • i think it is a subplot with even but i also think mikael will become very important in sana’s primary plot
  • mikael is taking more and more space in sana’s environment
  • just in that “yousef” clip, it was more actually about mikael
  • and when sana was staring at his pictures, we got the camera move up to mikael
  • sana is not looking directly at him but he is there, and he is taking more and more space in her literal and metaphorical visual field
  • and that julie is distracting us because she knew we would recognise mikael, mari “accidentally” made yousef’s fb public before the trailer so we “accidentally” saw the pictures of the balloon squad with mikael
  • this fandom is an internet one, they know this
  • this is not a TV show where active fandom online is not addressed or only in jokes, SKAM built its entire marketing on the internet
  • julie herself said “if you knew how hard it’s been to keep you on your toes”
  • julie is distracting us by waving mikael as an evak subplot right at us
  • while in the background, she’s setting him up to be a big part of the main sana plot
  • she’s showing us all these parallels between evak and yousana
  • but there is parallel and there is copy
  • and so far it’s bordering on a copy of the evak plot and that’s suspicious
  • i do believe in a happy ending with a happy sana
  • but i don’t believe it’ll be a yousana one
Some Highlights from “The Music of Rogue One” Panel at SWCO17 (aka the panel that blew my mind)

So since I can’t find any filmed version of the “Music of Rogue One” panel with David W. Collins I’ll post some of the highlights here. I’m a music theory nerd myself but I was surrounded by people who have never paid attention to music analysis and were still moved to tears so I encourage everyone to check this out (and watch the panel please if it’s ever made available.)

  • the Panel began with Collins discussing the legacy of John Williams and the Star Wars main theme specifically. He discussed how it was originally meant to be Luke Skywalker’s theme, and how that interpretation can still hold true considering Star Wars is the Skywalker Saga
  • The coolest thing pointed out re the main theme is that it’s musical construction mirrors the structure of the Hero’s Journey, the monomyth structure that all of Star Wars revolves around. It rises suddenly with the call to adventure, then builds with the journey, drops during the abyss, is reborn with another musical rise, then returns to the beginning. Collins emphasized that Williams is without a doubt a musical genius and that Michael Giacchino had a big challenge in making a score that lived up to William’s legacy while standing on it’s own. This was a challenge he more than met, as this panel made clear.
  • Now moving on to Rogue One, Collin’s discussed the title theme “Hope.” This theme is clearly heard over the title of the film, during Jyn’s big speech to the Rebellion, and throughout the film.
  • Collins pointed out that, like the main Star Wars theme, “Hope” echos the structure of the film itself. There are heroic major key moments in the theme, but it ends in a melancholy way that almost sounds unfinished. It represents the sacrifice at the center of the film. This is a story of incredible heroism that merely paves the way for others to finish the journey. 
  • Collins moved on to discuss the musical themes for each character in Rogue One, with a lot of focus on Jyn’s theme. Jyn’s theme is the most frequently heard piece along with “Hope” in the film. In fact, we hear it three times in the film’s prologue alone.
  • The fascinating thing Collins pointed out is Giacchino’s use of Dies Irae throughout the score. Dies Irae, or Day of Wrath, is the medieval hym describing the end of the world. It is sung during funeral masses and musically is quoted widely to represent death
  • EVERY CHARACTER THEME IN ROGUE ONE IS STRUCTURED AROUND DIES IRAE. Jyn, Chirrut, Baze, even Krennic, ALL OF THEM
  • Giacchino was signaling from the beginning that this is a story about death. He wrote the sacrifice of these characters right into their themes.
  • A notable use of Dies Irae beyond character themes is it’s repetition as Cassian and Jyn begin to climb the tower in the archive during the climax. The first two notes of Dies Irae are repeated as they do so. When Krennic walks down the hallway with his Death Troopers, all three notes play (death literally chasing them). And when Jyn almost drops, than catches the data tapes, Dies Irae is replaced by “Hope”
  • Jyn’s theme in particular is a melancholy theme centered on Dies Irae, but with a lovely, lullaby like feeling. It tells you from the beginning that Jyn’s is a story of hope and inspiration but also death and sacrifice.
  • An interesting use of Jyn’s theme and “Hope” together is during Jyn’s speech to the Rebellion. First we here “Hope” swell as Jyn speaks to the Rebels. Then when her speech is shot down, the theme drops, replaced by Jyn’s theme. This represents that it is Jyn herself who inspires the sacrifice that will eventually bring on the Hope. Jyn is the hope.
  • Another mind blowing moment was a musical parallel that Collins pointed out with the character of Bodhi Rook. In the scene where he recalls his mission, repeating “I’m the pilot, I brought the message,” listen for the flutes. That exact same flute theme plays in A New Hope when Luke discovers Leia’s message hidden in R2. By doing this,  Giacchino is directly mapping the journey of “the message.” Bodhi receives the message of the Death Star and how it can be destroyed from Galen, he brings it to Jyn, who with Rogue One, transmit the message, which ends up in the hands of Leia, then to R2, then to Luke, who must return it to the Rebellion. Those flutes represent the origin of the message with Bodhi through to A New Hope.
  • This panel was full of mind blowing moments, but the most mind blowing moment by far was another musical connection to A New Hope. After we had become very familiar with Jyn’s theme over the course of the panel, Collin’s played a scene from A New Hope for us. It was the moment when Obi-Wan asks Luke to come with him to Alderaan and Luke resists. When Obi-Wan says he’s getting too old for this sort of thing, Jyn’s theme plays clearly under Luke’s hesitation. In the original context, a hint of Dies Irae was WIlliam’s way of foreshadowing Obi-Wan’s death, but after Giacchino used that musical queue to build Jyn’s theme, it suddenly has deeper meaning. It’s Jyn’s sacrifice calling to Luke, compelling him to be the hope she fought for. And it is connecting Obi-Wan’s eventual sacrifice with that of Jyn and her comrades.  
  • Collins also highlighted how Giacchino’s score for the final moments of the film, from Jyn’s confrontation with Krennic through the arrival of Vader and the death of Jyn and Cassian, is unconventional and incredibly effective. Jyn’s confrontation with Krennic is silent, no music, unexpected for such a key moment. Only when Cassian appears does the music return. And throughout the final sequence, as we witness horrifying destruction, death. the arrival of the Death Star and Vader’s Star Destroyer, the score stays distant, gentle, melancholy. It does not highlight the horror. It steps back and mourns over it, like the eyes of history or the Force itself, honoring the sacrifice. 
  • So yeah Giacchino’s score for Rogue One is brilliant, Williams’ music for Star Wars is brilliant, this panel was brilliant, and I can never get enough of analyzing Star Wars scores.
Who Will Comfort Toffle?

