its supposed to show kind of her journey through the show

Avatar Aang, Feminist Icon?

“Who’s your favorite character?” I hear that question come up a lot over Avatar: The Last Airbender, a show particularly near and dear to me. Iroh and Toph get tossed around a lot. Zuko is very popular. Sokka has his fans. But something I’ve noticed? Aang very rarely gets the pick. When he comes up, it’s usually in that “Oh, and also…” kind of way. Which is strange, I think, considering he’s the main character, the titular airbender, of the entire show.

I never really thought much about it until a couple weeks ago when I finished my annual re-watch of the series and found myself, for the first time, specifically focused on Aang’s arc. Somehow, I never really paid that much attention to him before. I mean sure, he’s front and center in most episodes, fighting or practicing or learning big spiritual secrets, and yet, he always feels a little overshadowed. Katara takes care of the group. Sokka makes the plans. Zuko has the big, heroic Joseph Campbell journey. Aang…goofs around. He listens and follows and plays with Momo. And yes, at the end his story gets bigger and louder, but even then I feel like a lot of it dodges the spotlight. And here’s why:

Avatar casts the least traditionally-masculine hero you could possibly write as the star of a fantasy war story. Because of that, we don’t see Aang naturally for everything he is, so we look elsewhere.

To show what I mean, I want to talk about some of the show’s other characters, and I want to start with Zuko. Zuko is the hero we’re looking for. He’s tall and hot and complicated. He perseveres in the face of constant setbacks. He uses two swords and shoots fire out of his hands. He trains with a wise old man on ship decks and mountaintops. Occasionally he yells at the sky. He’s got the whole 180-degree moral turn beat for beat, right down to the scars and the sins-of-the-father confrontation scene. And if you were going into battle, some epic affair with battalions of armor-clad infantry, Zuko is the man you’d want leading the charge, Aragorn style. We love Zuko. Because Zuko does what he’s supposed to do.

Now let’s look at Katara. Katara doesn’t do what she’s supposed to do. She doesn’t care about your traditionally gender dynamics because she’s too busy fighting pirates and firebenders, planning military operations with the highest ranking generals in the Earth Kingdom, and dismantling the entire patriarchal structure of the Northern Water Tribe. Somewhere in her spare time she also manages to become one of the greatest waterbenders in the world, train the Avatar, defeat the princess of the Fire Nation in the middle of Sozin’s Comet and take care of the entire rest of the cast for an entire year living in tents and caves. Katara is a badass, and we love that.

So what about Aang? When we meet Aang, he is twelve years old. He is small and his voice hasn’t changed yet. His hobbies include dancing, baking and braiding necklaces with pink flowers. He loves animals. He doesn’t eat meat. He despises violence and spends nine tenths of every fight ducking and dodging. His only “weapon” is a blunt staff, used more for recreation than combat. Through the show, Aang receives most of his training from two young women – Katara and Toph – whom he gives absolute respect, even to the point of reverence. When he questions their instruction, it comes from a place of discomfort or anxiety, never superiority. He defers to women, young women, in matters of strategy and combat. Then he makes a joke at his own expense and goes off to feed his pet lemur.

Now there’s a perfectly reasonable explanation for all this, and it’s the one that shielded Aang from the heroic limelight in my eyes for ten years. The reasoning goes like this: Aang is a child. He has no presumptuous authority complex, no masculinity anxiety, no self-consciousness about his preferred pastimes, because he’s twelve. He’s still the hero, but he’s the prepubescent hero, the hero who can’t lead the charge himself because he’s just not old enough. The problem is, that reasoning just doesn’t hold up when you look at him in the context of the rest of the show.

Let’s look at Azula. Aside from the Avatar himself, Zuko’s sister is arguably the strongest bender in the entire show. We could debate Toph and Ozai all day, but when you look at all Azula does, the evidence is pretty damning. Let’s make a list, shall we?

Azula completely mastered lightning, the highest level firebending technique, in her spare time on a boat, under the instruction of two old women who can’t even bend.

Azula led the drill assault on Ba Sing Sae, one of the most important Fire Nation operations of the entire war, and almost succeeded in conquering the whole Earth Kingdom.

Azula then bested the Kyoshi Warriors, one of the strongest non-bender fighting groups in the entire world, successfully infiltrated the Earth Kingdom in disguise, befriended its monarch, learned of the enemy’s most secret operation, emotionally manipulated her older brother, overthrew the captain of the secret police and did conquer the Earth Kingdom, something three Fire Lords, numerous technological monstrosities, and countless generals, including her uncle, failed to do in a century.

And she did this all when she was fourteen.

That last part is easy to forget. Azula seems so much her brother’s peer, we forget she’s the same age as Katara. And that means that when we first meet Azula, she’s only a year older than Aang is at the end of the series. So to dismiss Aang’s autonomy, maturity or capability because of his age is ridiculous, understanding that he and Azula could have been in the same preschool class.

We must then accept Aang for what he truly is: the hero of the story, the leader of the charge, who repeatedly displays restraint and meekness, not because of his age, not because of his upbringing, not because of some character flaw, but because he chooses too. We clamor for strong female characters, and for excellent reason. But nobody every calls for more weak male characters. Not weak in a negative sense, but weak in a sense that he listens when heroes talk. He negotiates when heroes fight. And when heroes are sharpening their blades, planning their strategies and stringing along their hetero love interests, Aang is making jewelry, feeding Appa, and wearing that flower crown he got from a travelling band of hippies. If all Aang’s hobbies and habits were transposed onto Toph or Katara, we’d see it as a weakening of their characters. But with Aang it’s cute, because he’s a child. Only it isn’t, because he’s not.

Even in his relationship with Katara, a landmark piece of any traditional protagonist’s identity, Aang defies expectations. From the moment he wakes up in episode one, he is infatuated with the young woman who would become his oldest teacher and closest friend. Throughout season one we see many examples of his puppy love expressing itself, usually to no avail. But there’s one episode in particular that I always thought a little odd, and that’s Jet.

In Jet, Katara has an infatuation of her own. The titular vigilante outlaw sweeps her off her feet, literally, with his stunning hair, his masterful swordsmanship and his apparent selflessness. You’d think this would elicit some kind of jealousy from Aang. There’s no way he’s ignorant of what’s happening, as Sokka sarcastically refers to Jet as Katara’s boyfriend directly in Aang’s presence, and she doesn’t even dispute it. But even then, we never see any kind of rivalry manifest in Aang. Rather, he seems in full support of it. He repeatedly praises Jet, impressed by his leadership and carefree attitude. Despite his overwhelming affection for Katara, he evaluates both her and Jet on their own merits as people. There is no sense of ownership or macho competition.

Contrast this with Zuko’s reaction to a similar scenario in season three’s The Beach. Zuko goes to a party with his girlfriend, and at that party he sees her talking to another guy. His reaction? Throwing the challenger into the wall, shattering a vase, yelling at Mai, and storming out. This may seem a little extreme, but it’s also what we’d expect to an extent. Zuko is being challenged. He feels threatened in his station as a man, and he responds physically, asserting his strength and dominance as best he can.

