it's a good thing i have no desire to ever be in power

ARIES: I heard that somebody with icicles in their chest once told you that spring was only for people that know how to be wanted but they were lying. Hardly anybody takes care of honesty the way that you do and somehow that’s still a surprise. Take the weight of your insecurities and lay them to rest underneath a gravestone. When wildflowers grow from what you buried don’t bother to pick them. They’ll always be there. Don’t you know what it’s like to come back to things? 

TAURUS: The peach pit on your dresser has been sitting there for years and it’s okay that you can’t throw it out yet. Okay that you can’t put it back into the fruit and unbite all of the soft and the sweet and the “maybe this time it’ll be different” that leaked out onto your fingers on the nights that your teeth feel too used to be desired. Wash your sheets and dry them outside. Lay underneath the clothes line and listen. Unclench your fists. Rewrite the grocery list.

GEMINI: It isn’t your fault that not everyone can swallow the parts of you that have sharp edges. You’ve been spending too much time forcing yourself down the linen aisle when you should be finding the nearest comic book store. There’s a reason superman is nicknamed “man of steel” and you deserve all of the iron-throated hearts that you can find. Invest in a metal detector. Don’t be ashamed of what you find.

CANCER: The way you bare your chest to the world is terribly brave and I don’t want you to continue feeling responsible for the people you’ve kissed that have taken advantage of that. Skin-deep damage does not make you unlovable, it gives you new perspectives. Don’t apologize for the ways you have tried to survive this. You’re better than the fires you’ve walked through and the storms you’ve caused. Suck on a peppermint until it loses its flavor. Name the taste after your last heartbreak. Now spit it out.

LEO: Your chest caves in whenever you think about the past and nobody’s ever told you that everything is temporary. Well, honey, I have some news for you. Start checking the mailbox again before the neighbors start to worry. People still want to stain paper with your name and martyring yourself over words is something you’ve become too talented at. Take a break, now and again. Burn the television set if that’s what it takes. Air out the smoke and look into a mirror, admire how powerful you seem as you step out of the haze of what’s gone.

VIRGO: Oh, baby, you’ve made mistakes and you’ve drained the bottles but you’re not the only one who’s felt like this. I know that it’s hard to let yourself feel these things but you have to try, you have to let the light in. It’s so dark in the room you’ve been using to store your regrets and your pallor has become a reflection of the ghosts you’ve been taking orders from. You were made for the sun. Let it kiss you without repercussion. Allow yourself to kiss it back.

LIBRA: So maybe you dropped too many pennies down the wishing well and now your wallet is nothing more than negative space. So maybe you forgot who gave you that good advice that one time and you’re still beating yourself up over it. Go ahead, admit to your faults. Set a place for them at the table and scold them for being late. Eat their portion and kick them out. Being familiar with every side to your geometric personality is not something to be ashamed of. Remember the angles, and keep moving. People like you are not meant to stand still.

SCORPIO: I think that your ears were made for listening to things that break. The shattering of a vase. The cracking of a heart. Does it ever get exhausting to be so awfully aware of how things sound when they forget to function? Nobody expects you to take every smashed hope and piece it together on your own. You are not a bottle of glue no matter how much you feel disaster sticks to you. I promise. You don’t have to carry that toolbox around, anymore. It looks heavy. Set it down.

SAGITTARIUS: You have your father’s mouth and consequently have dreams where you’re ripping it from your face. Somebody told you once that you were inadequate and now there’s a bruise on your ego and you can’t seem to stop touching it. Why are you so obsessed with how long it takes to heal? Why are you so afraid of letting people see you cry? Take off your armor and let your skin breathe. There’s still time to be okay with the idea of loss. You’re not too late. You’re not too late.

CAPRICORN: Stop using the word pathetic whenever anybody asks you to describe yourself. The people that hold you accountable for the abuse you’ve endured are the ones that turn away whenever they see it. You don’t need them, you never did. Can you feel that prickling sensation running up your arms? It’s tomorrow knocking and it wants to show you something beautiful. Let it. You’ve handled tragedy, surely you can handle tenderness.

AQUARIUS: You’ve been fucked over so many times it’s hard not to see yourself as a hotel room on the outskirts of town. Dark red bedsheets and rusty doorknobs and a lampshade that hasn’t been touched in a decade or two, this is where you lie and try to erase the memories from your naked body. You don’t want to belong to anybody almost as much as you don’t want people to believe they’ve changed you. They haven’t, you know that right? No matter how many people hike up mount everest it’s still a mountain. It’s still bigger than what’s stepping on it. It still keeps its name.

PISCES: You’ve become so good at sacrificing yourself for the possibility of something worthwhile that your body looks more like an altar than an assortment of bones. If this is your church I hope that your god looks like your nine year old face whenever somebody asked what you wanted to be when you grew up. I hope your prayer sounds like an exhale and that your choir sings in harmony and that every donation tastes like honey. Don’t forget to bow your head every once in a while. Remind yourself of your feet. Of how fast you’re able to run.

—  APRIL HOROSCOPES, 2/30, Caitlin Conlon
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.

the signs as people i’ve known

aries: passionate verging on obsessive.  defensive of both themselves and the people they love.  few layers; what you see is more or less what you get.  good-hearted, intelligent.  always up for a challenge, but becomes stressed out very easily and handles stress very poorly.  even when they’re tired, they somehow seem so alert and two steps ahead of you.  responsible.  they prefer to lead and lead very well.  interesting, competitive, loyal.  although they like to be correct and love to prove people wrong, more than anything they just want someone to listen and expand on their point, not disagree with it. romantic but they like to pretend that they aren’t.  they seek instant gratification and hate doing things that they’re not naturally great at (but they’re naturally great at a lot).  can be very self-absorbed, but it’s not conscious.  so loving and so lovely.  the yang to my yin, the storm to my calm.  a friend who completes me.

taurus: extremely nice, and they never want to hurt anybody’s feelings, so they tend to skirt around the truth or omit their opinion.  truly, genuinely kind, the sort of person you hope will always stay in your life, the sort of person you feel like you really need.  dependable, hardworking, stable.  they have been through a lot, but looking at them, you wouldn’t know it.  will ultimately put themselves before you (which is a good thing), but is always there for you when they can be. very realistic; they know what they can achieve and expect themselves to do so.  private to a fault, and doesn’t usually express their feelings. there is something about their soul that makes me smile whenever i think of them. one of the people i love most in this world.  my equal, the friend who i hope knows how much i love them.

gemini: endlessly charming, supportive, and brave.  always wants to make everyone happy, often at the expense of their own desires, so they’ll do things they don’t want to do but be kind of grouchy about it, leading others to believe that they are picky and that they change their mind too much.  frequently changes the details of a story to either make it more interesting or get out of trouble.  wants more than anything to see and experience the good in the world but is very often a victim of the bad.  overly-trusting.  they can make any experience memorable, and they are the most fun you’ll ever have. quite self-critical but they also know that they have a certain power over people. forgetful, tolerant, warm.  often feels quite overwhelmed and may not handle this feeling wisely.  crazy but kind.  the one whom words fail to describe.  the biggest piece of my heart, my mother.

cancer: both friendly and intimidating.  difficult to read.  patient and cooperative but more often than not, they think their idea/opinion is better than yours.  very, very smart.  super dependable, so sensitive, hold grudges like it’s their life’s calling. courageous.  behave very differently around authority figures, likes being seen as innocent and cute. they will keep your secrets but they will kind of hold them over you, and they tend to taunt others by saying, “i know [x] about [y] and you don’t.”  very funny, dark, and sarcastic once you get to know them, but initially sweet and sugary.  survivalists; they protect themselves first and their loved ones second and don’t really care about everyone else. friendly. once they’re in a relationship, they become rather absorbed by it and neglect the other parts of their life.  dramatic, obsessive. rather strong-willed.  when they’re having an off day, get out of their way.  they will never forget anything you tell them.  they see life as an inside joke.  my figurative fraternal twin.  the friend who is just like me but whom i’ll never understand.

leo: impressively loving, astonishingly generous, the whole universe in one person.  soft and loud, wild and cautious.  they are full of power, grace, and energy, and they awaken within you the sense that you are good and that you can do whatever you want to do. even when they’re quiet, their presence is felt. very self-critical, constantly questioning their worth. always in need of validation, which is why they like to be the center of attention; in order to know that they’re a star, they require a standing ovation. they want to love themselves, they need to love themselves. such a romantic, wants to be wooed and adored, and they’ll gladly return the favor.  soothing.  they are so easy to trust, but they are more careful with their own secrets than they seem. they love with every bone in their body.  they want, more than anything, a best friend. loyal, inventive, go-getters. great listeners.  can somehow empathize with every situation, but are mildly obsessed with themselves. love winning. my idol, the part of myself i hope i grow into, my aunt.

virgo: hilarious, dependable, treats you like their kid.  trustworthy, sympathetic. they are fascinating and unique, but they are too attached to their own magic. more obsessive than they like to think they are.  they take criticism very well, perhaps because they dish it out even better. level-headed but aspirational. they prefer to be the less loving one in all of their relationships.  feels guilty for feeling sad or emotional. curious and interested.  can talk for hours if you let them.  kind and smart, wants to be special and different from everyone else. treats the people closest to them the worst. believes in tough love.  loves to joke and be sarcastic but usually takes it a few steps too far.  perfectionistic, which leads them to put little effort into things that they feel they can’t do flawlessly.  the one i protect who thinks they’re protecting me.  the friend whom i loved right away.

libra: angelic, enchanting, sweet.  picky. they are so afraid of offending someone that they have to know someone really likes them before they’ll be honest with them.  so many layers.  funny and diligent. treats everyone like their best friend, but when you are their best friend, there is just something so slightly different about how they treat you, something that makes you feel amazing. good at everything.  completely unable to make decisions. gossipers. they want to like everyone, but they just don’t.  absolutely hates saying no, but will do it if it’s 100% necessary.  sleepy and goofy around people they love. works hard to look good, trendy.  smart, fair.  nervous around authority figures. fearful of loss and of growing up.  secret control freaks.  they are at once youthful and wise.  crazy patient on the outside, just crazy on the inside. always somewhere on my mind, the one who i was always meant to know. my very best friend, my soul’s sister.

scorpio: the best listener. truly wants to know everything about you. extremely devoted, passionate.  knows you very, very well.  so funny, so kind.  will stick with you through thick and thin, always on your side.  gives great advice. the person across the room who you can’t stop staring at.  secretive, fearful, romantic.  both observant and judgmental. will hate you for judging them while they judge you.  their heart is bigger than anyone else’s, and all they really want is to fill it to its brim with love. very often the sidekick, but they stand out to me. they are quite obsessive and they rarely wait for explanations. they want to own the people they love.  intuitive.  loves you soooo much.  impossible to know fully. deep, powerful. the ocean flows inside them, yet all too often that ocean is stormy.  the person many people think i am, the person i sometimes i wish i was.  my confidante, my partner in crime, my heart, my friend.

sagittarius: the most supportive and dependable person on the planet.  an amazing friend, the best person to have in your corner.  honest and disorganized, friendly and capable.  very quick to anger and has a hard time admitting they’re wrong.  devotes themselves wholly and completely to their partner and puts them on a pedestal, but once they’ve moved on, they’ve really moved on.  tends to succeed, lucky.  has a hard time seeing the truth of a situation and often must be told what’s really going on.  charismatic and caring, overly generous.  can spread themselves thin.  guided chiefly by morals which they never abandon.  has a strong sense of right and wrong (specifically, they’re right, you’re wrong).  my backbone, my other mother.

capricorn: pensive and stoic.  has a brain that never stops going.  they wake up every morning in the climax of a novel they’ve written in their sleep.  loyal, just, intimidating.  cold and private.  mean to people who are mean to them.  shuts down entirely for seemingly no reason.  the wisest of all.  mature.  silently romantic. victim of their thoughts.  intense, original.  they want someone to fall really deeply in love with them, but they close themselves off to everyone. admires the beauty of the world, moved by small details that many people miss. always thinking of the future, no matter how good the present is.  judgmental. wants to be better than everyone else. exceptionally smart. often falling apart on the inside.  can think themselves into sickness, into joy, into anything. loves to be alone, hates more than anything to be lonely.  soft on the inside. the best leaders but they don’t like to lead.  kind-hearted and always doubting it. immensely fatalistic.  the dreamy head behind my eyes.  myself.

aquarius: very patient.  analytical, detached.  they have favorite people and things and they will be honest about who and what these favorites are.  they love you, they just can’t tell you.  wants to be cared for without caring in return. easy to talk to, somehow always makes you feel safe.  impressive intellect. generous with the people they love.  genuinely good, inspiring.  easily overwhelmed.  resorts to humor when offended.  doesn’t try very hard to act like they like someone they hate.  wants to be special.  artificially nice to authority figures.  can be surprisingly mean without intending to.  very good liars.  super funny.  compliments mean a lot coming from them.  the person i forget i am, the friend i should talk to more.

pisces: kind-hearted, funny.  to really know them, you kind of have to know them forever.  so easy to love.  hates to think about the difficulties of the world and prefers to just have fun.  very much in the present and tries not to think about the future.  as such, they sometimes behave without thinking and wind up messing things up for themselves.  they tend to be kind of lazy in regards to some things and extremely passionate in regards to others; there isn’t a lot of balance.  can be very mean and very angry.  won’t apologize first when you’ve made them mad. must express themselves in some way.  no matter how much they say that they love you, they always love you more than that.  quite sensitive, hates few things more than being called annoying. super generous, always wants to be there for you but hates not being able to make you happier. truly the sweetest. my favorite person, my brother.