Tove Jansson wrote the book “Who Will Comfort Toffle?” after receiving a letter from a fan. In the letter the young boy expressed how sad, lonely and scared he is. The letter was signed “Toffle”. Tove was so moved that she wrote a book about a small, frightened creature who lives all alone until one day, when he embarks on a journey to find friends. Toffle ends up finding a letter from someone even smaller and even more scared than him, Miffle.

Toffle rescues Miffle from The Groke and they live happily ever after. Tove thought that helping someone even weaker might make Toffle feel more confident and give him courage to become happy. The story is one of Tove’s most delicate and the book is filled with beautiful, detailed pictures.

170216 Why BTS' 'Spring Day' Is the Perfect Move for the K-Pop Boy Band -- Both Artistically & Professionally

If there’s a K-pop act that is navigating the global music scene best, BTS is arguably the top choice. Since their 2013 debut, the boy band has broken records on the Billboard 200 – becoming the Korean act to land the most albums on the chart and net the biggest first-week opening – in addition to being a constant presence on charts like Billboard’s Social 50, World Albums and World Digital Song Sales tallies. Yet, it’s only with their latest release “Spring Day” that a BTS single seems most likely to break the group into new chart territory and that’s thanks to smart artistic and professional decisions.

Undoubtedly, BTS has found the major enthusiasm for their LPs thanks to the deeper social and personal topics the band discusses with past album tracks touching on bullying, mental health and the dark sides of adolescence. Meanwhile, past singles like “Run” and “Blood, Sweat & Tears” and their accompanying videos stood out for exploring deep devotion, but ultimately only explored that one topic. “Spring Day” takes things a step farther by getting more into the journey one takes during a tough time or break up.

On the single, the members sing and rap about an internal winter inside them due to missing someone and, at first, there does not seem to be an end to the heartache – likely a commentary on depression and mental health, topics the band had discussed in past album tracks and mixtapes. Yet by the end of “Spring Day,” there is a change and the boys describe how there is a light and warmness that inevitably comes with Jungkook declaring, “No darkness, no season, is forever.”