I could go on and on. I could talk about how the first time Aang trains with a dedicated waterbending master, he tries to quit because of sexist double standards, only changing his mind after Katara’s urging. I could talk about how Aang is cast as a woman in the Fire Nation’s propaganda theatre piece bashing him and his friends. Because in a patriarchal society, the worst thing a man can be is feminine. I could talk about the only times Aang causes any kind of real destruction in the Avatar state, it’s not even him, since he doesn’t gain control of the skill until the show’s closing moments. Every time he is powerless in his own power and guilt-ridden right after, until the very end when he finally gains control, and what does he do with all that potential? He raises the rivers, and puts the fires out.

Aang isn’t what he’s supposed to be. He rejects every masculine expectation placed on his role, and in doing so he dodges center stage of his own show. It’s shocking to think about how many times I just forgot about Aang. Even at the end, when his voice has dropped and his abs have filled in, we miss it. Zuko’s coronation comes and we cheer with the crowd, psyched to see our hero crowned. Then the Fire Lord shakes his head, gestures behind him and declares “the real hero is the Avatar.” It’s like he’s talking to us. “Don’t you get it?” he asks. “Did you miss it? This is his story. But you forgot that. Because he was small. And silly. And he hated fighting. And he loved to dance. Look at him,” Zuko seems to say. “He’s your hero. Avatar Aang, defier of gender norms, champion of self-identity, feminist icon.”

Of Loyalty and Duty

Prompt: In an effort to save two kingdoms, an arranged marriage was made. At his request, Prince Lin-Manuel Miranda was to be wed to you, the youngest daughter in your royal family. RoyalAU. Written for the hamwriters write-a-thon Day 1.

Pairing: Lin x reader

Words: a whopping 5,803.

A/N: Hate me if it’s too AU, it’s okay. I was nervous as hell to post this, but thanks for several special people (you know who you are) I continued and went along with the idea. I didn’t realize it would turn into this monster. I had too much fun writing this and I WILL continue it after the write-a-thon. I didn’t send this to my beta to proofread because I’m stupid and I get too excited to share my work, especially when I feel really proud of it. Cheers to @hamwriters for setting this whole thing up, letting me explore the limits to my writing, and bringing the community together as a whole. I will try my best to finish out the week without my brain exploding. As always, let me know what you guys think. <3 Lola


You blinked back the tears that threatened to fall as you surveyed the scenery outside the carriage. You had to admit that it was beautiful -  you’d never seen the leaves in such various colors nor fields of farms that expanded beyond the horizon. While the Miranda kingdom focused on agriculture, industry was predominant in your kingdom so the view was unfamiliar to you.

You angrily swiped at the tears that escaped your treacherous eyes. In less than two weeks, you were going to be ripped away from the place that you’d called home. The population of the Miranda kingdom was increasing exponentially and they lacked the technology to produce enough food for their people. Your parents, despite their indifference to the Miranda’s, offered them an accord: in exchange for the industrial secrets that would help them prosper, the Miranda kingdom must give them military aid if the hostile empire from the North decided to attack. The treaty took days to settle, but in the end an agreement was made.

However, there was one caveat: Prince Lin-Manuel Miranda was to be wed to you.

Your hands balled into fists at the thought of the Prince. You’d met him on several occasions, but your most recent encounter with him was forever burned into your memory. You attended a wedding with your two older sisters at a neighboring kingdom and the celebration feast was just as glamorous and lavish as the ceremony. Prince Lin-Manuel was the life of the party, batting his long lashes while he flirted and danced with the women on the ballroom floor. When he came to greet you, you felt woozy, having consumed endless glasses of wine, and he managed to convince you to dance. He twirled and chatted you up the rest of the night, shooing away others who wanted a chance with him. Before you knew it, he was tugging you along the corridors of the castle, hands fumbling against the corset of your dress and his lips hungrily kissing yours.

Heat crept up your neck, still vividly remembering when another guest stumbled upon the two of you. You were mortified – you were a good girl, you didn’t do those types of things, especially with a playboy like him – and promptly shoved him to the ground. He lets out a shout of surprise and you turned and ran back to the ballroom, begging your sisters to leave with you.

When your parents broke the news of the treaty to you, you were furious. How dare they choose who you married?! You wanted to marry a man that you loved, not some fool who chased after women like it was his profession. You became even more angry when they told you that he gave his parents an ultimatum, demanding that he was to be married to you and not either of your sisters. You were convinced that he only did that to infuriate and toy with you, a payback of sorts from that night.

The carriage slowed, pulling you out of your thoughts. You craned your neck out the window, staring as the gates to the castle swung open, allowing your carriage to enter.

“All I’m asking of you is to be on your best behavior tonight,” you father murmured across from you, “It would be beneficial to you if you treat them kindly, considering that you’ll be living with them from now on.”

Your mother, who sat next to him, reached over and placed her hand over your clenched fists. “I know this isn’t the most ideal situation for you, but please, think of the future of our kingdom. We would be doomed if it wasn’t for you.”

You stayed silent. You had fought a long and futile battle with your parents about the arrangement. As the youngest of three, you were less involved with politics and lived life as freely as you liked within the castle. Your eldest sister had the daunting duty of leading the people of the kingdom, a position that you were not jealous of. But now that you were to be wed to a future King, your dreams of being free from the responsibilities that came with royalty were shattered.

But your parents were right.

Your people would die if you chose to refuse the engagement. The military was too small and would be outnumbered and overpowered if the North attacked. You needed the help from the Miranda’s.

You took a deep breath. “I will try my best.”

Keep reading

after ep 4 and the ‘best of islam’ clip, skam is still only showin the negative with islam im lmao what does julie think this is gonna teach her non-muslim/white audience??? that sana shouldn’t feel angry and superstitious abt people?? that if she stops looking for hate then she wont find it?? as if when she stops lookin for racism its just gonna randomly stop for her. idek??? whats goin on here??? this muslim rep is horrendous and im sayin this as a non-muslim but as someone who follows another religion.

skam this season has shown muslims to be angry, paranoid, cold, lonely, sad, out of place. they made sana feel the worst kinds of misery, feel extremely isolated to the point where they villianized her twice, first with the insta account and then emailing willhell, just bc she ‘wouldn’t open up.’

im not sayin muslims cant feel any of these emotions or go through terrible times, but this is a show supposed to entertain, educate and relate to a teenage audience, an audience which is already filled with misconceptions abt islam.

as faiza once said in one of her posts, there needs to be a balance, a balance between the good and the bad. show sana feeling lonely and isolated and frustrated and angry and in pain. but also show her overcome that. let sana speak, let sana’s friends speak, let them all talk about what’s been happening, not throw it under the rug and go “pheww well.. offscreen they all made up now onto the next plot!” like… you seriously put that much pain onto sana for us to just… never get to see a conversation between her and the girls??? and listen, idec if this conversation comes this week or next. it is wayyy too late and unrealistic. idc if everything is tied up nicely by the end, none of us will ever forget the bitterness we felt throughout the whole journey with the only reprive being small happy moments that still didn’t make sense in the first place bc its lack of continuity.

lastly, what i wanted to say before i really trailed off: we saw sana in the ‘best of islam’ clip weeks back. the way sana spoke abt believing in Allah and how much peace and stability praying brings to her was basically the purest, most important clip of the season tbh. that’s what religion is, that’s what islam is and that’s what islam brings into sana’s life.