46 Of The Most Beautiful Sentences In YA Literature

1. “You could rattle the stars. You could do anything, if you only dared. And deep down, you know it too, and that’s what scares you the most.”
—Sarah J. Maas, Throne of Glass

2. “Because sometimes chance and circumstance can seem like the most appalling injustice, but we just have to adapt. That’s all we can do.”
—Gavin Extence, The Universe Versus Alex Woods

3. “I can’t seem to be a pessimist long enough to overlook the possibility of things being overwhelmingly good.”
—John Corey Whaley, Where Things Come Back

4. “Books are my friends, my companions. They make me laugh and cry and find meaning in life.”
―Christopher Paolini, Eragon

5. “Because Margo knows the secret of leaving, the secret I have only just now learned; leaving feels good and pure only when you leave something important, something that mattered to you. Pulling life out by the roots. But you can’t do that until your life has grown roots.”
—John Green, Paper Towns

6. “Do not pity the dead, Harry. Pity the living, and, above all those who live without love.”
―J.K. Rowling, Harry Potter and the Deathly Hallows

7. “I’m done with those; regrets are an excuse for people who have failed.”
—Ned Vizzini, It’s Kind of a Funny Story

8. “Becoming fearless isn’t the point. That’s impossible. It’s learning how to control your fear, and how to be free from it.”
—Veronica Roth, Divergent

9. “The moon is a loyal companion. It never leaves. It’s always there, watching, steadfast, knowing us in our light and dark moments, changing forever just as we do. Every day it’s a different version of itself. Sometimes weak and wan, sometimes strong and full of light. The moon understands what it means to be human. Uncertain. Alone. Cratered by imperfections.”
—Tahereh Mafi, Shatter Me

10. “Eleanor was right. She never looked nice. She looked like art, and art wasn’t supposed to look nice; it was supposed to make you feel something.”
—Rainbow Rowell, Eleanor & Park

11. “Don’t be afraid of death; be afraid of an unlived life. You don’t have to live forever, you just have to live.”
—Natalie Babbit, Tuck Everlasting

12. “Just because we’ve been … dealt a certain hand … it doesn’t mean that we can’t choose to rise above — to conquer the boundaries of a destiny that none of us wanted.”
—Stephenie Meyer, Twilight

13. “Some walks you have to take alone.”
—Suzanne Collins, Mockingjay

14. “That’s the thing about pain. It demands to be felt.”
—John Green, The Fault in Our Stars

15. “We believe in the wrong things. That’s what frustrates me the most. Not the lack of belief, but the belief in the wrong things. You want meaning? Well, the meanings are out there. We’re just so damn good at reading them wrong.”
—Rachel Cohn, Dash & Lily’s Book of Dares

16. “Why would you be given wings if you weren’t meant to fly?”
—Leslye Walton, The Strange and Beautiful Sorrows of Ava Lavender

17. “Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing.”
—Oscar Wilde, The Picture of Dorian Gray

18. “It’s just that…I just think that some things are meant to be broken. Imperfect. Chaotic. It’s the universe’s way of providing contrast, you know? There have to be a few holes in the road. It’s how life is.”
—Sarah Dessen, The Truth About Forever

19. “The universe is bigger than anything that can fit into your mind.”
—Ava Dellaira, Love Letters to the Dead

20. “I try to think about how it all works. At school dances, I sit in the background, and I tap my toe, and I wonder how many couples will dance to ‘their song.’ In the hallways, I see the girls wearing the guys’ jackets, and I think about the idea of property. And I wonder if anyone is really happy. I hope they are. I really hope they are.”
—Stephen Chbosky, The Perks of Being a Wallflower

21. “Things were rough all over but it was better that way. That way, you could tell the other guy was human too.”
—S.E. Hinton, The Outsiders

22. “What if evil doesn’t really exist? What if evil is something dreamed up by man, and there is nothing to struggle against except our own limitations? The constant battle between our will, our desires, and our choices?”
—Libba Bray, Rebel Angels

23. “It does not do to dwell on dreams and forget to live.”
—J.K. Rowling, Harry Potter and the Sorcerer’s Stone

24. “It’s like the people who believe they’ll be happy if they go and live somewhere else, but who learn it doesn’t work that way. Wherever you go, you take yourself with you. If you see what I mean.”
—Neil Gaiman, The Graveyard Book

25. “I can tell you that the end of a life is the sum of the love that was lived in it, that whatever you think you have sworn, being here at the end of Jem’s life is not what is important. It was being here for every other moment.”
—Cassandra Clare, Clockwork Princess

26. “Life, with its rules, its obligations, and its freedoms, is like a sonnet: You’re given the form, but you have to write the sonnet yourself.”
—Madeleine L’Engle, A Wrinkle In Time

27. “Maybe who we are isn’t so much about what we do, but rather what we’re capable of when we least expect it”
—Jodi Picoult, My Sister’s Keeper

28. “People never really died. They only went on to a better place, to wait a while for their loved ones to join them. And then once more they went back to the world, in the same way they had arrived the first time around.”
―V.C. Andrews, Flowers in the Attic

29. “Goodbye, I say, goodbye, as I disappear little by little into the middle of the middle of my own spectacular now.”
—Tim Tharp, The Spectacular Now

30. “But if I’m it, the last of my kind, the last page of human history, like hell I’m going to let the story end this way…Because if I am the last one, then I am humanity. And if this is humanity’s last war, then I am the battlefield.”
—Rick Yancey, The 5th Wave

31. “The words were on their way, and when they arrived, she would hold them in her hands like clouds, and she would ring them out like the rain.”
—Markus Zusak, The Book Thief

32. “Child, no one is ever ready for anything. I would never doom you to that. What sort of adventureless life would that be?”
—Alethea Kontis, Enchanted

33. “And now that you don’t have to be perfect, you can be good.”
—John Steinbeck, East of Eden

34. “Maybe some people are just meant to be in the same story.”
―Jandy Nelson, I’ll Give You the Sun

35. “If there’s one thing I’ve learned, it’s this: We all want everything to be okay. We don’t even wish so much for fantastic or marvelous or outstanding. We will happily settle for okay, because most of the time, okay is enough.”
—David Levithan, Every Day

36. “Doubt everything at least once. What you decide to keep, you’ll be able to be confident of. And what you decide to ditch, you will replace with what your instincts tell you is true.”
―Amy Plum, After the End

37. “Just as a river by night shines with the reflected light of the moon, so too do you shine with the light of your family, your people, and your God. So you are never far from home, never alone, wherever you go.”
—Karen Cushman, Catherine Called Birdy

38. “You spend your whole life stuck in the labyrinth, thinking about how you’ll escape it one day, and how awesome it will be, and imagining that future keeps you going, but you never do it. You just use the future to escape the present.”
—John Green, Looking for Alaska

39. “There’s no shame in fear, my father told me, what matters is how we face it.”
—George R.R. Martin, A Clash of Kings

40. “I know that the whole point—the only point—is to find the things that matter, and hold on to them, and fight for them, and refuse to let them go.”
—Lauren Oliver, Delirium

41. “We feel cold, but we don’t mind it, because we will not come to harm. And if we wrapped up against the cold, we wouldn’t feel other things, like the bright tingle of the stars, or the music of the aurora, or best of all the silky feeling of moonlight on our skin. It’s worth being cold for that.”
—Philip Pullman, The Golden Compass

42. “It’s a lot easier to be lost than found. It’s the reason we’re always searching and rarely discovered—so many locks not enough keys.”
―Sarah Dessen, Lock and Key

43. “On that cold night in January it all slipped into place for me and she became my everything and my everyone. My music, my sun, my words, my logic, my confusion, my flaw.”
—Julie Murphy, Side Effects May Vary

44. “Hope? Hope can be a powerful force. Maybe there’s no actual magic in it, but when you know what you hope for most and hold it like a light within you, you can make things happen, almost like magic.”
—Laini Taylor, Daughter of Smoke and Bone

45. “[She] had always suffered from a vague restlessness, a longing for adventure that she told herself severely was the result of reading too many novels when she was a small child.”
—Robin McKinley, The Blue Sword

46. “Youth cannot know how age thinks and feels, but old men are guilty if they forget what it was to be young.”
—J.K. Rowling, Harry Potter and the Order of the Phoenix 

... Somehow, Still Talking About This Captain America Shit (Now With Bonus Spider-Man and Agents of SHIELD)

So now Secret Empire has revealed its Shyamalan Twist and given the readers a Good Guy Steve Rogers as well as Hydra Cap, and the kinds of dickbags who, when this whole bullshit began were dismissing people’s complaints with “oh come on, don’t you know how comics works, it’s all going to be put back at the end, blah blah blah…” are crowing I-Told-You-So’s.

But here’s the thing:

Yeah, fucknuts.  We always knew this.

Keep reading

Some quick thoughts about how the Grand Relics reflect everyone on the crew’s personality. A lot of these points have been touched on before, but I wanted to wrap everything up nice. 

  • Davenport gets the Oculus, which is focused on Vision. If you can imagine it, you can make it real. Pretty great for a leader, and definitely good for the pragmatic captain we’ve gotten to know. You need to know exactly what you want, and if you can’t visualize it and understand it and execute it right, it will go horribly wrong. It’s the most laser precise of the relics, because you really need to have control of your own mind to use it. Of course Davenport loses his mind, loses his iron control of the situation, and the Oculus summons black holes.  It’s leadership gone wrong and self control without the control. 
  • Lup gets the Phoenix Fire Gauntlet, which is super dangerous short term but also fairly limited. It lights things of fire, and that’s it. It’s the least finessed of the Relics, and because of that it’s the most dangerous. It’s destroyed eight towns. It’s all power, none of the wherewithal and heart we see Lup demonstrate. She’s an evocation specialist, she’s the powerhouse of the group and because of that she has to know when to stop. The Gauntlet never stops, and hurts lots of people in the short term, but once it’s fired out it’s not quite as insidious as some of the other relics. It’s straightforward, and like Lup that’s both a strength and weakness. 
  • If Lup is the flamethrower that can mess you up in the short term, Taako is more subtle but overall more destructive. The Philosopher’s Stone is willing to play nice, be used, and generally not act up, right up until it throws you a curve ball and nearly crystallizes the entire world. Taako is the master of the random, game changing play, and Stone mirrors that ability to mess up everything and amplifies it ten fold. It’s not the charmer, it’s sales pitch is the most blatant thing ever and it sounds like your weird uncle, but it will bide its time until it decides the time is right to just upend everything. 
  • Nice, quiet Barry got the Animus Bell, which is nice and quiet and diligent and straight up murders people. It doesn’t make waves or look for trouble, the people who have owned it have kept it quiet and used it sensibly and thoroughly to awful, awful ends. Even Lucretia didn’t know what it did, which suggests that it’s the shyest of the relics. Barry is solid sort of guy. He does his best, death after death, body after body. He’s also a lich who invades people’s minds to get information. The Animus Bell is equally willing to drudge forward nicely and quietly, getting into dark magic and possessing people’s bodies. 
  • Merle, of course, is their godly man. He likes nature and Pan and has more insecurities than you could shake a stick at. The Gaia Sash takes that need for faith in a higher power and desire for control and blows it up. Sloane was calling herself a god by the end of her time with it, but she was also desperate for anything to ease her mind, something to put her faith in. It’s the nature relic, technically, but you could just as easily call it the God Relic. It’s all about power and how you use it and what you need to stay sane, namely the belief in something more powerful than you. 
  • It’s been discussed before how it’s weird that Magnus got time magic while Lucretia presumably got wards and protection, but it does make sense in a certain way. The best way to protect something is to make sure the bad thing never happened. I’m more interested in how the Chalice presents itself, namely that it really believes it’s a good person (relic) even while it does awful, awful things. Magnus is also someone who tries to be good, but often, thoughtlessly acts cruel. The Temporal Chalice plays the sweet tempered host, then in a fit of spite makes them watch all of Phandolin get destroyed and got Isaak to murder his best friend. Magnus will play the moral highground, and also bully people without meaning to. But while Magnus really tries to be good, the Chalice is all surface gentility with nothing underneath. It’s Rustic Hospitality, without the actual underlying Rustic Morality. 

anonymous asked:

Not su critical, but I wish there was less human episodes and plot's loose ends weren't left forgotten for literal ages. I just, idk, feel like crewniverse wants us like lars or ronaldo too much

i mean, by definition it’s not forgotten if it’s brought up again. the show is just very long-term and demands you have a lot of patience sometimes (which makes it satisfying when it happens, but it can also be frustrating before that).

on the subject of humans: i’m not always super invested, but there’s always a rewarding or clever element. i like connie, kiki and sadie a lot. greg’s alright. the cool kids too. while onion’s not my favorite, his episodes tend to be solid and gives us interesting steven-characterization (onion gang was quite nice, they finally made me emotional about both onion and steven’s loneliness).

i have a buddy who loves lars with all his heart - i know he’s not the most popular character, but i like him alright, too. he’s the kind of teenager who can be a jerk without being a one-note bully. there’s a good post going around about you kinda need to see the humans to feel the payoff of them (spoilers) seemingly getting kidnapped in this next bomb, which will be another interesting mix of the human and magical elements of the show.  