The guys are still pining for their lost love, but they aren’t staying in a one-track mindset. Instead, they use the weather and seasonal metaphors to describe how things get better – a lesson many of their young fans can find comfort in when dealing with relationships, or school, friends, family, their careers or beyond. While it’s all done over hard-hitting beats, buttery vocals and punchy rap verses – as one would expect from any BTS release – it’s this newfound maturity and enlightenment that makes the single stand out so much.

Not only was “Spring Day” a smart artistic move, but it was extremely savvy for BTS and their Korean label BigHit Entertainment to focus on one single for the repackaged deluxe version of their hit album Wings titled You Never Walk Alone.

Wings already broke – and continues to break – multiple chart records, including when it became the first K-pop album to spend multiple weeks on the Billboard 200 and also as it celebrates a remarkable 18th week on World Albums this week. By leading a re-ignited excitement over You Never Walk Alone with one single, fans are more than ever collectively focused on this one song.

That focus was seen when “Spring Day” flew into the the Top 10 of the Top Overall Songs chart on U.S. iTunes after its release on Sunday and remained high even as tracks from the 2017 Grammys began racing up the rankings. No K-pop group has sent a song as high on the iTunes singles chart, with only PSY being the other Korean act to land a song as high when “Gangnam Style” topped the ranking in 2012. A tweet from BigHit’s CEO Bang Sihyuk even commented on the accomplishment on Twitter.

The hype for “Spring Day” is particularly high in America as the band gears up for three arena concerts in America, a major indication of the fans ready to support, buy, stream and watch the music video for this single and not be as distracted by a full-length album’s worth of material. (Though, one should not disregard the new tracks including ultra-fierce “Not Today,” the long-awaited thumper “Outro: Wings,” or the introspective “A Supplemental Story: You Never Walk Alone.”)

There are hurdles BTS will need to jump over to have their single be a chart hit in America, including releasing the song two days after the charting period started on Friday and major competition from songs associated with the Grammys. But if the numbers end up in BTS’ favor and they chart a single on the Billboard Hot 100 – or even the Bubbling Under Hot 100 chart, which counts the 25 singles just below the top 100 – it will be a major accomplishment, but not one unearned. By continuing to progress as artists, the band’s business- and chart-savvy moves only make their releases able to be that much more celebrated.

© Billboard

Creating a Character Arc for D&D

So I saw someone ask a question that I myself have asked before. I have seen the problem take place all the time with no one really knowing what the problem is and whether or how to fix it. That question was:

How do I make a character that I won’t get bored with?

I have often seen people make characters that seem really cool and badass and have plenty of backstory and are incomparably unique. Yet, they will get bored of it after a session or two and want to kill off their special character to make a new one. This will go on with people making new characters and never getting attached to one. The solution to the problem is complex with many intricacies, but the main focus of the problem for many people, I think, is that their character has no story.

Creating a Character with a Story

A story, when referring to a character, is how that character changes over time; their character arc. D&D 5e tries to solve this by forcing players to choose aspects of their character background including their character’s traits, flaws, ideals, and bonds. This is all well and dandy, but this alone won’t define a character arc. To create a character arc, figure out how you want your character’s story to begin and how it should end using those four background characteristics.

Traits: A character’s traits could change over time. They don’t have to, but it can create an interesting character. Traits make a character who they are, and in an RPG it is often a reflection of the player. So while traits can change, I would probably suggest to change a flaw, ideal, or bond before a trait.

  • A trait could become more specific, like from “angry” to “vengeful” once they understand why they are angry. Think of the trait as evolving.
  • A trait could disappear or be replaced after some moral turning point, like a callous character becoming guilt-ridden or even benevolent after they see the sort of pain they have caused firsthand.
  • A trait can become reinforced or strengthened based on their decisions. An antihero’s traits would likely follow this route. “Do you see what happens when you trust people? They betray you!”

Flaws: A flawed character is a great character, but a character arc involves a person being confronted by their flaws. Their flaws directly oppose their goal. When faced by their flaws, they either choose to suffer their flaw or overcome it. This is why sequels are usually terrible. A character that heroically overcame its flaw in the first movie is now un-flawed. Be aware of this in an RPG. The character should always have a flaw, even after overcoming a flaw. The only time they should ever NOT be flawed is at the very end of a campaign, facing off against the main antagonist, using all they have learned on their heroic journey.