its absolutely normal and healthy for sana to question certain things in islam, to question things that she’s not too sure about. but to show someone as strong in her faith as sana is, to show her absolutely miserable and for islam to be the reason why all these shitty things are happening… to throw all these obstacles at her which in turn makes the audience feel like “ugh this islam is turnin out to not be bringin anythin good into sana’s life, yousef was right, all it brings is hate and conflict and sana can solve all this if she just speaks up!” is a horrible msg. this season literally shows more abt how islam is 'restricting’ sana and making her 'cold and condescending’ oh and let’s not forget… a 'bitch.’ ….

its as if islam is what’s bringing all this pain onto sana when it was mainly other people’s ignorance, racism and intolerance. as if islam isnt what’s giving sana true peace when she prays, gives her guidelines to follow that makes her remember to be a good person, makes her feel like she means something bc of her relationship with her faith. there’s just no balance this season, none at all. religion is not inherently a bad thing which only causes you pain bc trust me if islam only brought sana heartache and pain, i dont think she would still want to be a practicing muslim. but that’s the thing: islam isnt at fault for bringing her all this pain but that’s exactly the opposite and toxic point the audience comes to.

almost everybody has something within their religion that may conflict with their values and/or lifestyle. but religion is ultimately abt your own relationship and connection to g-d. and in sana’s case, islam is shown to be… not great for her bc she’s struggling (bc sure its not her environment thats makin her suffer most. sure jan)

lol anyways this is mainly unedited im just pissed. what a shame this season has turned out to be.

Good Stuff - THE TROOF ABOUT STEVEN UNIVERSE - Part 3

WARNING: I have a part 2 and a part 2 ½ and I’m not afraid to use them, goshdarnit. Thank you, take care out there, and enjoy.

Steven Universe is a charming, popular show with a quad-polar fandom, and I’m only here to point out what I say is legitimately wrong with this cartoon. Simple enough? Fair enough. Previously, I talked about how their handling of villains has disrupted their focal story. And now, point number 3:

BEACH CITY:

Okay, before I provide attention to our main gem heroes, I thought I’d give their home of Beach City a vocal point to express the diversity they offer and what makes them an essential drive for Steven and the Crystal Gems to protect the Earth by any means. I mean, they offer such valid representation for the show’s world building and can offer plenty of stories to tell to give us that slice of life vibe the show really needed. But I believe, after seeing Beach City time and time again over the course of 4 years, that I can summate its presence in the show with a single- Nay. With two simple yet comprehensible words.

Who cares? 

Whooo CARES?

Thank you, respectable actor Elaine Stritch. Rest in Peace

To continue, don’t get me wrong. Worldbuilding is more than essential for a story like Steven Universe, Berserk, Friendship is Magic, Legend of Zelda, and so on. Whether big or small, expanding a setting is important to giving characters a versatile way to look at their world in a differing light than before. But suffice to say, what world has Steven Universe built for itself?

*A populated province in the East Coast?

*A barn?

*Ancient ruins?

*Distant Gem Territory?

Aye, this troof is gonna be hard to explain. We just have locations, people. That’s it. They’re no special than the mini Galaxies from Super Mario Galaxy 2, only on Wii, Rated E for Everyone. A place can look cool and a population there can bring life to it, but they should have something for the characters to interact with and visibly wonder about what they might get into as they adapt and progress in some way. And by some way, I don’t mean insert plot devices that help make the characters do significant looking things, and I’ll get to that a bit later. But to sum it up, Steven Universe present locations, but those locations lack identity and coordination.

Stick around, Link, I might need your example

I got a short story to tell. True story. And this story provides my reason, above all else, for why Beach City doesn’t hold much water anymore when talking about world building, specifically after the show’s first season (or Full Disclosure).

There’s a comic book TV show called Preacher, premieres Mondays @ 9, only on AMC. Essentially it’s about a criminal turned Priest, possessed with a supernatural power, going on a cross country road trip to find the physical form of God with his his mate who’s also a vampire and his ex-girlfriend. Pretty vivid premise, but see for yourself. The first season however sets up the road trip where the priest, his ex, and vampire friend stay in a small town in Texas to not only introduce them, the power that the priest gets, and the type of humor throughout, but flesh out a few citizens they encounter pretty well in a thematically connected turnabout for ten episodes straight. All seems good.

Up until the entire town loses their minds, after losing all faith in belief, which eventually leads to a methane nuclear sized explosion that wipes out everybody except the three main characters who exited a few scenes before.

Originally posted by nestarearland

The End.

Now, let’s talk relevance. If I ran Steven Universe, and I don’t think I can, and I pulled 👆👆 that on Beach City at season 1′s end. Erase everything you’ve seen, every citizen will be forced to disappear except the major plot oriented characters, basically resetting the structure. If I did that, how much would it change? What would we really lose? The diverse Beach citizens that don’t and can’t do shit against the enemies we’ve see unless they’re forced to get involved in some way which rarely happens? 

You can put as many people of color and as many personalities in your world all you want, but effort should also be put into not just making them NPC levels of value to the point where a reset button wouldn’t put much a dent to the “world building”. The worst part is that it’s not like Batman’s Gotham City or Spider-Man’s New York; places where the villains are plotting while they’re within city walls. Steven Universe’s enemies have to either be brought out somewhere (gem monsters, Lapis) or brought to (Jasper, that red Eye, Aqua and Topaz) Beach City for the place to provide any significant or value. So…

Originally posted by vhspositive

Just saying.

Now if the whole series was like season one with the non “To Be Continued” slice of life episodes, then it would’ve work. Phineas and Ferb, Foster’s Home, and Friendship is Magic has done this well with keeping their main location (The Foster House, Danville, Ponyville, etc.) as their central hubworld for casual stories with a venture outside of them from time to time. I would’ve been okay with Beach City being the spot for Steven and his limitless squad to grow together like Rebecca intended at first. Then I’m reminded that there’s an world expanding story in this, with bigger consequences and threaded arcs, and I’m stuck between investing in the many things they give me, complaining towards full episodes that add up to nothing and went nowhere special, and whining about the lack of reruns it gets on TV compared to Teen Titans GO.

Bottom line, you had/have your comic series to commit to your slice of life genre instead of trying to keep it in the show.

Now, I’m at a disadvantage here. If I want to talk about the actual “SCIENCE FANTASY WORLD BUILDING”, then I’ll have to talk about the Crystal Gems’ involvement in them and I wanted to save that for another day. Luckily, I don’t have to, for SU has unintentionally played itself: when it comes to the Gem oriented locations outside Beach City, they tell but never really show. And turns out I don’t need Link’s example, but Samus Aran’s. Namely, her universe in the Metroid Prime series.

A key element to world building is the control and fun in exploration where you find and somewhat interact with aspects of an environment’s purpose and history while you’re on the go, giving the place more of an identity. Metroid Prime does this well where you journey through different parts of the Galaxy and with your scan visor, you can catalog and figure out the intricacies of the settings, the enemies within them, and info that seem trivial at first, but can offer much in progressing ahead in the game. Note the example before you…

And don’t stare deep into Samus’s blue eyes

Sure it’s an optional part of the game, and you can still trek on with or without having to continuously research the world’s lore, but it offers that versatility where you’re well in control in how to experience the game. Then again, this is a video game, where your skill in figuring things out is the only way to progress anything. What cartoon has this similar level of versatility? I mean, what else?