Originally posted by cartoonfan98

the “slice of life” elements also has another important function, which i think is vitally important - in fantasy / sci-fi stories, there’s a lot of Othering. by which i mean, strictly good vs evil escapism where a lot of the time, the enemy is so inhuman they might as well be a natural disaster, not a person. good and evil is often decided by which magical species or alien race you belong to, not who you are as a person. 

slice of life is the complete opposite - you have your jerks, but they’re still human. those stories rarely end with anyone being murdered for their crimes and this being portrayed as a “victory”. it’s pretty common that while the main character’s perspective expands, we get to know even those characters who we assumed were just cruel or bullies. everyone has some struggle going on, and the punishments for their crimes are not that they’re irredeemable or die. rather, they’re allowed to actually develop and/or have nuances to them.

Originally posted by relatablelarsquotes

both sci-fi and fantasy also have an expectation of war in recent years - there’s the expectation of constant high stakes and people getting killed. the plot is expected to constantly be the focus - we need to find the Thing to fight the Dark Side. we need to get to Place before Evil gets there first. the Chosen One needs to collect all five Orbs, four of which symbolize the four friends, and the fifth one will awaken her own power. the Enemy needs to be Stopped, their reasons are (usually) irrelevant.

on the other side, slice of life is very personal: everything is character-driven, and their motivations is the main reason to watch it. i saw a lot of surprise that “yuri on ice” didn’t have a traditional villain - my response was basically “…well, yeah, it’s slice of life”. that’s kinda how it usually works. especially in anime - you may not get to know every character equally well, and some will be deeply flawed, but no one is sorted into a box labelled “inhuman” or “evil”. 

so what’s my point? well, steven universe continuously trains its audience to see slice-of-life elements in the ~magical space conflict. it tells you to see the characters through a ‘human’ lens, even the characters who aren’t human. part of how it does this is by adding surprising amounts of empathy and human solutions - not just to the beach city problems, but to the gem problems as well. 

the first time we see two diamonds together - the Intergalactic Tyrants™ who most fanart depict as the final boss overlords all the “less-awful” characters will unite against in a Final Battle? oh, they’re grieving the loss of their fellow diamond. blue diamond is crying. their pearls are there, standing as a reminder of the hierarchy they champion, but neither element ruins the other - they can be sympathetic and deeply flawed at the same time. when it’s towards the people they care about, they even seem well-intentioned. yellow diamond chastises blue for not being a good leader to her people.

Originally posted by gemsingifs

part of the reason this seems natural is because the show has portrayed its human characters as flawed, not as a faceless mass of “good people” who must be saved from the evil alien race. so it makes sense it would work the other way around too - everyone’s got their own stuff to deal with, and everyone makes (sometimes massive) mistakes. 

we’re expected to see both gems and humans as people. part of this is because of the human side of steven’s upbringing - the old crystal gems are used to meeting allies and enemies, steven is mostly used to meeting people, even if he (like everyone) has his own biases between them, or thinks some of them are “mean”.

despite some people’s consistent insistence that any jerk we’re introduced to is just a villain, that’s it, end of story, steven universe continues to challenge those assumptions. time and time again. that’s part of why it’s so vital (to me) that no one are just killed off or bubbled forever, because the show has laid the groundwork that every life is unique, and suffering is never a good thing. 

it can be a trade-off, like how we’re exploring rose’s shattering of pink diamond, and yknow, there WAS a war in the style of sci-fi/fantasy, but the show is critical of that solution. pink’s shattering did not, in fact, end the conflict - her death left countless gems leaderless, mourning and FAR from ‘liberated’ (in fact, many of them hate the crystal gems), and earth was still under the slow threat of the cluster… and how was that cluster solved again? not by force, but by talking to a hostile and vicious little green alien. then getting her help to reach the huge, suffering eldritch abomination in the center of the earth… which was also stopped by communication, not by force.

Originally posted by kathon

the human side of the show helps steven cope with gem life, make connections that are important to him, develop his character and fuel his desire to help.

i know some will insist these are unrelated, but i think without steven’s human side, he would really “just” be another crystal gem. an empathetic one, who is curious about people, but not on this level. not one who opposes the idea of not just shattering, but wants to find a way to connect with everyone (as he is like no one and everyone), and has the kind of boundless optimism where he refuses to accept that this is just “the way things are”, or that suffering is ever necessary. everything is always changing on earth, and because of that, steven wants to believe everything can always change. 

Dear High School Lauren,

I have so many things I want to tell you, but I’m going to start with the most urgent. Because of all the ways I’ve seen athletic stories unfold over the years, this is the No. 1 destroyer of dreams.

You’re a young woman, but the sound of the word “woman” makes you cringe. Well-meaning coaches and parents and aunties and grannies and inappropriate uncles comment on the changing bodies of girls–not yours yet but those around you. It’s coming. You know it’s coming.

You notice what happens sometimes to female athletes. She hits puberty; her times get slower or plateau. She is confused; she is working harder than ever. Clueless adults who are overly invested in her “performance” will grieve, as if her worth is based solely on PRs. This makes you scared of growing up.

Seeing girls go through this is confusing because there is a story once told to you about running: “You get out what you put in.” You’ve heard there is a direct line between effort and improvement, between wanting it more and winning. This is a “truth” written by men, based on the experience of boys and men. Your male teammates are bathing in testosterone, a dramatic performance enhancer. You will not. You are about to bathe in different hormones, hormones that, more often than not, temporarily interrupt that promised straight line of improvement. What you need are knowledgeable coaches and parents who know how to support you during this time, to let you know it is normal, to celebrate you through development, who can zoom out on the big picture, because it is at this time that many girls give up.

You’ll see girls react to a changing body in three ways: give up, ride it out, or fight against it. With 100 percent confidence, I can tell you the best choice is to ride it out. The best is yet to come.


You will go on to race at a NCAA Division I university and watch several girls do whatever it takes to fight their changing bodies. But before you choose a school, you will go on visits. You will have meals with the teams and notice they do things differently. There is the school that has “salad with dressing on the side,” the school where everyone orders “no gluten and no dairy,” the school where the girls bring their own food from home to the restaurant… Go to the school where people order a variety of things: the burger, the chicken sandwich, the salad. Go to the school where you can order french fries and do it without shame.

Go to the school where the majority of girls look athletic and healthy, with hydrated muscles, and get their periods. Listen to how they talk about themselves–and one another. Listen to what they value.

Do they value effort or performance? What do they worry about openly? Fixations on their appearance? Or do they lift one another up to be good teammates and performers? Do they value themselves and one another by time and place and weight? Or by the whole package of who they are as people?

How do they treat the teammates who are struggling physically or mentally or psychologically? Do they isolate them? Talk behind their backs? Do they have empathy and compassion? Do they call one another up?

Like it or not Lauren, you are a woman. A strong one. Your body is at some point going to become what it is meant to be, based on a long line of strong women who have survived generations in a tough world. For most of the time, and in most cultures, what is happening to your body would be celebrated with ceremony. Women are powerful beyond your imagination. You cannot reach your power by making yourself small. And yet in competitive running, you will find yourself in a world in which you feel pressure to do just that.

Let me speak to the competitive dream chaser in you now.

You can be fast and a developed woman. In fact, you can only reach your ultimate potential if you let your body go through its changes. If you get to the dips and valleys and fight your body, starve your body, attempt to outsmart it, you will suffer. You will lose your period. You will get faster at first. And then you will get injured. And injured. And injured.
Depending on the methods you used to fight your body, you may end up destroying your relationship with food and sport for years to come. You won’t go this far, but you’ll see so many of your friends and teammates do this. In your age group, the mortality rate from anorexia is 12 times higher than any other cause of death. You will see some come close.

You will see this so much, fed by reckless coaches, fed by unhealthy team culture, fed by the desire for short-term success, that it will break your heart. It will break your heart so much that it will be difficult for you to watch many of the top high school and college races after you graduate. So many young athletes will reach out to you for help. You will learn how destructive and reckless so many coaches are, and you will want to find a way to change things.


I need you to know, I PROMISE you, that the ultimate star you are chasing is further ahead than any shiny thing you see now. The way you get there is to protect your health and protect your love of the sport above all, even as you reach for the shiny goals right in front of you. You simply do not know and cannot predict your personal path, but you’ll get there. It will look different and brighter and richer and more multi-faceted the closer you get.

I need you to know, you have always been more than a runner, more than your times, more than your state championships, more than your school records. But you will get confused. You will forget. Luckily you will have teammates and family and friends who remind you. You will go on to do almost every single thing you could have dreamed of, not in the way you imagined, not on the timeline you imagined.

And when you retire from being a pro runner after 12 years, you will be surprised at what ends up being most valuable to you. Your medals will be in a box somewhere, and you’ll never look at them. Your proudest accomplishment will be a race in which you finished last because in that race you were tested more than ever and you were brave.

Finishing seventh in the entire world in the 5K and having a bronze medal in cross country brings you a smile, the same smile as winning league with your team as a freshman in high school, the same smile as breaking 5:00 in the mile for the first time. The real life-changers, the memories that make the peach fuzz on your cheeks and the hairs on your forearms stand up, those will be braiding your teammates hair in the 15-passenger van on the way to a race; a random tempo run along a sidewalk past a gas station where you felt like you were flying while home on Christmas break; descending a forest trail at camp behind your best friend with your arms outstretched in flight; running at night with someone you are falling in love with; pushing your baby in a running stroller for the first time; passing under a canopy of trees temporarily blocking the rain on a cross country course you can’t remember the name of, the sound of your feet squelching in the mud while chasing your rival.

Protect the opportunity to make memories like those for a lifetime. You’re going to be OK being all of yourself. Make sure your teammates know it too.

Love,

Lauren

—  Lauren Fleshman
It’s a bit more complicated than invisibility...

This occurred to me and I feel it’s worth posting since I’ve never seen any talk on this?

The One Ring doesn’t make you invisible. 

Why would it? Seriously, what purpose on Eru’s green earth does that serve? Sauron forging his ring of power in the heart of a volcano, thinking to himself, ah yes, invisibility would be a good trick to build into this thing! No. Cause you know what? Sauron’s ring does not make him invisible. And he certainly did not intend for anyone else to ever have it. So what’s it really doing?

Two words: Dimensional shift

I believe that when mortals put on the ring, they experience a dimensional shift in which they are pulled (stretched, transported) into a higher dimension, the plane on which the true spirit forms of the Ainur (and wraiths) exist. This would effectively render them invisible to those on lower dimensions, but the wearer would be able to view them with altered enhanced perception. Such as the effects we witness as described by those who have worn the ring. Especially well portrayed in the films is the ability to see the souls of others, particularly the ringwraiths (the battle on Weathertop is a good example, as well as even in Battle of the Five Armies when Bilbo is in Dale), black and white shadowy souls clear as day but invisible to the naked eye, as they exist on a different dimensional plane. It’s quite possible to me that the ëalar of the Ainur are in a higher dimension than that of mortal fëar, but that’s beside the point. They’re at least a couple dimensions removed from our reality, and thus invisible until one puts on the ring. 