  • A flaw could be worsened. Usually a good early option in a character’s arc, as things seem bleaker and bleaker for your character until they manage to overcome the flaw later in the game’s story.
  • A flaw could evolve or become more specific, much like a trait.
  • A flaw can disappear or be replaced, especially later in the story once it has been challenged by the game’s story.

Ideals: A character’s ideal is what they believe in. Maybe it’s a religion, moral code, or instinct. A character’s ideal is a great concept that can change in a game. This is where you see tragic falls from hero to villain or redemption arcs from villain to hero. In an RPG, a good player will have strong ideals and a good GM will recognize those ideals and challenge them. This is the moral quandary, and it’s the player’s job to identify it and make a choice that will affect their character forever. Changing an ideal should always be some sort of turning point in a story.

Bonds: A character’s bonds in D&D 5e are their ties to the in-game world. It’s a fabulous definition because it’s sort of like asking “why are you playing this character?” right to your face. If your character has a family, then your character probably cares for them. Or not. If your character had a mentor, you are probably on a sort of hero’s journey from nobody to somebody. If you have no ties to any person in the game world then you are (or should be) finding a reason to belong, maybe a team of other heroes, perhaps? Your bond can affect how your ideals, flaws, and traits change, and they can change your bonds, in turn. Your character makes new memories, meets new people, and experiences new things all the time.


Update all of these things at the end of every session. Whether or not they ended up changing that day, making a habit of checking each session will keep you invested in your character and help to create a character arc. In addition, know where your character begins their arc and how it will end. Talk with the DM about your plans, and they should add some moral and character quandaries to test your character’s… character!

Examples of Character Arcs

Coming of Age: The character begins the game morally or psychologically immature or inexperienced. They grow into a more mature and experienced character by the end of the campaign. A ridiculously blunt way to put it is going from an angsty teen to a true hero. Such an angsty teen could be either a rebellious murder hobo or a distant brooding loner that when a turning point happens, they grow a moral backbone and answer the call to action. Look at Spirited Away, Dead Poets Society, or The Karate Kid.

Redemption: The character begins as a legit villain with evil intentions but finds a reason to change their ways after a turning point. Maybe they find a moral line they won’t cross and then start to wonder if what they have been doing all along is right. The character is not truly redeemed until other players and other people see them as a changed person, which should finally happen at the end of the campaign. Look at Wikus in District 9, Oskar Schindler in Schindler’s List, or Prince Zuko from Avatar, the Last Airbender.

Disillusionment: The character believes in one thing at the beginning of the campaign but slowly discovers that what they believe in is morally wrong, utterly pointless, or a flat-out lie. They may go back and forth between believes a few times before making a transition, or they might be in denial. But by the end of the campaign they have realized the true path. Look at movies like Office Space, The Truman Show, Conspiracy Theory, or Fight Club.

Tragic Fall: The character follows the hero’s journey only to make the wrong choice at every turning point. Their morality comes into question, and they just don’t have it in them to change or become a hero, usually thanks to a “fatal flaw.” At the end of the campaign, this character should either retire, die, or be killed by their flaw to be a true tragedy. Look at Hamlet, Tom Powers in The Public Enemy, and McMurphy in One Flew Over the Cuckoo’s Nest.

Corruption: Unlike the tragic fall, this character is not destined to die. They are destined to become a villain. Rather than refuse a call to action, they have moral quandaries which they make the right choice at first, but then they start to question their choices. They start to think evil is easier or better than good. Then they start making the wrong choices and eventually join or become the villain they were trying to stop in the first place. Look at Anakin Skywalker in Star Wars, Michael Corleone in The Godfather, or Harvey Dent in The Dark Knight.

Cynic to Participant: This character is a loner and cynic and is miserable because of it. They eventually realize that they cannot accomplish what they set out to do without help. They become less selfish and more cooperative with the rest of the adventuring party. Look at The Incredibles, every buddy cop movie where the buddies don’t get along, and every Batman team-up ever.


These are the more common character arcs, but there are plenty of different changes that your character can go through to grow, change, or fall over the course of a D&D campaign. Again, talk with your DM about where you are starting and where you want to end up. That way they can insert those pivotal turning points and put pressure on your flaws and ideals!