What else?

Gravity Falls may have stayed in one place, but it gives the characters and audience so much to explore and theorize on. They don’t tackle “everything” the world might have offered (bigfoot), but still give you so much to look out for without ever holding your hand or giving a cliffnotes version on a mystery of theirs. Hell, the fandom was hollering on Tumblr over predicting one of the show’s biggest mysteries being confirmed long before it aired. Hirsh didn’t just give those theory nuts what they wanted, his crew eased us in on how the narrative is taking a turn to someplace different and new without really forcing it on everybody. There was still that enjoyable sense of control that resonated in both the show’s direction and the audience’s experience.

I mean come on, this just oozes the moment of truth

Don’t get me wrong. The crewniverse offer very interesting locations and things that resonate with Gem stuff. My final problem with this is that when I think they might utilize these different places and things, they hold back to sharing but a glimpse of anything the show has plenty of utilizing potential for. Like…

Could this control room present more information about Homeworld’s plans for the gems than just the Cluster? “Probably not, it fulfilled its purpose. Let’s move on.”


What about these drills? Could we personally see how one works, like accidentally reactivate it to see how it functions? “Nah, they’re all dead. Let’s move on.”

Or what about the holes? Could we have some kind of flashback depicting how a gem leaps out the ground? “Nope.” Not even the off col- “NOPE.”


What’s that supposed to be? Is it something important to Homeworld? “We’ll get to that later. Let’s move on.”


Ooh, are there more ships like this the CGs could use for space travel? Maybe spruce ‘em up with Pearl and Peridot’s technical abilities? “Nah, this is all we got and Centipeedle lives there now so… Sorry.”


Man, this place looks cool. Connie might consider this since she handles weapons and might want something new, like armor or throwing weapons. “Look man, this tour is scheduled. You’ve seen it, we’ll get back to it later. Moving right along.” This tour sucks. “You paid for it, my friend.”


Egoraptor said it best: I’m not witnessing an adventure, I’m a guest at their theme park. This is Kingdom Hearts levels of dragging it along, and I know…
“But Monkey Network, they might come back to all that stuff soon. It’s called foreshadowing, you whiner.” To that, I say HA! There’s a huge difference between foreshadowing and giving us cameos. And that is in…

PRESENTATION!!!

Long story short, if it’s subtle and holds a threatening or vague presence, THAT’s foreshadowing. If it’s already out in the open and is not given a lot of screentime or detail, that’s cameo-ing and waiting for more. The last thing a show should do is hold back and have its audience wait like shoving a secret box in our face, and that’s all Steven Universe has been doing. That’s why so many rant about what’s filler or not. That’s why so many theorize on the most reaching of details. That’s why people proudly growl at what could be the crew’s simple decisions. Because when everything must come back to Beach City, post “Full Disclosure”, exploration can be limited, detail can be limited, and it’ll be up to the audience to speculate/construct the world-building for themselves, making the control and experience for the show feel one sided, therefore UNFAIR. To summarize, I can present the fandom’s frustration…through song.

Like I said, the things I’ve seen offer so much to think about, but Rebecca Sugar sack could’ve done better with presenting them in a better light than a dim mode. The fate of Steven Universe’s future is a mystery to me, and I don’t know what they’re gonna cram in season 5 this fall. All I know is MJ (or Mystery Girl) is fine as fuck and we’re all gonna get something good eventually. My man Ian Jones-Quartey said good world building takes time, and they sure are taking their time.

Originally posted by gameraboy

And we will be waiting, that’s for sure

Dear Misogynists, Please Stop Calling Me A Sexist

I grew up in a home of feminism. That probably sounds odd, but it’s true.
My great-grandmother was a suffragette and chained herself to the gates of Buckingham Palace.
My grandmother has pictures of herself standing topless on a bridge with the words ‘Baas In Eigen Buik’ written on her belly, roughly translated that means 'I’m my own belly’s boss’.
My mum’s a gynecologist and dedicated her life to promoting protection and pregnancy prevention (what Americans may call 'planned parenthood’).
Me myself… I go to law school and I’m specializing in PIL and Human Rights (women’s rights are human rights fyi). I spend my internship giving women in forced marriages free legal advice.
Me and my mum, we used to have the 'we can do it’ poster in our hallway.

Perhaps it was not very necessary to tell you all that, but I feel it kinda was to make it clear how pissed I am, because I happen to know some shit about feminism, and sexism too. I’ve been called many things, that includes a feminazi, an internet feminist, I was told to shut my female mouth, etc etc. Ever since I’ve been openly criticizing Daenerys, I’ve been, to my shock, called something else entirely. 

Not often, no, just to make that clear, I hardly receive any hate. Many people agree with me but so often I’m told people don’t dare say what I’m saying because they’re afraid of being called out. It’s as if there’s a taboo on disliking Dany… Why? I don’t get it? Why is it not allowed to not admire her and not kiss her ass? Where is the law that prohibits me from being honest about my feelings for a character that doesn’t actually exist? How messed up it is it, that people anonymously tell me they agree, cause you know, they don’t want hate? The majority of messages I get is from super nice people, but for the first time in my life I have been called something I never expected anyone to ever call me… a sexist

Here’s my open letter to all these misogynists who have called me, and other people speaking their minds, a sexist in the past couple of days/weeks/months(/years?), and yes… I will call you a misogynist, because only people who don’t know shit about feminism, call others a sexist for criticizing and openly disliking a character who happens to have (to quote dear Emilia Clarke) tits.

Keep reading

Just another Shiro theory: Is Shiro really a clone or is he just being corrupted / controlled by his Galra arm?

While it’s fairly obvious that something is different with S3 Shiro (Kuron), I’m still not sure that assuming that he is a clone or not the Shiro from S1/S2  makes a whole lot of sense either. What was the point for all the angst and drama in The Journey if this isn’t the Shiro that we all have grown to love?

And while one can argue that The Journey was to make Kuron a sympathetic character, to show that even though he’s a clone he is also person with feelings and he believes that he is the real Shiro. However, if Kuron is indeed a clone then he is basically a new character. His narrative is different from that of the Shiro from S1/S2 (Real Shiro). If that is the case, then what happened to the Real Shiro’s narrative?

I think if he didn’t look so weird when he first stepped out on the Castle bridge in Tailing a Comet many of the audience would believe that long-haired Shiro was the real deal just looking a little bit worse for wear because of his captivity.

All throughout The Journey he acted consistently with his characterization - a never give up attitude, hazy memories and visions, a resilient fighter and survivor,  always doing the right and honorable thing, and a willingness to work with others. And the fact that the Black Lion was the one who was able to find him would corroborate that this is the Real Shiro.

Only in hindsight would we question all of these when we see that the Black Lion would not respond to him and then when he started giving conflicting and questionable instructions to the point that he was undermining Keith’s leadership.

But what if its the same Shiro all along except somehow his quintessence is slowly being corrupted?