Now, why would the ring have this power? I think, if I recall correctly, that Tolkien at one point did state that it was not intentional, that it was a byproduct of its making. Again, it does not turn Sauron invisible - it wouldn’t, he already exists on that plane. Mortals are bound to their bodies and so would not be able to perceive that higher dimension, but Ainur are not. I think most plausibly, this effect exists because Sauron infused a piece of his own soul into the one ring. The consequences of this are not well understood (it’s not like it’s a common practice) and we know in other ways, it is so strong in its desire to hearken back to its master, it can even influence the wills - a product of the souls - of those around it. I would not be surprised in the slightest if having a piece of Ainur ëala in an all-powerful object would result in the ability to bend reality to attempt to match the wearer to the properties of the owner. It would bring the wearer closer to Sauron, and allow him to perceive them, thus furthering its purpose to return to the whole from which it is a part. 

Just a theory, obviously, but I find it odd that I’ve never seen anyone question the rather absurd notion of ‘magic evil ring makes you invisible!’ Tolkien set up so many intriguing questions, concepts, and possibilities with underlying scientific principles - or at least, consistent rules - that I am sure this fits into his framework. 

Take Me || Stiles S.

Word Count: 4,133ish

Warning: Rough smut,😉

Prompt: Hi! I was wondering if you could do a Stiles smut where the reader and Stiles are like, lab partners or something, and Stiles has been mumbling really dirty stuff to you for weeks, and you finally tell him to do something, and then it’s really hard and rough. Thanks so much!! 

You’re my first request and my love for you extends wayyyy past the galaxy. You are the best beautiful! I hope this is what you wanted and I didn’t know if you wanted to be tagged. If not, let me know:) @pick-the-petalst

A/N: Also, just wanted to thank everyone for 130 followers! It might not be much to anyone else, but I didn’t think I’d even have 1 so I am more than grateful! You all are magnificent beauties and I hope you all have an extraordinary day. Much love 💕

(Gifs are not mine)


Monday

“Those jeans are looking extra tight today.” His lips grazed the outer shell of your ear as his hand slid onto your thigh. “Definitely makes me wonder what they would look like on the floor of my bedroom.”

Your breath caught in your throat. Yes, this had been going on for weeks now but it always affected you. Stiles had become your lab partner at the beginning of the semester and at first, you thought that it might actually go well. He seemed like a smart kid and even though Harris liked to torment him about failing his class, Stiles didn’t seem to be having any trouble.

All that went downhill about two days into your partnership. 

You had just arrived into class wearing a new skirt that you had recently bought over the weekend. It was black and faux leather. You knew that it was a little short, but it wasn’t too bad that you thought people would notice.

Stiles did.

The second you sat down in your seat he was leaning over to you. “Damn, I didn’t know you could get any hotter babe.”

“Excuse me?” You questioned raising your eyebrow at him.

“Oh, Princess, we can excuse ourselves right now and I can show you just how a man treats a lady.” He whispered against the side of your cheek.

You had always thought that Stiles was hot. Hell, he was super sexy, especially when he would wear his baseball cap flipped backward and his unlimited amount of flannels. But, right now, you didn’t know whether to be turned on, flattered, or appalled.

You turned your face to glare at him, but he was already giving you the once-over with his eyes.

You didn’t want it to be, but unfortunately, your teenage hormones got the best of you and heat rose to your cheeks.

“We have never spoken one word to each other and that’s what you start with?” You questioned hoping that he wouldn’t notice the redness that was dawning on your face.

But he did. Of course, he did.

Slowly, a grin curled onto the side of his thin pink lips. His eyes raked the length of your body at an agonizingly sluggish pace causing you to squirm in your seat. He took notice in that too because as he met your eyes a smirk was slipped on his mouth.

“All those dirty little thoughts that are going through that pretty little head of yours could be a reality. Just say the word and I’ll take you on this desk right now.” His eyes shined with pure honesty in his words and suddenly the room was the temperature of the sun. Heat crawled down your neck, past your heavy breasts, through the tingling sensation in your belly, and made its home in your core. The wetness already seemed to be dampening your panties.

As if he would smell your arousal, he leaned in closer. “Say the word Babygirl.”

You couldn’t speak. You couldn’t even move afraid that a moan would slip from your lips. How did this man have so much power of you with just words?

“Stilinski! Attention to the front! Please don’t bother miss L/N.” Harris yelled breaking Stiles’s intense stare he had on you. 

As his eyes left you, you took in a deep breath.

“Yes sir, wouldn’t dream of bothering her.” 

But that is exactly what he had in mind. He wanted her all bothered. Hot and bothered and wriggling underneath him while moaning his name.

You tried not to look at him, but curiosity got the best of you and you peeked at him. He was already staring at you, but this gave him the chance to rile you up some more.

He sent you a wink right as the bell rang.

Now, weeks later it has been a constant one-sided flirtation with a huge dose of lust sprinkled in every sentence that flowed from his amazingly beautiful mouth.

Not that you thought his mouth was beautiful, or that it could do beautifully dirty things as it scrapped the inside of your thighs. No, you had never thought of that.

Let’s all be honest with each other, it wasn’t a normal Monday if that thought didn’t go through your head at least twice.

Today, was no different. 

“Those jeans are looking extra tight today.” His lips grazed the outer shell of your ear as his hand slid onto your thigh. “Definitely makes me wonder what they would look like on the floor of my bedroom.”

“It definitely makes me wonder when you’re going to shut your mouth.” You muttered knowing that he could hear you as you continued to finish your chemistry worksheet.

“Sweetheart, is that the only thing you want my mouth to do?” It was as if he had read your mind and your pencil halted in writing the sentence it was currently on.

Keep reading

The Uniting Power of Love Triangles! Midlife Dance Crisis!

(So in this party, the male human rogue, the female fetchling mage, and the elf princess are slowly dancing the romantic “will they/won’t they?”. All three are charming, high charisma characters. the mage has been trying to fight years of repression to figure out what her orientation is, the rogue likes the mage but is willing to bow out and play wingman if she decides she’s not into him, the princess is a friendly lass whose natural stoicism makes her hard to read, and both the rogue and mage are wondering if they have a chance with her. This has actually solved more problems than its caused.

Example: The party decided to attend a village dance. The rogue had his dance with the mage, where they both admitted they didn’t know how to dance. Then the princess grabs the mage and hits the dance floor. While the rogue’s taking a break, an incredibly handsome man walks up to him…)

Stranger: Are those two lovely ladies free?

Rogue: …I think they’re taken with each other, if you get my meaning.

Stranger: Well, I’ve been looking for a wife, and the desire for prosperity will change that, I think.

Rogue (Squicked out): …Oh really?

Stranger (Too proud for his own good): I’m the Marquis. I can provide a dowry of 10,000 gold.

Rogue: …Who do you think I am, their dad?

(After he has his fun playing Prince Charming (and getting an admittedly impressive diplomacy check) He eventually backs off.)

Marquis: It would be a blessing to see you again. (leaves)

Mage: Well, I’m going to get a drink.

Princess: [Rogue], would you care to dance?

Rogue: I’d love to. Did you get a look at that mozzarella cheeseball?

Princess: He seemed nice.

Rogue: Yeah, less nice considering he came to me offering a dowry of 10,000 gold.

Princess: Oh you’re joking, I’m not worth that much.

Rogue: Clearly you have a poor estimate of your worth, but seriously, do I look old enough to be your dad?

Princess: Ha! You’re barely old enough to be my baby brother.

Rogue: Heh. Well, (overdramatic bow) “T'was a blessing to share this dance with thee, milady.” (kisses her hand)

Princess: You know he’s gone, right?

Rogue: Eh. *shrug*

(The mage said he looked more like a roguish gentleman than her dad. Jury’s still out on what ship will sail, if any. But all agree that the standoffish paladin dancing with the lustful halfling thief by swinging her around like nunchucks was the best 300 gold ever spent.)

After Hook cast the Dark curse, we were shown three waves of rainbow magic sweeping across town. It seemed like overkill at the time, but they were the perfect way to distract us from the fact Hook’s Dark Curse was never broken. Since the curse seems to follow the desires of the person who cast it, I thought it would be interesting to look at what that might mean.

“I want to hurt you, like you hurt me.”

Apart from Hook wanting what he always wanted when he cast the curse - revenge on the Dark One - he also revealed what he wanted to do to Emma when he found out he was the Dark One in Storybrooke. He wanted to hurt her like she hurt him… so how did she hurt him?

  • Turned him into a villain again, a person he didn’t want to be
  • Lied to him
  • Stood in the way of his revenge
  • Took away his agency
  • Controlled him
  • Chose to save Regina over being his happy ending
  • Stole his memories

Right away we saw him hurt Emma in retaliation by taking her memories after finding out he was the Dark One in Storybrooke. It was her last crime - in his eyes - that wasn’t accounted for under his curse. All the other ways in which she hurt him, he knew about when casting it. This means they already were part of the curse and his memory loss was the last thing that kept his curse from taking on its full effect in Storybrooke, but they were a slave to it as soon as they landed, maybe as soon as the smoke came. They were already compromised. Emma may have taken their memories without anticipating she would be under his spell once in Storybrooke. After she got there, she may not have been capable of cleaning up her own mess. It was only a matter of time before their entire world was bent to his wishes.

When Hook cast the curse, he was incredibly angry about Emma controlling him with Excalibur.

Emma: “I’m never going to try to control you again. I love you.”
Hook: “It’s just I’m usually the one who has to say that first.”
Emma: “Yeah, well…”


After that exchange - with Hook showing surprise about Emma expressing her love - they go to Camelot’s displaced Granny’s where Hook casts his curse almost right away. The anger driving him was all about creating a world where nobody controlled him - and one where he controlled Emma specifically.


Emma: “You were playing me the whole time.”
Hook: “Once you lied about Excalibur all bets were off. I knew it was just a matter of time before you tried controlling me. And now, no-one will ever control me again.”


She just promised him she wouldn’t try to control him again and she follows that up by telling him she loves him. Their kiss didn’t work to break the Dark One curse. Hook later goes to talk to Belle. He already suspected and now he knows for sure she was lying, especially if he feels certain of his love for her. If he wants to hurt her like she hurt him, it makes sense for the curse to take complete control of Emma. He would use emotional manipulation on top of the curse itself and take her lie about love and force her to live it.

In this light, the conversation where Emma tells Regina there is no Savior for the current curse takes on a new meaning. If Emma can’t really control what she does, she was working within the limitations of Hook’s curse already. She may not even be capable of being nice to Regina anymore - Hook was jealous she chose to save Regina - and she is incapable of telling her the truth. So she antagonizes her, trying to challenge her into being their Savior.

This conversation may mark real Emma’s final moments of resisting Hook’s curse, before she lost control over her life completely and became a slave to his desires. It was the only way to try and let Regina know she was powerless.

“Good you, still in there.”


The scene where Emma angrily tells Regina to step up and do what needs to be done reinforces this. Regina specifically describes seeing good Emma shining through. She’s right but the thing she doesn’t realize is that Emma isn’t limited by the Dark One curse, she isn’t compromised in the way Regina assumes. She’s limited by Hook’s curse. The good part of Emma is the one yelling at Regina, trying to give her a message. That’s why Regina doesn’t understand what Emma’s trying to say.

Gold warns her that ‘you always lose the ones you love the most’, after which Emma goes into the shed to cry over her memories in private. Just like the others Gold assumes she’s only under the influence of the Dark One curse. We are once again misled because we see Emma choosing Hook over and over again and the person who is most familiar with the Dark One curse tells us that she has a choice. Right reasoning, wrong curse. Emma can still cry in private, but she can’t tell anyone what’s really going on. She feels she’s already lost them at this point. It’s telling that the people she hurts the most as the Dark One are the people Hook has a vendetta against. Hook turns Emma into a villain like she did to him. Since then we’ve seen her become selfish and judgmental, acting like an addict when it comes to Hook.

When Hook regains his memories and takes her memories instead, it seems like Hook made it particularly easy for Emma to find the stolen memories, but can we be sure they weren’t edited? They were stolen and added to the curse with just one dreamcatcher™ while in Storybrooke there were several ones. Technically both Emma and Hook could have done their own editing. There may be memories the characters - and the audience - still don’t know about.

“Evil doesn’t always look evil. Sometimes it’s staring right at us, and we don’t even realize it.”

What we do know for sure is that this seems to mark the end of Emma fighting back. His Dark curse seems to be taking full effect. Hook gets forgiven for everything by everyone, Emma endangers her entire family and takes them to the Underworld for him after he tries to kill them all. Nobody questions it because the Dark One curse was lifted and Emma looks like herself again, but we were warned by Regina herself that evil doesn’t always look evil.