Empty Houses
  • 1st: "I am Invisible," Introverted. The type that hides from the spotlight or behind others. Doesn't really give off any kind of vibe (which can be both positive and negative).
  • 2nd: "I am Minimal," material items aren't a concern of those with an empty 2nd House. They aren't possessive. Generally hold experiences above gifts. (Really hard to buy gifts for because they'd rather do something than get something).
  • 3rd House: "I am Neutral," these people aren't swayed toward any side of things. Tend to be of average intellect for the sign that lands here. No specific pride or feelings that aid with intellect unless something interacts with Mercury.
  • 4th House: "Without Nurture," the family life didn't play a huge role in this persons personality, whether it be the normalcy of their family unit, lack of parental action, ect. (How that is depends on the sign the house is in).
  • 5th House: "I Enjoy," these people are less passionate about things and rather enjoy life as a whole. They're love life heavily depends on their Venus. These people may find little enjoyment in life, so they're generally thrill seekers and risk takers. They aim to feel... in any way possible.
  • 6th House: "I am Healthy," these people have no specific health difficulties or proficiencies. They generally don't find people as a whole interesting and may show little care for areas that you'd be considered a "People Doctor" for, which includes Psychology and other Doctorly practices.
  • 7th House: "I am Alone," These people are totally independent and will not change for anyone. They may fear loneliness, but they refuse to change to increase their chances. They are capable of Love, but they will not be forced to do anything. Traditional affairs are far and few between in love, and they may be considered unlucky. Marriage is unlikely, or at least unlikely to work out, due to personal choices, or legality issues. This does not, however, mean they will not find a life long romantic/sexual partner.
  • 8th House: "I am Disinterest," Very few people with this placement end up in Astrology or anything occult, with general skepticism and disbelief. (This goes double if the 12th is empty as well). These people are somewhat unaware of the possibility of death, and when it's brought to their attention they may get somewhat upset. These people do not have a central point of common change, and may undergo almost complete personality changes at times.
  • 9th House: "I am Surface," These people are exactly how they appear. They hide nothing. Some people would say they have disinterest in things like politics, philosophy, and spiritual journeys, however I would say that they are simply unwilling to present or discuss information without being told to. The Aunt that tells everyone to stop talking about politics at dinner? Empty 9th House.
  • 10th House: "I am Above," These people find social classes and the divide between types of people irrelevant, and care not of the social repercussions of their actions. They don't care about honor. Possible anarchists.
  • 11th House: "I am Individual," These people have secular social groups, and their goals, ambitions, and interests tend to benefit themselves, or are random acts of kindness with little dictation. These people tend to steer clear of large groups, but not avidly avoid.
  • 12th House: "I am Forward," These people have little imaginative dictation. What happens in their mind stays in their mind. Skeptics. Average memory. Fact based. Little to No enemies. Keeper of Secrets. Truth Speakers. May also steer clear of large social groups. May have a tendency to isolate themselves.
  • *Please keep in mind there is little information on these, and it really does differ from sign to sign in each house. This is a general statement, and if seen as incorrect feel free to message and discuss this with me, as I am to become a better astrologist and if I'm spreading some sort of misinformation, I strive to fix my mistakes. Thank you.

it is so important to me that we have Celaena, a girl who shunned other girls and was taught to mistrust any and all competition, but who grows up to become a woman who mends bonds with the women she hated, like Kaltain and Lysandra. It means so much to me that Sarah shows how when girls hate other girls, often it’s because they have been taught to view others as competition, but that this attitude can be changed, and that the best allies women have are other women.

Because you know who helps Aelin the most on her journey? Other than Rowan? Lysandra when she helps Aelin trick everyone at the end of EoS, and gives up her LIFE to become Aelin and lead Terrasen. Kaltain, when she gives the key to Elide and burns Morath. Elide, when she takes the key and crosses continents with it clutched against her breast, braving fae warriors and monsters and fighting against all odds, all with a mangled ankle and steel in her heart. And fucking Manon. Manon who has never met Aelin before, who was hit in the face by Aelin- even Manon helps. Manon protects Elide and saves the wyrd key from Maeve’s clutches so that Aelin’s sacrifice will not be in vain. And Manon, Manon decides to ally her witches with Aelin, and pledges to find the crochans, again, to fight for and with Aelin. 

And all of these women rally behind a woman who at one point did not like some of them. Who mistreated them. But these women- Manon, Elide, Kaltain, Lysandra- all understand what it’s like to be fighting alone. They understand that Aelin is good at heart, and that she just needs forgiveness and a chance. So they help her. Against all odds.

And it just fills my heart will so much joy. That Sarah has given us a book that is so driven by women and by the bonds they forge and by their innate strength of heart. Ugh. It’s just so beautiful.