We know that Haggar creates and engineers Galra technology through the manipulation of quintessence. We also know that prolonged exposure to quintessence has been shown to change a person as Honerva was changed (corrupted?) by her years of experimenting with it. In Crystal Venom, we saw that Galra tech (presumably infused with quintessence) can corrupt other systems. 

Shiro’s arm is basically Galra technology so this means it is infused with and powered by quintessence that Haggar has manipulated.

But quintessence isnt necessarily bad but more of a neutral force that can be used for either good or bad. Voltron was also made through Alfor’s years of quintessence experiments yet he was never corrupted by it the same way Honerva was.

That is because their intentions for the quintessence were different. Intent is the key here. Alfor wanted to use quintessence for peace and the betterment of the universe, Zarkon wanted to use it to make himself more powerful and Honerva started out wanting to gain knowledge from quintessence but escalated to wanting to use that knowledge to gain more power. In the end, it was their fear of death that ultimately corrupted them.

Fast forward to 10,000 years later and the Galra, through Haggar and the Druids, have almost perfected the harvesting and manipulation of quintessence. In Collection and Extraction, we see the the Druid transform raw quintessence into standardized Galra fuel, turning it from yellow to purple. This is the kind of quintessence that runs the whole Galra Empire. This Galra quintessence is what’s used to sustain Zarkon’s life force, to power all of their technology, to create robeasts, etc. It’s basically the space juice that has allowed them total universal domination.

Galra tech can only be accessed by Galrans the same way that only Alteans can operate their own tech. It may have something to do with keeping the purity of bloodlines or maybe more as a precaution that their own technologies and weapons be never used against them.

Shiro was given Galra technology that basically turned him to a weapon but then he uses this tech to fight the Galra Empire. Why is that? A theory from a while back has posited that Shiro’s arm was supposed to be subjugation tool for the Galra to be able to control him but he was able to break that hold. Maybe he escaped before the programming was finished or maybe his quintessence is stronger than whatever corrupted Galra quintessence powers his arm. Maybe it’s both.

As early as S1, the topic of Shiro becoming Galra has been a recurring theme. All of his confrontations with Sendak and Haggar play with his fear of being turned into Galra. It might have been the reason that he was so adamant about Keith becoming leader. Maybe the arm has been doing something to him from the start but because of unfinished programming or his strong intent to do good he is able to keep the corruption at bay.

Another thing to add is that Haggar’s robeast experiments entail being able to program a living being to do her bidding. She programmed the seemingly innocuous animal (which was later showed running around free in the Ulippa System) with the objective of destroying Voltron. Same thing happened to Prorok whose free will was zapped once he became a robeast. My guess is that since all of Haggar’s experiments include manipulation of quintessence then she is using the Galra quintessence as a way to change and control living creatures.

So if Haggar was turning Shiro into the Galra Empire’s greatest weapon then it would only be natural that she would program him to follow her commands. Haggar wouldnt want a sentient weapon who was defiant to her and the Galra. But in Shiro’s Escape, he was still being defiant with his captors. His defiance may be the reason that he became a symbol of hope to the enslaved beings who want to be free of the Galra. And if Ulaz hadn’t freed Shiro the Galra may have completely turned him into someone who was unequivocally loyal to the Galra only.

So what if the Shiro that returned in S3 is the same Shiro except this time has been fully programmed to align with the Galra?

One of the earliest observation of S3 Shiro is that his robot arm only lights up to wrist when he activates it

Whereas in previous seasons his whole forearm lights up purple all the way to the elbow when he activates his hand.

In The Rise of Voltron, when Shiro first tries to use his hand to fight he is immoblized by it almost as if he was in pain.

Then something happens to his hand and then he is able to destroy all those Galra soldiers. 

At that time he doesnt even know how was able to kick ass like that. The theory is that Shiro was able to break whatever safety lock his Galra arm had.

So in S3, the Galra could finally have successfully programmed Shiro’s arm to control him after he was captured. S3 Shiro could be both the same good ol’ Shiro and the Galra Shiro, a sort of Shiro-in-flux.

That is why the Black Lion went on autopilot to tell Keith where the dying Shiro is because it’s still the same guy. The quintessence that the Black Lion detected is the same quintessence that it chose to be its Paladin.

Because quintessence is basically like the spirit of a person and the soul cannot be duplicated. Even a clone will have a different quintessence. The Lion-Paladin bond is a synergy of each others quintessence because the Lions also have their own quintessence that is why they are sentient. So the bond between Lion and Paladin is very much like a spiritual bond.

The only reason it took so long for the Black Lion to detect Shiro is because it only goes out on a limb for him when he is near death. In Across the Universe, Black Lion only activated for Keith when Shiro was resigned to dying. Maybe Shiro’s resignation to death it what makes the Black Lion go on autopilot. I mean if Shiro has given up then that means things are seriously Not OK which is what signals the Black Lion to step in for its Paladin.

(Sidenote: Despite all the fandom jokes about Shiro wishing for death it is the farthest thing about him that it could possibly get. Shiro is resilient and a survivor. He will fight to the very end. But at the same time he also seems to not be afraid to die which why some think he is fatalistic. I think that what ultimately sets him apart from his predecessor Zarkon because wanting to live forever all boils down to fear of death and loss.)

So why did the Black Lion not respond when Shiro tried piloting it? 

Because of the corrupted Galra quintessence which is present in his arm and the successful programming of control over him. The Black Lion may already know what Shiro doesn’t. Shiro may think that he’s still the same person but his arm is now not aligned with his noble intentions. Shiro has a strong and noble spirit but Galra quintessence is insidious. It could use his trauma and his fears against him to make him do questionable things. Or he could just become some sort of possessed demon with yellow eyes. Either way, it’s not good for the team. And the Lions also look out for the team as much as its individual Paladins so Black Lion will reject its beloved Paladin to protect the other Lions and its Paladins.

But what about the long hair? What about the obvious use of the Japanese word for clone? What about the visions Shiro saw of being experimented on? What about Subject Y0XT39? What about the camera sounds of his eyes?

Maybe the quintessence experiment made his hair grow faster? It turned it white the first time around. Maybe the Galra are creating an army of Shiro clones? Maybe the Shiro clones they’re creating are really robots and not human?

I mean if they’re really cloning an actual flesh-and-blood human being, how would they go about it? Would they create embryos out of thin air? Would they grow babies out of pods? Would these pods speed up the growth of the babies? Is there a machine that can create human parts and assemble it to churn out full grown 25-year-old human beings? What are the logistics to be able to create a clone? Haggar’s magic quintessence experiments could probably explain all of it but still if Haggar can clone an organic being out of thin air then she can probably make hair grow faster than it should.

The Oracle

A/N: I bring you the thing I had wanted to write in like forever: the saltiest reunion yet. But come on, did you really think I’d leave this character out? Not a chance.

Based on Flat Dreams by @pengychan. AU by @doodledrawsthings. Enjoy.

Part 1

Part 2 

“He is awake.”

“So soon?” Jheselbraum casts a look at at dimension 46’/, where Mabel Pines reaches to shake the hand of the monster they defeated only a year or so ago. “I would have expected at least a few more centuries.”