Emma seems to have identified Regina as the key to breaking this curse. Was it because there actually is a Savior for this curse - built in by Merlin who put it together? Darkness wants to snuff out the light, we know it came for Regina right away when it was free. The curse isn’t just Hook’s, it was described as the darkness using him to get what it wants. So his desires serve a greater purpose. If Regina is the one to bring back light together with Emma, then the darkness fighting the light and using Hook as a vessel - because it wants Emma and Regina apart… seems to have worked.

Or is it because Emma knows there really is no Savior, only leaving the most powerful magic of all as an option to break this curse? Knowing that it can only work if Regina loves her back. Was Emma giving Regina the dagger a way of telling her that she loved her and had the power to save her or destroy her depending on Regina’s feelings? After all True Love’s kiss up to that point was the only way we’d seen the Dark One curse almost being broken. Is Regina’s insecurity about being worthy of love the key to breaking this curse?

We’ve all noticed that Emma seems more like her old self as soon as she gets close to Regina. Regina is the only one who stands up to Hook and has expressed criticism since the curse took hold. It does seem like the curse has less of a hold on her. If all the heroes are compromised except for her, then at some point she will have to realize her power. She will have to rely on her inner compass instead of on mimicking what Emma and the Charmings do. Right now it could be she’s blinded because she still sees herself as a villain and them as heroes just because of their old labels.

“It’s like my whole life is darkness and when you’re around, things are brighter.”


When Lily told Emma she made her life more bright, Emma didn’t listen, now it seems like she is in the same position. She couldn’t understand how Lily could have everything she could only dream of and throw it all away. How she could still be unhappy. Now technically Emma too has everything she ever wanted and yet… it’s not what she needed.

Regina seems to be to Emma what Emma was to Lily in the past. We’ve seen it before. Regina doesn’t try to save Emma. In Neverland she taught Emma magic so she could turn on her own light while Hook and Neal were fighting over her. She has been loving and supporting Emma, going to the Underworld for her without expecting anything in return, saving her from the wish realm. Regina has been a light in that she tries to remind Emma of who she is, remind her of her own power. A light that brings clarity in its brightest moments.

The power of the Dark Hook curse seems tied to Storybrooke and Storybrooke’s magic. Emma acted more like herself when they left Storybrooke for New York and the magic was tied to the crystal. Proximity to the crystal seems to impact them. Regina and Emma were interacting like before and parenting Henry together. As soon as magic came back into the crystal, Hook came back and when they arrived back in Storybrooke, she went right back to him. In the wish realm Emma also acted more like her former self once she remembered who she was… until she returned to Storybrooke. Same with their time in the land behind the mirror where they were working together. Seems like there’s a bit of a pattern there.

“I should have known that Operation Cobra: Part Two wouldn’t have been as simple as I thought. Because it’s a sequel, and they’re always more involved than the original.”

What unifies the entire story is the Black fairy’s Dark curse. Everyone used and adjusted her basic recipe to cast it, but beyond that we can actually divide the story in two parts. Regina’s Dark curse was the original. Emma broke its hold and Regina herself destroyed it completely after sending Emma and Henry away taking them all back to the Enchanted Forest. The second part starts right after the missing year with Snow White’s curse. We know everyone’s memories were returned, but that part of the curse was Zelena’s addition, so since we never went back and Emma started giving in to Hook as soon as that curse was cast, we may also still be influenced by Snow’s desires. She even admitted she started planning Emma’s wedding after the first curse. Then Hook cast his curse and Emma marrying him while singing and dancing would definitely seem like something that would happen where Hook and Snow’s desires intersect.

The Black Fairy’s curse is now added to both of these curses, but they seem to form a whole. It seems like Regina possesses a particular power she is unaware of, so it makes sense that the Darkness used the desires of people like Snow and Hook to set the stage. Snow carries resentment towards the Evil Queen. She may want Regina to be happy, but that’s not all there is to it if you look at what happens as soon as Snow’s curse is cast. Regina falls for a man she previously wasn’t interested in, but she always keeps losing him… just like Snow kept losing Charming because of the Evil Queen. Marian showed up, putting Regina in the same position she was in when David was married to Kathryn. Snow also wishes very traditional things for her daughter, like a marriage and a man. Where Emma always kept a bit of a distance with Hook, after Snow’s curse, she started to let him in. Hook’s curse took all these things to the next level, with Emma torn by the desires of others and Regina far away from her. They barely interact.

Emma & Regina were always the power couple. Together they have defeated most of the threats to the town. So what did the darkness achieve, exactly? What did those two curses achieve? They weakened Emma and Regina’s bond and they kept them apart. We weren’t made to fear the Black fairy. She’s not the scariest villain we’ve ever had. What we are made to fear is that this is really how the story ends. What is everyone really going into the Final Battle for? What are we worried about? About the Black Fairy or about the fact that Emma Swan doesn’t seem like herself anymore and that Henry’s parents are talking even less now than back when they seemed to hate each other? What set this story in motion in the first place? We can sense that the Black Fairy and Gideon are a summary of all of Emma’s fears she needs to face in order to win. Emotionally, however, we all feel exactly what this battle is about.

The songs in Emma’s heart are all the elements that go into the final battle. In the past Hook says he doesn’t need Snow & Charming’s treasures, their gold or their title. In the present he married their golden-haired greatest treasure, which technically makes him a prince… but he’s shown right for the wedding he’s still driven by that same revenge from the past. Meanwhile Regina’s Evil Queen song is one about resisting love. She tears Emma’s baby blanket up, she gets upset when Granny sings about the princess and when Snow and Charming sing about their daughter, she sings about her happy ending at the same time. Emma carries this conflict in her heart. What’s different between Hook and Regina is that Regina isn’t the Evil Queen anymore. She has let love in. Self love. She loves Henry. She let Robin love her and cared about him. She has profoundly changed since singing that song.

As the Evil Queen mentioned earlier, there is a very thin line between love and hate…

…and they’ve both worked too hard to have their happiness destroyed.

So, this is it. The Final Battle indeed.

Gold Digger

Reader x Elijah Mikaelson

(NOT MY GIF)

*requested

Imagine: You are in a long-term relationship with Elijah Mikaelson and is very happy with it. One day, when he requests you to go over to his house to meet oficially his siblings, Hayley accuses you to being with him only for his money and power, which leaves you heartbroken.

tagging: @chocolatemonkeyrainbows :)

Word Count: 3172


Back then, when you were nothing but a naive teenager, you used to dream about true love, wondering every single night, whilst watching the stars, how it would feel like once you met him. Would you recognise the one right away? Or it would take some time for you to realise it? Man, you were one hell of a weird kid.

However, your questions would only be entirely answered years later, in the exactly moment Elijah Mikaelson walked into your life.

Keep reading

guys, we need to talk about eowyn

So I get really narky when people pull the whole ‘oh Eowyn’s storyline came to such a sucky ending; she was really cool going around killing orcs and Witch-Kings and then she got shoved into a traditional girly role by marrying Faramir and becoming a healer’ thing, because no. No-no-no-no-no. Not only does that stray dangerously into the territory of ‘women only have worth if they’re doing traditionally blokey things’, but that misses almost the entire point of Lord of the Rings.

Tolkien was in the trenches in the first world war, right? He got all that ‘for death and glory’ shit shoved down his throat, that was the whole point about the war, it was when so many people came to see how awful and misleading all the propaganda about winning glory through violence and death was. And Tolkien’s work completely shows that: it’s why the hobbits, who’ve never craved power or battle the way men do, are the heroes of the book; it’s why strong men like Aragorn and Faramir are shown to be lovers of peace rather than war. It’s why the quote - but I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory; I love only that which they defend – is so poignant and beautiful, when seen in the context of all Tolkien had gone through. He’d seen all but one of his closest friends die in an utterly pointless war; the prevalent message in his books is ‘if you’re going to have that many people die, let it be for something worth dying for.’ (Like defending your home from the lord of all darkness, for example.)

And Eowyn might be a fantastic female character, but she’s also got so much development to go through, and she’s by no means perfect. I find it really interesting that when Eowyn talks to Aragorn about wanting to go off and fight she never really actually mentions protecting her people, but speaks about wanting to ‘face peril and battle’, and to do ‘great deeds’. And it’s not that Eowyn doesn’t want to protect her people, because of course she does, but she’s also got such a driving motivation within her to do glorious and fell deeds simply for the sake of valour and renown. It’s one of her defining features, having an attitude that got so many young men killed in the war and which, obviously, Tolkien would have been very wary of.

(Also, I think, there’s so much in Eowyn that wants to prove herself to be more than ‘a mere woman’; because twice in that conversation she asserts that she’s no mere ‘dry-nurse’ or ‘serving-woman’, but a member of the house of Eorl and therefore capable of greater things. There’s almost this slight sense of Eowyn considering herself more than ‘just’ a domesticated woman that I sometimes get from her in the books? Which is very sad - the idea of Eowyn having less regard for others of her sex who do mind the house or raise the children - and why I so love that ‘I am no man’ moment in RotK. Eowyn’s no longer hiding herself, or dismissing fellow women as the weaker sex, but acknowledging and embracing the fact that women in all their forms can fuck you up.)

And then we reach the Houses of Healing, and Eowyn yearning for death in battle just like her Uncle Theoden, and basically buying into that whole world war one ethos that Tolkien would have considered so poisonous. Which is why her friendship and courtship with Faramir is so fricking beautiful. Remember that quote I wrote earlier? That’s from Faramir. He’s not backing down from conflict, he’s in no way less of a ‘real man’ than anyone else; he’s just saying there needs to be more to the fight than simply having a fight. There needs to be a reason; something worth fighting for. Eowyn recognises that Faramir is a good man in every sense of the word: he’s strong and valiant, but he doesn’t fight simply to prove himself or for the sake of winning glory, he fights for other people. And Faramir gently challenges Eowyn on her idolisation of battle-glory and encourages her not to scorn gentleness or peace, and he’s so freaking good for her.

(Seriously. Can we just stop for a moment and think about how wonderful Eowyn and Faramir are for each other: Faramir encouraging Eowyn to turn towards life and healing and openness while never denying her strength or courage, and Eowyn giving Faramir the validation and security he never got after so many years of an awful relationship with his father? I honestly don’t know why I don’t get all giddy about these two more often, because they make the very best otp.)

And the result of the departure of the Shadow and her friendship with Faramir is Eowyn’s decision that ‘I will be a shieldmaiden no longer, nor vie with the great Riders, nor take joy only in the songs of slaying. I will be a healer, and love all things that grow and are not barren.’

I think that last bit is so important because I’m certain that Tolkien doesn’t mean for Eowyn to immediately pack up her sword and shield and become a good girl sitting at home with her knitting and waiting for the men to return home after the fight – after all, she’s going to be the wife of the Steward of Gondor and there’s a lot of mess to clean up after the War of the Ring. Eowyn’s probably still going to find herself defending hearth and home from time to time. But the important thing is that she’s no longer defining herself simply by the doing of valiant deeds; she’ll no longer compare herself to the great warriors of her house and feel lacking simply because she hasn’t killed as many men. Most importantly, she’s not going to take joy only in the songs of the slaying, in destruction and death. Tolkien was all about healers symbolising life and rebirth, and Eowyn’s decision to become one – to aid in the preservation of life rather than the taking of it – is so beautiful. I don’t think Tolkien ever wrote Eowyn’s ending to make her reclaim her ‘lost femininity’; I think it’s a lovely way of adding to the ever-present theme in Lord of the Rings of hope and frailty and healing and friendship over glory and battle and strife.

Epic Movie (Re)Watch #124 - Zootopia

Spoilers below.

Have I seen it before: Yes

Did I like it then: Yes!

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #412.

Format: Blu-ray

1) From the very start this film is excellent storytelling. The opening scene where young Judy and her classmates clearly establishes the conflict of predator vs. prey and the biases that come from that, the film’s humor and heart, and Judy as a character.

2) My mother is an actuary. My brother is studying to be an actuary. Actuaries don’t do this.

Little Jaguar: “Today I can hunt for tax exemptions. I’m going to be an actuary!”

3) Judy’s parents (Don Lake & Bonnie Hunt) are so funny in such a sad way.

Stu: “Judy, you ever wonder how your mom and me got to be so darn happy?”

Judy: “Nope.”

Stu: “Well, we gave up on our dreams and we settled. Right, Bon?”

Bonnie: “Oh yes, that’s right Stu. We settled hard.”

4) Gideon Grey.

Originally posted by masha-russia

Gideon is a perfect example of how nothing - NOTHING - in this film is superfluous, but I’m actually going to speak on that further into the film.

5) The police academy scene gives wonderful exposition. It sets up the environment and rules of Zootopia’s various ecosystems in a way that feeds into Judy’s conflict and character.

6) Ginnifer Goodwin as Judy Hopps.

Originally posted by floppy999

Goodwin (a massive Disney fan herself) breathes perfect life into Hopps. The best voice over work is when you’re not distracted by the voice actor. When their voice and their heart match with the character so perfectly that you don’t hear - say - Kristen Bell as Anna or Mike Myers as Shrek, you only hear the character’s. Goodwin is able to balance Judy’s massive optimism and heart along with the scenes where Judy has lost those things perfectly. I don’t think anyone else could have voiced Hopps as well as Goodwin.

7) If you want to avoid a slew of bad animal puns, don’t look too hard at Judy’s iPod.

8) “Try Everything” by Shakira.

Originally posted by raddestboy

Written by Sia, Tor Erik Hermansen, and Mikkel Storleer Eriksen, the theme song which deserved an Oscar nomination captures Judy’s optimism and struggles perfectly. The song’s lyrics speak of optimism in the face of constant failure, a theme which is very relevant to Judy in the first half of the film. It also provides the perfect backdrop to the visual introduction of Zootopia as Judy enters the city on train.

9) Subtle.

Judy [after Clawhauser calls her “cute”]: “Ooh, ah, you probably didn’t know, but a bunny can call another bunny ‘cute’, but when other animals do it, that’s a little…”

Originally posted by wish-for-the-moon

10) This film really runs with the animal puns.

(GIF originally posted by @baawri)

Bogo [turning to an Elephant officer]: “Francine. Happy birthday!”

11) I love the way the filmmakers handled Judy’s office discrimination. She is treated just as a token bunny, someone who’s only there for PR. Except she was top of her class at Zootopia police academy: a difficult feat for anybody, let alone a bunny. But this just feeds into the biases Bogo already has about Judy: she’s not really that good, they just said she was because she’s a bunny. That plays into real life way more than it probably should.

12) Wow, I did not catch how entirely speciesist this line was until now:

Ice Cream Parlor Owner [to Nick]: “Look, you probably can’t read…”

Damn that’s speciesist.

13) Jason Bateman as Nick Wilde.

Originally posted by a-zootopia-fan

Remember how I said great voice over work is noted by not realizing you’re listening to a voice over artist? The same can be said of Bateman’s performance of Wilde, 100%. To start, Bateman captures Wilde’s surface level of sly con artists WONDERFULLY well. He’s devilish and charming in the same vein as Danny Ocean or Han Solo, and Bateman expresses this perfectly. But as the film progresses Bateman is also able to show off Nick’s layers. His troubled past, his occasional lack of self-worth and anger at the world. And the honest level never changes. It’s not like Bateman was hired ONLY for the slyness of Nick’s role and had to power through the rest, he’s able to do it all. It’s a great voice over for a great character.

14) The relationship between Nick & Judy is the cornerstone of this film. What I personally like about it is its honesty. There’s no BIG moment when these two meet, it’s a chance encounter which grows to conflict and then budding friendship so organically you don’t even know it’s happening.

Originally posted by surreal-teal

15) There is nothing even remotely superfluous in this film. Nick makes a comment about how he’s been running his popsicle con his whole life and that will come back to bite him in the butt later.

16) This pig is played by Josh Dallas, Ginnifer Goodwin’s onscreen partner in “Once Upon a Time” and real life husband.

17) The chase through Zootopia is an incredible amount of fun, especially when Judy and Duke get to Little Rodentia. The filmmakers are able to play with their concept in a visual entertaining and imaginative way, which in turn keeps us as the audience wrapped up in the world they’ve established.

Note: I’m going to take about Alan Tudyk as Duke later in the film, at a very specific moment.

18) Again, there is nothing superfluous in this film (a note I’m going to be making a lot):

Judy [after saving Mr. Big’s daughter]: “Love your hair.”

Mr. Big’s Daughter: “Aww, thank you!”

It is this little encounter (and, you know, the fact that Judy saved her life) that saves Judy & Nick from getting “iced” by Mr. Big later in the film.

19) Again, nothing superfluous in the film. As the “non-onions” that Duke stole end up being very important later on.

20) Disney is at its bets when it pokes fun at itself.

Bogo: “Life isn’t some cartoon musical where you sing a little musical and your insipid dreams MAGICALLY COME TRUE! So let it go.”

Originally posted by rinshi-chan

21) Can we all just take a moment to appreciate Nick’s face after Judy says she’ll arrest him for, “felony tax evasion,” after he brags to her about how he’s been running this con since he was a kid and how much money he makes?

(GIF originally posted by @animations-daily)

22) Again, with the idea that nothing in this film is superfluous: Judy’s recording pen becomes very important as the movie goes on.

23) Only Tommy Chong could play this character.

(GIF source unknown [if this is your GIF please let me know].)

Like there’s a chance he’s not even reading from a script, they just had Tommy Chong come in and told him what the movie was about and he just started talking.

24) This is the funniest part of the whole film, in my opinion.

Originally posted by officialmoviegoer

The entire DMV scene plays well not only with the concept established by the film of an animal society in a way which is funny on its own, but the continuing conflict of Judy’s eagerness, Flash’s slowness, and Nick’s desire to throw a monkey wrench into the whole thing leads to amazing comedy.

25) Did you know Kristen Bell is in this film?

Originally posted by musicallyfoxypokemon

Bell landed the role not only because of her working with Disney on Frozen, but also because she is a noteworthy sloth enthusiast (as seen on “Ellen”).

26) It is nice to see Nick freak out when he realizes he and Judy are in Mr. Big’s limo, as it shows us a part of him we haven’t gotten to look at much in the film so far.

27) Maurice LaMarche as Mr. Big.

(GIF originally posted by @rocktheholygrail)

LaMarche is a noted voice over actor known primarily for his roles as Brain on “Pinky & The Brain”, various characters including Calculon on “Futurama”, and Mr. Freeze in the Batman Arkham series of video games. Here, we get to hear the veteran voice over artist do his best high pitched Brando impression.

28) This film has its fair share of nice surprises, details and twists which keeps you on your toes. The earliest of these is the revelation that the missing mammal Judy & Nick are looking for - Mr. Otterton - was in fact the one who attacked the limo driver (and not that he was the one attacked, as originally perceived).

29) This scene gives me life.

Bogo [after Judy’s witness disappears]: Two days to find the otter, or you quit. That was the deal. [Holding out hand] Badge.

Judy: But sir, we…

Bogo: Badge!

[Judy starts to turn in her badge]

Nick: Uh… no.

Chief Bogo: What did you say, fox?

Nick Wilde: Sorry, what I said was… NO! She will not be giving you that badge.[Bogo flinches] Look, you gave her a… a… a clown vest and a three wheel joke mobile and two days to solve a case you guys haven’t cracked in two weeks? Yeah, no wonder she needed to get help from a fox. None of you guys were gonna help her, were you? [Bogo starts to speak but Nick cuts him off] Here’s the thing, chief. You gave her the 48 hours, so technically we still have… 10 left, to find our Mr. Otterton. And that’s exactly what we’re gonna do. So, if you’ll excuse us, we have a very big lead to follow and a case to crack. Good day.

30) And then there’s this…

I saw this film twice in theaters and both times I was tearing up during Nick’s backstory. Anyone who has ever been bullied as a kid for being different will relate at least a little bit to what Nick went through. And it is this scene when Nick is at his most honesty with Judy, when they become pretty good friends and form a trust with each other.

31) NOTHING IN THIS FILM IS SUPERFLUOUS!!!! NOT EVEN A BLINK OR YOU’LL MISS IT STICKY NOTE ON BELLWETHER’S DESK!!!!

32) I did not think a Disney movie would make me jump like this (stop at 2:11).

33) This is incredibly rare for me, as someone who sees more than 60 films in theaters a year, but after Nick & Judy found the missing mammals and had the mayor arrested I had absolutely NO idea where the film was going after that. At all. I love it!

34) Nick’s face when Judy links the savage animals to being a predator…

(GIF source unknown [if this is your GIF please let me know].)

35) I had a film student criticize this film not based on the merits of its story or character’s or anything, but because they didn’t understand the metaphor. He noted that it’s not a clean comparison between white people and minorities and that’s exactly the point. This film is not about the people in power vs the people who aren’t, because who’s in power? The mayor may be a lion but the most biased character in the film - Chief Bogo - is prey. Bias goes all around and it can infect anybody, no matter what you think. Even Judy, for all her merits, is biased. She carries around fox repellent all the time and even has this line:

Judy: “It’s not like a bunny can go savage.”

That’s what I love about this film. It’s universal. It’s not about one real life society, it is about all societies everywhere and how bias can infect them and taint them and it’s up to us to work against that.

36) Fun fact: I had no idea otters were predators before seeing this film.

37) Gideon Grey returns.

Originally posted by klaus-baudelarie

If only all childhood bullies were like that, but again it gets to my oft-repeated point that nothing in this film is superfluous. Gideon could have easily been the one note bully from Judy’s youth who gave her the motivation to prove him wrong, but he comes back 15 years later in the most perfect way. She sees that people can change and that people who are good now are not always good (Gideon when he was younger, Judy when she was biased). It is a really important moment for her that was established all the way in the first ten minutes of this movie. I love that.

38) Judy’s apology to Nick and the way he handles it is something I truly love about this movie and their friendship as a whole.

And then I really love the little joke at the end about Judy trying to get to the pen and can’t help but wonder: was that written in the script? Was it Jason Bateman’s improv that made it into the film? It’s just so natural I must know!

39) Okay, I think this is the last time I will give this note, BUT NOTHING IN THIS MOVIE IS SUPERFLUOUS!!! This is most apparent to me when Nick does a little thing like expressing how much he likes the berries on Judy’s farm and it becomes so important to the plot latter when they switched out those berries with the Night Howlers in Bellwether’s dart gun.

40) THE BOOTLEG MOVIES!!!!

(GIFs originally posted by @bridgetjones)

41) And it’s followed up by this!

Both characters are voiced by Alan Tudyk. Because Disney just can’t let that one slide, can they? I love it.

42) Same Duke. Same.

(GIFs originally posted by @baawri)

43) The sticky note on Bellwether’s phone earlier was for Doug, the guy who mixes the night howler drug that makes animals go savage (this is the same drug who’s key ingredient was mixed from the non-onions Duke stole earlier in the film, FOR Doug).

44) At one point Doug - who is dressed in a yellow radiation suit and makes drugs for a living - lets his client know that “Woolter and Jesse” have arrived.

Originally posted by knurd-dna-denots

And yes, they did that on purpose.

45) The entire subway chase sequence is really great, because it is based heavily on the idea of action = consequence. A ram is running at the door, he gets through and hits another ram. The train goes too fast into a turn, it tips over and Judy/Nick are up a creek. It all works very nicely

46) Honestly, I didn’t figure out Bellwether was the bad guy until just before it was revealed the first time I saw this.

Originally posted by lostchel

47) Bellwether’s line about, “Fear ALWAYS works!” to keep the people in check should not be as relevant in 2017 as it is.

48) Okay, one thing I need to know: Bellwether is in jail, Mayor Lionheart is in jail, and Chief Bogo is still the police chief…SO WHO’S MAYOR NOW!?!?!?

Originally posted by justalittletumblweed

49) I know this film was pretty much a buddy cop movie, but I would be totally fine with a buddy cop movie where Nick is actually a cop.

Originally posted by blueberrycarrots

Lethal Weapon where Nick is Mel Gibson and Judy is…Danny Glover? Okay, that comparison doesn’t really work, but you get me!

50) And of course…

Originally posted by livelovecaliforniadreams


I honestly think Zootopia may be a perfectly written film, and that is not something I say lightly. I made it clear above how I find nothing in the film superfluous, which is an incredible feat I think. And they did it in a way that was never boring, with entertaining characters, an intriguing mystery, and a fun world. Zootopia may be my favorite Disney animated feature film, and it’s definitely my favorite of the “Modern Era” we’re in now (The Princess and the Frog - Present). Just a great, great, great film which deserved its Best Animated Picture win at the Oscars. A true treat all around.

plummetationzigzags  asked:

I can't remember if you've posted about this already, but your comments on Magical Girl Raising Project remind me of some criticisms I've heard of Puella Magi Madoka Magica. Was just wondering what you thought of PMMM?

I like PMMM despite itself. 

The music is great, the story is heartbreaking, the visuals are fantastic

Plus, while PMMM is in no fucking way the first grimdark magical girl series (and holy shit do I find assertions that it is so fucking uninteresting), and while 90% of what it seeks to deconstruct or subvert makes me want to tear my hair out, it does do an interesting thing with Kyubey. Like the Portal games, which take the trope of the tutorial/guide character (the exposition fairy) who gives you hints and tells you how to progress during the game and asked “What if this character wasn’t really trying to help?”, PMMM took the mascot character in magical girl shows (a la Luna and Kero) and asked the same question. And that is genuinely an interesting exploration of one of the staples of the genre. 