“I’m sure you know that time is relative.” The is a tone of amusement in the Ancient’s words. “It has been a lot longer than that.”

The Oracle takes that in, watching the events in Stanford’s home dimension play out, and hums in amusement, “‘A different form’,” she repeats to herself, “You couldn’t resist the irony, could you?”

The Axolotl chuckles, “Rather fitting, considering the many times humanity was deceived by him.”

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anonymous asked:

1/2 (While i do NOT ask this to be negative at all, i realize it could be a controversial topic so feel free not to answer!) I have a friend who stopped watching SPN a few years ago after, according to her, they jumped the shark to the point she just couldn't take the show seriously anymore. Now, i'm so deep in fandom it's hard to step back and be objective, but that's not the first time i've heard that complaint, and it got me thinking; obviously i love the show.

2/2 But it did make me casually wonder what keeps me coming back to it specifically, because ibr if any other show had made some of the same writing, plot, etc. choices as SPN has, i’d diagnose it with a serious case of the trope “seasonal rot” and move on. But i haven’t. And i think it’s because SPN is SO character driven. Like, these characters make the show and the genuine heart and love shows through in the writing. I think that’s what balances out the at times questionable quality for me.

Hi there. I just reblogged this post over here that mostly expresses my feelings about this:

http://mittensmorgul.tumblr.com/post/160986841910/hey-i-stopped-watching-spn-like-during-season

I think it’s really not accurate (nor fair) to describe the character growth and narrative progression as “seasonal rot.” I think that’s sincerely missing the point.

From a podcast interview with Davy Perez shortly after 12.04 aired (Not About The Weather, episode 8):

(Sorry, y’all, I started transcribing this two hour long interview, spent two days transcribing the first hour last November, got to 7.5k, and haven’t had a chance to finish… )

N: It’s really interesting, because what you mentioned as well with Dean when he was living his sort of normal life with Lisa and Ben, it’s interesting as well because we’re six years on from that. So how do you look at that kind of thing and then go okay. How do you stop it being regressive, if you know what I mean? How do you go like, oh, he’s actually grown from that, or if he hasn’t or if he has. How do those decisions get made?

DP: For me I think it’s funny because I might have read it in a book somewhere, or maybe it was advice I got, in regards to writing television versus writing film. When you’re writing a film, you’re writing what is hopefully a complete journey, where a character gets called to action, where they go on their journey of discovery or their journey of tribulation, and then they arrive to an end point and you find, “Oh, I’ve learned this lesson,” or “I’ve grown so much.” And that was a satisfying, closed-ended story. Television doesn’t work that way. Television is about a character that you become invested in, and that you fall in love with. That character grows in incremental ways. Not only do they grow in tiny little increments, and sometimes don’t even grow, they go backwards. You don’t close the loop. You keep the loop open, so that hopefully when you know that okay, this is our final season, this is our final run of episodes, that’s when you can find those landing points, and that’s when you can sort of say this is the end of this journey.
As far as having to imagine what Dean might be eight years ago, well all I can say is that’s who Dean is. There’s a well of knowledge to watch, and you can see that that’s who he is. Maybe they’ve grown in some small way. Maybe Sam can talk about the psychic stuff where maybe before he didn’t even want to talk about it, but he’s not a completely different Sam in that he’s learned from his mistakes and will never make the mistakes again. You want to make sure that you’re staying true to who they are, and allowing the characters to just live in those moments, and to of course grow and have that journey, but to really take time. In an essence you really enjoy those incremental growths and they mean so much more.

This is exactly what I’ve described as the “spiral narrative” where the same things come up over and over again, putting the characters in similar situations. But this has become a character-driven narrative. The mytharc is entirely secondary to what the characters are going through.

Playing “spot the difference” each time you see a “wait, that’s really familiar” moment is where you really SEE those incremental growths. This is not “seasonal rot.” I find myself irrationally offended on behalf of the writers here… like, got up and stormed around the house ranting out loud to myself.

So when meta writers talk about how the writers are doing all of this intentionally, we literally really truly do mean the writers are DOING THIS ALL INTENTIONALLY. They have even TOLD US THIS IS THE CASE IN ACTUAL WORDS.

I  wrote a thing recently that sort of touches on this a bit, that started out as a reply about character driven vs plot driven narratives, but I think it also goes a little way toward explaining some of the reasons why people are having difficulty understanding what the show is doing now:

http://mittensmorgul.tumblr.com/post/159511693805/a-very-random-question-but-in-your-opinion-whats

If folks are still looking at the show as if it was actually a plot-driven narrative, there’s bound to be some sincere disappointment. But if you see it as a character-driven narrative, everything begins falling into place. I don’t mean to say that someone might be “watching wrong,” but if your impression is that the narrative is inconsistent and has made questionable plot choices, then I feel at least slightly obligated to politely suggest maybe watching it from THIS perspective and see if the entire picture doesn’t become perfectly clear.

Like this sculpture illustrates, look at it from the wrong angle and it all seems random. It’s supposed to inspire you to walk around looking at it all from DIFFERENT angles until the entire picture clicks into place.

This is the amazing beauty of the story Supernatural is telling us right now. I just want as many people as possible to realize this, because I think a lot of people right now are just seeing the random scattershot dots and feeling like they aren’t telling us a full story… I’m just trying to drag as many people around to the other side, to see what it looks like from where I’m sitting. Because it looks like art to me.

Majorly Judging You + General Danvers ‘Spy’ au, from another wonderful conversation with @alittlelesspain

Following the murder of Irsa In-Ze, the leader of an international crime empire, at the hands of one of the FBI’s top agents, Maxwell Lord, and his subsequent death, both the FBI and the military are desperate to find the location of a nuclear weapon that was in Irsa’s possession, and whose location Maxwell failed to discover before he was ostensibly killed by one of Irsa’s bodyguards.

As Irsa’s hier to her empire, Alura is the only person left who could possibly know where the weapon is. Once, there might have been two people, but Irsa’s second daughter died years ago. There are rumours that Irsa killed her herself, because the girl consistently refused to go along with any her mother’s plans for her.

With the chance of Maxwell having been compromised before his death, the FBI fears that Alura now knows the names and faces of all active FBI agents, leaving them little choice but to send Agent Alex Danvers, whose spent the last few years stuck on desk duty since turning Maxwell down on a date once, into the field. Due to the possible dire consequences of this weapon falling into enemy hands, the FBI is working with the U.S. Military, and General Lane partners Alex with his daughter, Lucy Lane.

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Halloween Princess

A/N: This is a very short visit with Halloween!Faberry. It was more or less an attempt for me to chip away at the writer’s block that’s been plaguing me for a few months. Entirely unbetaed, so all mistakes are my own.


That’s what we all dream about, isn’t it? Someone who looks so deeply into our soul that they’d find something worth dying for.
~Gabrielle, Xena: Warrior Princess


Another year, another matching couple’s Halloween costume.

An amused grin pulls at Quinn’s lips as she completes her annual onceover in the mirror. Lifting a hand, she runs her fingers through her newly shorn blonde locks until they’re tousled to her liking. Her hair hasn’t been this short since she’d first cut it off back in high school and she’s still getting used to it, but with only a few months left until she officially graduates from law school, she’d felt like it was time for a change—time to look less like a sorority girl and more like a confident, successful lawyer. She already has a coveted internship at a high-profile law firm that’s almost certain to translate into a post-graduate position, assuming she passes the bar.

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The Problems With RWBY

Now, before I get down to it, let me make one thing clear; I LOVE THE SHOW. I enjoy its story, its characters, the music, the unique animation, etc. I am not just “mindlessly hating on it”. Constructive criticism is given BECAUSE I love the show and is done in the hopes that Miles and Kerry will read it and improve on it. I do not want to hear fans whining about me pointing out the show’s flaws just because they can’t see them or accept them. If criticism is not given, people will not improve.

OK, with that out of the way, LET’S BEGIN!


The first flaw RWBY faces is also the first rule of writing that it’s broken: Show, Don’t Tell. RWBY tells us a bunch of stuff, but never shows it. The one thing that comes to mind, even as you’re reading this, is the alleged racism against Faunus. We’re never actually shown true racism against Faunus within the show.

No, Cardin and Roman don’t count. Cardin is a jerk to everyone around him regardless of species, and Roman’s just evil. He belittles everybody under him except for Neo. We’ve never seen anyone be racist to Faunus within RWBY. The World of Remnant videos also don’t help, as it’s just telling us about it instead of showing us it.

At this point, we could just as easily say that the Faunus are all prejudiced against Humans, as we’ve seen more of THAT than we have of Humans hating Faunus. We need to see more racism within the show, instead of it being told to us. It needs to be subtle, no over-the-top ridiculous displays, something more real. Say a Human buys some Dust for some Lien and leaves, then a Faunus tries to buy some too. Have the Faunus charged more than the Human was. Show racism, but make it look and feel real. Otherwise, there’s no point in this imaginary hate against Faunus.

Another issue is the “controversial labor forces” that the Schnee Dust Company utilizes. So, when we were shown Weiss’ father and brother, why never bring that up? SHOW, DO NOT TELL. NEVER JUST TELL.


Another issue RWBY faces is its characters. Namely, how they’re handled. I’ll be taking a crack at a few of them, so bear with me. First stop; YANG. She lost her arm to Adam, and I theorized back at the end of V3 that she’d face some difficulties, probably have PTSD. Now, know that not everybody who has a traumatic experience will suffer from PTSD. However, Yang showed signs of it in V4, and to RT’s credit, they did it rather well. My mother, who does suffer from it, commented on it (Yes she watches RWBY too), saying that RT managed to do it right. However, as Yang got her arm on and started training, her PTSD looked like it disappeared and she seemed almost right as rain again.

Now, I’ll give RT the benefit of the doubt and say that Yang may NOT be over her PTSD and may be forcing herself upwards and onwards. My mother certainly thinks so, as she did it when she was younger. The result, however, was that it made things worse for her later on. IF Yang really is pushing herself, we need to see proof of it. Little scenes here and there to show that she hasn’t recovered. Hell, have her see a flash of Ruby’s cloak, make her think it’s Adam, and have her almost attack Ruby. I mean, I’d personally like to see it, but my point is, if Yang still suffers from PTSD, show us. Don’t sweep it under the rug, because you don’t recover from it, you just learn to live with it and try to move on. This is coming from someone who sees it every day with his mother.

Next up: Blake. Hoo boy, what most critics will say is the biggest disappointment in Volume 4. After Beacon’s fall and Yang’s cripplement, Blake seemingly did what she vowed never to do again; ran away. She either did it so Adam wouldn’t target her friends anymore, or because she was scared. Who knows? The issue here is it’s not clear. If she ran away so Adam wouldn’t attack her friends or loved ones, why return to her family? Adam swore to destroy EVERYTHING she loved,and you better believe family is on that list. Did she think Adam wouldn’t know she was on Menagerie, or did she think he wouldn’t target her family? She even hints at this to Sun, saying “This is why I left them all behind” after Sun was hurt. So, why return to her family? HOWEVER, she also told Sun on Chapter 8; “I told you, I’m not here to fight the White Fang, I’m not here to fight anyone. I’m here to rest, to figure things out, and to see my family.”

So, which is it? A character’s reasons for running need to be clear and easily understood, instead of contradictory and confusing.

Another issue everyone seems to have with Blake is her family; namely that her father was the founder and head of the White Fang. While I don’t mind it, and it even clears up just why Blake feels like it’s HER responsibility to stop the White Fang, as well as I just hate the old “Blake’s an orphan” theory, another issue with her family is Ghira himself. So why did NOBODY, not even Ozpin, make mention of Ghira? She shares the same last name as the founder of the White Fang, Belladonna, so why did nobody comment on it? It’s not like the White Fang were created in secret either, Blake herself outright tells us that the organization was formed to bring peace between the two races. You can’t do that in secret, and if Ghira DID hide in the shadows, then that should have been made clear LONG ago!

With Ruby, the problem lies in how little character development she’s gotten. Yes, we’ve seen her change from a shy girl who didn’t want to make friends to someone who DOES, but that’s about it. Outside of crying for Penny, and going Mary Sue on Cinder after Pyrrha died, Ruby hasn’t shown much of a reaction to their deaths. She’s pretty much the same character, albeit with a little less energy and love of weapons as she used to be. She’s the main character, the show’s pronounced after her name, show us how she’s coping. No long letters that honestly aren’t that good (Sorry, but that letter was pretty bad) and no telling us about it. Show us how the death of two friends has affected a 15-16 year old little girl.

With Jaune, it’s how MUCH development he’s getting. Yes, I get it, he’s the Deuteragonist, the second protagonist, the Hero to Ruby’s Heroine. However, at this point he’s becoming more like the traditional main character than Ruby herself is. He’s had the Love Interest (even if he never knew it) who died, he’s the audience surrogate, he was made leader of his own team, we learned that he cheated his way in, etc. etc. Now, I’m not saying that what he’s been through is BAD, but the issue here ties in with Ruby, namely that she hasn’t gotten as much attention or development as Jaune has. I like Jaune. In another story, he WOULD be the Hero. But the show is called RWBY because it revolves around Team RWBY. It’s time they took the spotlight back.


Another issue that the show has is its sense of time. Before it was retconned, Miles and Kerry said early on that Volume 4 took place 6-8 months after Volume 3. They then decided to change it to avoid plotholes. Unfortunately, this just created more plotholes. How long were Blake and Sun on a boat? How long was Weiss cooped up in her room? Yang said she and Taiyang were training for weeks. The only thing that makes sense is RNJR’s journey on foot, as it WOULD take quite a long time to go from one country to another like that. (A minor plothole with THAT is why didn’t they get transportation there, when Oscar did? If the answer is no money, where did they get the extra ammo at the end of Chapter 1 of V4?)