For the most part, though, I like, sometimes, (sometimes I hate) PMMM despite itself. And I hate what it has wrought. 

The biggest problem with PMMM is that magical girl shows are, at their heart, power fantasies for girls. They are Girl Power at their finest. In fact, Sailor Moon was an major and oft-overlooked part in kicking off the Girl Power boom in the 90s. 

And what’s infuriating about PMMM is that it tries to tear that down. It’s not like Watchmen, another series which seeks to deconstruct the possibly unhealthy nature of the power fantasies of its genre. Because Watchmen is about vigilantism and male power fantasies, and 1. white men (who make up the majority of comic book heroes) already have disproportionate power so their power fantasies are inherently more sinister and 2. comic books are often centered around revenge, vigilantism, corrupt systems that “can’t be broken”, and ignoring the law. 

Meanwhile, magical girl series are at their center about hope and love. The heroes usually literally fight with hearts and rainbows and songs. They aren’t gritty “I wish I could kick everyone’s ass” power fantasies. They are “if you believe in yourself and are your friends you can help people and achieve your dreams” fantasies. And they are for girls, who are too often told they can’t be everything they want. Not men, who are too often told they can. 

So PMMM has this message, and if some of the interviews I’ve heard from the creator are true, a completely intentional one, that girls dreams are futile and destructive and that it’s harmful and useless for girls to want things. That girls having power fantasies or seeking to save the world will ultimately destroy them, or (before Madoka’s ending) turn them into something evil and dark. That ambition is bad for girls. That girls should learn their place before they become dark witches that destroy everything, or (after Madoka’s ending) fade from existence. That girls having power fantasies is ultimately harmful, and they need to stop. That girls have been wrong this whole time to want things. That girls’ desires, no matter what they are, are always ultimately selfish and corrupt. 

And I fucking hate that. That’s not subversive. That’s our whole fucking lives. That’s what we get everywhere else. Nothing a girl does can be right. We’re bad to have ambitions and to want things. Even the “nice” things we do are dismissed with ulterior motives as soon as someone decides they’re done with us.

And I fucking hate people calling it “so profound” and whatever, when it’s ultimately torture porn and the message isn’t even deep. 

And more than that, I hate that it’s success has spawned a series of knockoffs, so that now moe torture porn grimdark magical girls has become the most common iteration of the genre. So we had the incredibly ableist (OMFG WORST SHOW EVER MADE) Yuki Yuuna is a Hero, and we’re getting the “Magical Girls have to CULL EACH OTHER in a grim CHILDREN-LED FIGHT TO THE DEATH” of Magical Girl Raising Project and like I’m so fucking done with these grown ass men making shows for other grown ass men shitting all over girls’ power fantasies and thinking that shitting all over girls’ power fantasies is something new and subversive and not a reassertion of the status quo. 

Look, I genuinely enjoyed watching PMMM. It’s a well made show, with good characters (Rebellion and everything that’s come since is AWFUL though). But I hate its message, I hate huge swaths of its fanbase, I hate its creator, and I hate that its become the new standard for magical girls. 

Magical girls were already subversive. They were already something unique and powerful. They didn’t need to be brought down. And there would be good ways to explore and subvert the genre if you wanted to*. But just going for straight “everyone’s miserable and it wouldn’t work” isn’t actually a clever. Even without the inherent sexism, it has all the depth of those creepypastas that say “What if Rugrats WAS A DYSTOPIA” or whatever, like edgy for the sake of edgy isn’t actually deep. 

*(While it’s refreshing to Western audiences that magical girls are deeply feminine, for instance, because we tend to associate being strong with being masculine or a tomboy, in Japan magical girls often serve as a reinforcement that no matter what you do you still have to adhere to gender roles. A great subversion of the genre would be one where some of the girls, and especially the main character, have more traditionally masculine powers/appearances and this is treated as just as valid a way for girls to be. Also interesting would be a magical girl series where older women become the magical girls - women struggling to hold jobs and pay rent, mothers, college kids, grandmas - because magical girls [like Disney princesses and much of media] tend to focus on pre- and newly- pubescent girl characters as the most powerful and tend to ignore older women)

Basically, enjoying magical girls has always involved some level of watching it for what you want and ignoring the less than pleasant intentions of the creator. Sailor Moon was heavily based on a series called Cutie Honey, which was made 100% to be fap material for adult male audiences, and originally the idea of this girl hero was something of a ~sexy~ joke. And then people like Naoko Takeuchi LOVED her and took empowerment from her, despite that clearly not being the intention, and created series like Sailor Moon. And I think that’s still a fine way to appreciate shows. I can watch PMMM and take power and interest from it despite its goals, like I did with the grossly fanservicey depiction of underage Magical Lyrical Nanoha when I was a kid. And I can do the same with what is likely to be the ultimately disappointing Magical Girl Raising Project. 

But I’m not happy that I have to reinterpret and reclaim these shows to get meaning out of them. I’m not happy that a genre that was supposed to be about empowering girls has been largely stolen and dismissed as unrealistic and too idealistic. I’m not happy with an entire genre’s inability to see how positivity and idealism are subversive and groundbreaking. 

And I’m not happy with PMMM for making that the status quo, or with all the fans who think things are better this way.  

Amara and season 11 just don’t work without Destiel

Based on my thoughts and seeing a lot of others thinking the same I went through and rewatched season 11 focusing heavily on Amara’s scenes, in the end putting them back to back to really look in detail and wowzers, that was eye opening.

As well as all the huge amounts of subtext throughout the season as usual, if you watch all of Amara’s screen time and follow her interactions with Dean and her overall storyline (which is the whole of season 11′s overall storyline, just saying) it just does not function without Dean and Cas’s bond. Without Destiel this whole season just… doesn’t work.

So, just looking at the obvious parts (I won’t go into too much detail as I wrote a whole other post about Amara as an exposition for Dean’s feelings here….).

Originally posted by nino-possy

The real ‘upping the game’ in the exposition of Dean and Cas’s feelings towards each other and, coincidentally, the overall arc of the season, comes from THIS POINT, where Amara is textually and visually put forward as a love interest for Dean. There is a clear parallel of Dean/Amara and Dean/Cas throughout the season 11 narrative and it is from THIS point that both Amara and Cas are portrayed romantically, directly mirrored and used in each others’ narratives. This is not a coincidence. 

If it were more referenced beforehand perhaps I may be a little more forgiving and allow more of a ‘platonic profound bond’ reasoning but it is precisely because of this clear move into a love interest role for Amara that Cas and Amara are then clearly portrayed as ‘good bond/love’ and ‘bad bond/love’. One is forced on Dean against his will and he clearly rejects it, one is at its core based on free will and he clearly is doing everything he can to save Cas, even going up against Amara to do this, a very well done full circle of parallels leading into each other… *ahh narrative tie-ins and mirrors - sighing with contentment*.

SO… Since the midseason finale and this scene:

We have the Amara/Love monster who tells us textually that she can “feel the love that you feel”, she uses the particular and relatively precise and uncommon word ‘longing’ which we all now clearly associate with Cas and praying, she talks about his feeling shame… Then moves onto Amara, reminding him of Dean’s way ‘out’, of the ‘bliss’.  For me although this isn’t Amara, the love monster does actually use the words “who I am doesn’t matter” and therefore it’s clear that the information she’s giving us is what is important. This is a clear exposition.

Dean then clarifies to Sam that “to call it desire or love…it’s not that”. So the love monster from Love Hurts - who was talking about Dean’s love and longing and shame… She uh, wasn’t picking up on love for Amara as Dean has explicitly told us that is not what he is feeling. So…. who might it have been referring to? 

The attempting expelling of Lucifer. Is just so much Destiel and has been covered so many times. All I’m going to say here is that despite “God’s freaking sister”, one of the two most powerful beings in the universe, being right there, Dean’s main concern is Cas to the point that he calls out for him in front of everyone else and reveals his weakness, not a particularly restrained or smart move for a trained hunter. Amara and Lucifer both notice this and we are meant to notice them noticing
Why is this important? To clarify that Dean’s bond with Cas and his worry for him outweighs his bond with Amara.

The longing scene. Again, much meta-d. Basics being, Dean is longing for Cas (while actually muttering ‘where are you Amara’ clearly worried for Cas as it is Cas not Amara he is talking to Sam about around this scene. Amara has an actual real, substantiated ‘bond’ with Dean through the mark, sure, but it IS NOT AS STRONG AS HIS BOND WITH CAS (which as far as I’m aware doesn’t actually have any real basis unless the hand mark or something has a role but hasn’t been touched on for 8 years so I’m going with no), ergo Amara has to use Cas to find Dean. Then yes, she totally manipulates him into coming to rescue Cas/Lucifer because Dean is such a good friend

After this we get another very interestingly subtextual scene where Dean and Sam are interviewing Donatello and it is only once Sam mentions the word ‘Angels’ that Amara again immediately finds and comes to Dean.

Again proving that Dean’s bond with Cas is stronger than his bond with Amara.

I particularly love the near-finale narrative, after she expressly tells Dean she cares for him and wants him to be happy, to have bliss - the sandwiching of Mary and Cas in her story which is so relevant to season 12 - how Amara shows that she is capable of just de-materialising Metatron in an instant because she is attacked and angry, she then notices Mary’s picture, she then is again attacked and angry but ‘saves’ Cas, essentially ‘resurrecting’ him from Lucifer’s control, then of course resurrects Mary.

( #Narrative parallels and tropes are a thing is one of my favourite tags).

These are all writing/directing/production choices that were made to show these scenes one after the other and revealing her choices here. Are we not supposed to wonder why she made these choices? 

Are we not supposed to wonder why Amara, all powerful being, is incapable of contacting Dean without going THROUGH CAS (who Dean expressly states is “small fry” in comparison to her), or having a conversation with him where Cas isn’t in some way referenced once she is herself portrayed as a love interest? 

Or why the writing/directing/production team made these choices? 

There is a clear narrative being told here.

If you watch all of Amara’s screen time throughout this season it is just so clear what she is exposing, what her interactions with Dean are based on, how her storyline does not function without Dean and Cas’s bond. I’m not saying her story is pointless, it clearly isn’t, just that it rests on their bond so this shows how extremely important to the whole story their bond is.

Any why? Why are we being shown all this, why are we being encouraged to question all this? I was just reading @charlie-minion’s excellent overview and loved this post with great insight: “The question in season 9 was “who do you love?” Whereas I think the questions in season 10 are “what kind of love do you feel?” and “whose heart are you gonna break?”. 

There is a clear and ever evolving question about Dean’s feelings throughout the seasons which has now kept on into season 12. I think these questions have been more or less answered now, the questions for season 12 and moving forwards are “is this love reciprocated”, which has already been answered textually, “will you be able to admit to this love” and “what are you going to do about it”…

Originally posted by sooper-dee-dooper-natural

Favorite Tomione Stories

Complete

Ultima ratio by Winterblume
Ultima ratio - the last resort. At last the day of the Final Battle against Lord Voldemort has come. Harry, Ron and Hermione fight bravely against their nemesis - but then something goes wrong. And Hermione finds herself alone in a precarious situation.

Somewhere in Time by Serpent In Red
Sent back in time by a mysterious person and trapped in the past with a missing Dumbledore and an overbearing, charismatic Dark Lord, they had no idea how much they could dabble with before the world they had known shattered into pieces.

Tied for Last By: Speechwriter
Hermione is killed by Voldemort, and is now dead. Well, sort of. Turns out that death is a little more complex than she knew… Ignores epilogue and last 50ish pages of DH.

Nightmare by provocative envy
COMPLETE: A broken time turner shouldn’t have sent me back so far. It was unprecedented. Stepping on it-smashing it-nothing should have happened. At most, I should have lost a week. At worst, I should have disappeared altogether. I shouldn’t have traveled back fifty-two years; half a bloody century. This should not have happened. HG/TR.

Masters of Manipulation by Nerys
A true manipulator will control the universe, but who will achieve the wanted mastership? Hermione suddenly finds herself opposing Tom Riddle in a quest for knowledge banned by the founders of Hogwarts. Can she stop the heir before he becomes invincible?

Shared Flame by Lady Miya 
It all started when two normally clever individuals both had a really lousy day. 

Have You Ever by Lady Moonglow
With the war looking bleak, the Golden Trio, Ginny, Draco, and Lavender go back to Tom Riddle’s 7th Year to destroy Lord Voldemort once and for all. What Hermione DIDN’T count on, however, is a shared common room, a curse, and a crazy little thing called love.

Daddy Dearest by ImmortalObsession
Lady Hermione isn’t quite right in the head. Her kingdom resides in a manor full-of-monsters. She has regular conversations with the Devil and fancies a dark knight who wants to kill her in her sleep. If not for the wonderful library, she might have lost her wits completely by now. Instead, she passes the time with music lessons and plots of murder.

The Hogwarts Christmas by OrbNerysDax
Christmas is a time of peace and joy, and most of all, presents. Do Tom and Hermione get what they want or what they need?

Romantic Idealism by Meowmers
She falls in love with him when she’s 12, but by the time she’s 17 she wants him dead. For Tom Riddle, its vice versa. Tomione. AU. M for a reason.

A Big Ball of Wibbly-Wobbly by Colubrina
The war is over, the good guys have won, and Hermione Granger goes to sleep in her lovely flat only to wake up in 1953 in the bed of someone she’d really much rather were dead. “I’m working on the ‘kill Lord Voldemort now, work out the temporal paradox issues later’ plan,” she tells him. He laughs. Tomione. 

Linen Rope by Brightki
Hermione is an upper sixth student at the highly elite Hogwarts School, and she needs extra hours working in the school’s science labs for her pre-admission to Oxford the next year. However, she has to get the approval from the chemistry teacher, Dr. Snape, as well as the support of the man in charge of the science department - Dr. Tom Riddle. (Non-Magical/Modern AU)

War Paint by provocative envy 
COMPLETE: It was small, slim, about the length of her hand; the leather cover was soft, the sewn-in binding was crisp, and the thick vellum pages were empty. 'Tom Marvolo Riddle’ was printed in ancient, flaking gold leaf across the front. He had been a Slytherin, a prefect, and head boy in 1944. She had checked. HG/TR. 

A Nose That Can See by Colubrina
Hermione Granger has found herself inexplicably tossed back into time to Tom Riddle’s Hogwarts. And he’s a Veela and, wouldn’t you know it, she’s his mate. Could life get worse? But he seems to have an endless supply of out-of-season fruit so it can’t be all bad, right? Tomione. Major character death, musical theater, and all that fruit. COMPLETE.

Allure by Meowmers
“Granger,” He seethed, as if he had any right to be angry while he was covered in blood on her doorstep. “Invite me inside.” Her nails dug into the polished wood of the door and she contemplated slamming it in his face. “Absolutely not.” Modern Vampire AU. Tomione. Also a splash of Drarry because I needed that in my life rn.

WIPs

Please, Save Me by Winterblume
AU Tomione. No time travel no time turners. - 'Are you not scared of him? Tom Riddle has got a rather peculiar reputation. But I’m sure it’s all stupid talk. He’s Head Boy after all.’ - 'What kind of a reputation’ - 'Er… he's… well, he seems kinda dark.’

A Fall Through Time by Ariel Riddle
A/U Tomione In a future dystopian society, Muggles are enslaved to their Pureblood masters who greedily drain the earth of its resources resulting in humans being on the brink of extinction. Muggleborns are hunted. Hermione must do what she does best-survive and adapt. Until that is, she is given an opportunity to go back to when it all started and rewrite history.

Bodyswitch by Winterblume
Hermione’s in hell and all her nightmares have come true. She’s turned into a brainless bimbo and is failing all her classes quite spectacularly. Her teachers have, in fact, already given up on her and just sit back and watch her flunk all her NEWTs. Yes, it’s nothing but hell for Hermione. On the upside, things can hardly get any worse. Right?

unsphere the stars by cocoartist
When you can’t change time, but you can’t go forward, what is left? Hermione learns how to be the protagonist of her own story. [EWE]

Stepbrother by cherry cup 
AU. The Grangers adopt a young Tom Riddle, and seal their daughter’s fate forever. Set in the 30s-40s. 

Murderer’s Maze by ibuzoo
A new killer causes a worldwide media sensation by committing crimes so depraved, that they’re creating a global panic. Only Special Agent and Consulter Hermione Granger can stop the killer—if she can solve his most complex and terrifying puzzle. Will she see through his game before her time runs out? Or will she lose herself in his maze of terror?

The Prisoner by Nerys
Imprisoned, Lord Voldemort is considered a threat of the past. His knowledge is desired by many. Yet, his offer is for one person only: Hermione Weasley-Granger.

Persephone by dulce.de.leche.go
Better to be the right hand of the devil than in his path. Better still to be the consort of Hades than a part of his collection of souls. Ten years after Voldemort has won the war, Hermione reaches a breaking point and shreds the flow of time to change her future. If she can’t change the world, she will change her place in it. - Extremely dark Tomione/Volmione. Warnings inside.

Bound by Sharkdiver1980 
When Hermione is sent back in time to 1947 after attempting to destroy a Horcrux, she finds herself forcefully subjected to a new law, Proclamation no.1682, otherwise known “The Marriage Law”. it had obviously been repealed almost as quickly as it was instated, which is why she had never heard of it; The problem was, she had already been assigned a husband. 

Unsinkable by Speechwriter
He: a young man long since raised from poverty, now on the verge of inheriting a magnate’s business in the 1910s. She: an impoverished young woman on her way to start a new life in America. In short: Tom Marvolo Riddle, Hermione Jean Granger, and one voyage on the RMS Titanic - and how it would change their lives forever.

Hermione’s Diary by Radiant Innocence
What would happen if Ginny Weasley had never had Tom Riddle’s diary? What if the Horcrux still existed, and was found by Hermione? What happens when the Dark Lord becomes intrigued by Hermione, and pulls her into his past? Read and Review!

School Days by Meowmers 
They meet on the playground. Ron told her that if she doesn’t fight for herself no one will ever leave her alone so she’s just trying to follow his advice. “Are you crying?” He asks. She musters all the fury in her 7-year-old body and channels it into her voice when she speaks through the tears. “So what? I’ll still kick your arse.” Tomione. AU. Rated M for future chapters. 

Oneshots

Professor Riddle by jadepresley
“When you have seen as much of life as I have, you will not underestimate the power of obsessive love” - Horace Slughorn

The Black Veil by NerysDax 
Samhain: When the veil’s at its thinnest, the impossible will occur. Up is down, down is up. Everything can be achieved by those the Goddess values. COMPLETE

The Darkness Sings to Her by Ariel Riddle
From beneath the cover of the water, or from behind a rock a ways from the shore, she would find herself lurking behind the waves and sneaking surreptitious glances whenever she could. AU Dark Fairytale with a Tomione twist. Oneshot.

Youth in Retrospect by provocative envy
ONE-SHOT: She’s buying a box of condoms when she meets him. HG/TR.

Quid nove sub sole by LeanaM
“They say history repeats itself, but that is not entirely true. History isn’t circular, it is more like a spiral. Similar events may take place over time, but they are never exactly the same. Sometimes they are smaller. Sometimes they are bigger. Sometimes they start the same, but the result is completely different.” Historical AU. Dark. Tomione/Gin'n'Tonic. One-shot.

A Lovely Night by Meowmers
“Please don’t ask me to dance,” She said, her fingers fluttering across her skirts, “Societal expectations dictate I must, I’m afraid,” He said, and there was something so familiar in the feel of her hand, in the warmth her eyes sent him. CINDERELLA AU THAT LITERALLY NO ONE ASKED FOR BUT I MADE BECAUSE I AM LITERAL TRASH ENJOY 

Master of Mort by PierreJ
A place for multiple pairings, romantic one-shot/stories and love with just a splash of angst. Come on, this is me.

Playing Cupid by Meowmers
“I’m beginning to think that I would love to hear you scream.” Tomione. Regency AU. Rated-M.

-art cred @ariel-riddle (I just played with it)

anonymous asked:

How realistic was Laura fighting in Logan? She's 11. Her bones would theoretically still be pretty soft, but she's also a mutant who heals almost instantly. While she does often lose to adults when they swarm her, she also kills a lot of people. In addition, she falls in a weird limbo between Child Solider and Child Raised for Combat because the people who trained her from birth treated her as disposable, and didn't try to brainwash her. As a result, she escapes ASAP. Thoughts?

Well, I haven’t seen Logan yet but the problem with the question is “realistic”. This is X-men, realism left the building ages ago. Nothing is realistic. If you’re asking about realism then you’re asking the wrong questions because superpowers change the rules. What you’re really asking is: should an eleven year old child be able to fight on the same level as an experienced warrior like Wolverine?

And the answer is, in the Marvel universe characters with healing factors (like Wolverine) have recovered from being burned into ash by the sun. So, in a setting where his healing factor is failing and he’s dying but she’s young, genetically/physically enhanced, and hers is working at full throttle then why not? She’s a tiny Logan. A rage-filled murder ball dedicated to death and destruction, created in a lab that turns human guinea pigs into ultimate weapons. So, I ask, why not? She’s doing exactly what she’s been designed to do, minus it being on the orders of someone else.

What stops children from competing with adults is three things.

1) Physical immaturity. Their bodies are still developing, and not on par with an adults.

2) Mental immaturity. Their brains are still developing, and don’t have the same basic understanding that adults do especially in regards to consequences. They don’t really grasp concepts like “death” and “gone forever” very well. Psychologically, these kids get pretty messed up.

3) Due to the above two problems, unless they have weapons, they can’t overcome the gap.

X-23 does all three. She has the healing factor, genetic enhancements, and blades coming out of her hands and front toe, all of which solve two of the above problems. They allow her to go toe to toe with adults because she can simply power or brute force her way through it. From a combat perspective, it doesn’t really matter if she gets hurt or go through serious body horror as her body will repair itself. So, someone without morals could put her through a meat grinder and still use her again. Plus, at least in X-men Evolution and the comics, she tends to be psychologically messed up. Someone who was treated as a weapon from the moment she was born, trained as a weapon, used as a weapon, and doesn’t really comprehend most “normal” human experiences. A clone with all Wolverine’s experiences, except she went through them as a child.

Laura Kinney, X-23 is by all standards a fairly new character in the Marvel universe. She was first introduced in the early 2000s through the WB cartoon X-Men: Evolution. Like Harely Quinn, she’s a canon immigrant. When she was introduced in the cartoon, she was a teenager.

In character, she was an angry violent rage-ball, a teenage version of Logan except more lost and unstable. However, the major difference between their experiences was that where Logan was an adult when he went through the Weapon X program, she was a child. She was the twenty-third test subject, and the only one who survived the experiments. X-23 was desperate to find out who she was and where she belonged; and, having been “raised” by Hydra, determined to find (and, possibly kill) Wolverine whom she viewed as responsible for everything that happened to her. That desire was mixed up in her desire to know who she was. Because she was a human weapon, she couldn’t distinguish between the two. Fighting was what she knew how to do, so that’s what she did. Her introduction was sneaking through the X-men mansion, disabling all the other mutant children and teachers in order to single Logan out to fight.

As a character, considering everything else, she was a fairly accurate representation of a child raised to be a human weapon. Psychologically traumatized, unstable, and unable to really comprehend her emotions or concepts like “friendship” and “family”. Deeply mistrustful of anyone and anything who got too close, unable to communicate her needs except through anger and violence. Any approach was likely to elicit an immediate, violent response. She doesn’t know how to be anything except a weapon.

Logan could reach her because Logan understood what she’d been through, but he also couldn’t really help her and it took a long time before she came to trust him (if she ever really did). That door didn’t open often for anyone else.

If you want to see her first appearances then the episodes to watch are “X23″ and “Target X”.  The name “Laura Kinney” comes (I think) from the comics as she originally did not have any name other than X-23.

In the comics, she’s another of the Weapon X subjects and the 23 refers to her gender rather than the number of times it took to create her. She escapes like she does in the movie, and eventually starts trying to figure out who she is.

It’s not really worth asking questions about realism when a setting has explicitly ejected realism. Have a good guffaw over anyone trying to argue about the “realism of Batman”. There isn’t any. The setting has defined its own definition of realism and that’s what it follows. Realism isn’t everything, and it doesn’t define what a good story is. Often, it’s not even the question you should be asking. Avatar: the Las Airbender has some awesome fighting for a children’s cartoon, fighting clearly drawn (ha!) from martial arts in the real world. However, it is by no means realistic. And, honestly, that doesn’t matter.

Well-told stories are defined by how well they tell their stories, and maintain their suspension of disbelief. Everything else after that is popcorn. Realism comes into play when we admire how well someone has done their research, how well that research supports and enhances our experience when consuming media. You don’t want to understand combat just for an added dose of realism, but also because knowledge gives us more options to work with. The more you know, the more detail you can add. All the better to create a more enjoyable experience, my dear.

Understanding the rules is the first step in figuring out how to break them, or just manipulate them to your advantage. Whatever works.

-Michi

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