Something I personally have a problem with within the show, though some would argue against it, is the Grimm. We’ve been shown Grimm that wiped out whole villages, Grimm that rule the seas and are huge, and yet students who haven’t even finished their first year were able to kill. The Grimm as a whole are also disappointing. We’ve been told that they wiped out all life on Remnant except for four Kingdoms where life exists, but we’re always seeing them mowed down so easily and quickly that it’s kind of pathetic. The Nuckleavee Grimm, in particular, showcases this problem. This is something that wiped out three villages and could not be defeated, yet RNJR took it out no problem. A better way to resolve it would have been if they had managed to fend it off long enough for the airships to arrive. The Grimm have been getting the Worf Effect pretty badly, and they’re not the scary monsters that we’re told they are. I, at least, want to see more creepy looking Grimm that aren’t defeated on the first encounter with our heroes. Grimm are supposed to be unnatural monsters of darkness, not cannon fodder.


The lack of foreshadowing is also a problem here. We had only one line of dialogue about Ruby’s silver eyes, and that was it. One line, in the very first episode,and it was never touched upon again. Blake’s family was never hinted at, neither was Weiss’ little brother, Whitley. While I understand that some things are meant to be a surprise and kept secret, common things like family need to be at least mentioned. You don’t need to reveal any big secrets about them, just a mention is enough, like Winter in Volume 2. For something as big as Ruby’s silver eye power, foreshadowing is a must have, otherwise it’ll come out of nowhere and feel like a Deus ex Machina.


There are probably many other things I’ve forgotten to add in that I meant to, but I can always address those later, or edit them into this post. These are the biggest flaws though that are dragging RWBY down. I still enjoy the show, and I will keep watching it, but it could always be improved, and there are some things in it that require attention and fixing.

anonymous asked:

do you have favourite ships from movies?

Will and Elizabeth, POTC

Their story is full of such angst and Keira and Orlando have amazing chemistry. I get that Johnny Depp essentially takes over the movie because Jack Sparrow is Jack Sparrow and people mostly talk about Johnny and Keira but Orlando and Keira, man, they fucking sell that relationship; they play longing and yearning extremely well:

Like even now in gifs, I feel that tension, that connection, that chemistry and when I watch a movie, chemistry is the first thing that’s going to get me to invest in a ship on a visceral level and movies have less time than TV shows.

Monica and Q, Love and Basketball

Well firstly I have such love for this ship and for this movie because Love and Basketball came out when I was 10 and it was one of the first young black couples I had ever seen onscreen and Monica was one of the first assertive, strong, passionate young female characters I ever saw on screen too so that alone means I have a very special place in my heart for their relationship and for the movie itself. Monica and Q was also one of the first ships I saw where they go from “hate” to love/friends to lovers and I love that they give each other so much shit but that they genuinely care about each other.

Harry and Sally, When Harry Met Sally

When Harry Met Sally is just an exceptionally well-written movie, I’ve studied that script (along with You’ve Got Mail but I will not put Kathleen and Joe as a ship because that relationship is actually fundamentally fucked up which I realized when I got older) and the relationship between Harry and Sally is witty and fun and just very real about two people who hated each other, became friends, slept together, stopped talking to each other and then realizing that they’re in love with each other, it’s just very smart.

Slevin and Lindsey, Lucky Number Slevin

I read somewhere that Lucy Liu said the most fun she ever had on set was on the set of Lucky Number Slevin and when you watch the movie, you can tell, you can see that she’s having a blast on set, that she and Josh get along really well, there’s a scene (she’s the neighbour) where she walks into Slevin’s apartment while he’s taking off a towel and Josh actually had no underwear on and he didn’t tell Lucy so her reaction is priceless anyway even before I knew any of that, Lindsey and Slevin have this incredibly quirky, cute, odd relationship that works so well and it’s just really fun.

Janie and Tea Cake, Their Eyes Were Watching God

This is purely chemistry. Tea Cake and Janie were supposed to have a wildly passionate relationship that consumed everything and Michael and Halle showed that with such intensity, I felt like leaving them alone when I saw the movie. When I found out Halle and Michael dated for a bit after this I was like well how could they not? I MEAN LOOK AT THIS.

Hildy and Walter, His Girl Friday

This is banter at its best, this is I loathe you but somehow I like you and I hate you for it, you ass at its best. This is still one of the smartest, funniest relationships I have ever watched.

June and John, Walk The Line

This was a relationship, I remember watching it and feeling both sad and happy and frustrated, their journey was kind of torturous to witness but Joaquin and Reese have really good chemistry, they just work well together and I really wanted to see them through and it’s another example of a well-written consuming love.

Arwen and Aragorn, Lord of the Rings

Because you get that sense of eternal, never-ending love between the two of them, that they’ll always be entwined no matter what and that it’s a driving force next to Aragorn’s sense of valour and honour to defeat Sauron.

Gale and Katniss, The Hunger Games

Like everything about The Hunger Games, I like the relationship in the books a lot better but I thought particularly in the first two movies that they did a decent job in showing what they meant to each other.

Latika and Jamal, Slumdog Millionaire

Because tear my fucking heart out why don’t you?

Ron and Hermione, Harry Potter

The movies took away a lot of Romione’s nuance, a lot of Ron’s development and a lot of their dynamic as the movies went on (the first movie they did it spot on) but it’s Romione, I always ship Romione.

In this wonderful display of animation the Ed’s go careening through Peach Creak forest spitting multiple trees in two. 

This opening is so different from all the episodes. The episodes open up with a calm, fun, or mischievous atmosphere, They immediately get to the point drawing viewers in. Big Picture Show has viewers on the edge of theirs seats the second we open up to a very silent cul-de-sac. That is unheard of. Nobody lives in silence.

The car is getting more and more damaged as time goes.

I don’t know if anybody has ever read or seen Stephen King’s, Christine, but this car reminds me of the evil car. Thank God this car is not cursed otherwise it would have brought the Ed’s to their ultimate doom. The car may look like Christine because it belonged to a bad person. It doesn’t do the Ed’s any good nearly getting them killed.

I really recommend that you sit down and study all the frames of this one little scene with the Ed’s careening through each tree.

Their expressions and reactions are the best.

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Ren Kouha Character Guide Translation

Even though he and his elder brothers are of different mothers, he idolizes them to an abnormal level.

Kouha’s Attendants

The magicians who are accompanying him to Magnostadt are all quite skilled. They love being hit by Kouha.

Kouha’s Story

Due to his personality and his mother being labeled an outcast, Kouha has been distanced by the people around him. However, despite those circumstances, he didn’t yield and swore to fight without a shame.

Caption:

-Cold gazes are cast toward Kouha and the lowborn people that he gathers around him.

He’s quite experienced when it comes to women? From his appearance, speech and conduct, Kouha looks and sounds like a teenager. However, from the way he handles the three female magicians around him, you can’t help but get the feeling he’s like a veteran in that department.

Caption:

-When it comes to the ladies, he’s superior to Aladdin and Sinbad?

Profile

Country: the Kou Empire
Height: 158cm
Weight: 45kg
Speciality: hacking to pieces
Hobby: fashion and maintaining his beauty and form
Favorite food: fig
Disliked food: spicy food
Favorite type: an individualistic woman
Disliked type: dependant people
What he likes to do in his days off: appreciating his subordinates
What worries him: his mother
Weak point: his big brother

He’s a simple-minded berserker who loves the sight of blood

Due to his readiness for a battle and lack of patience, whenever they are supposed to travel incognito, halfway through, a flashy fight unfolds. He swings his massive sword and his enemies are cut apart one by one.

Captions:

-Forgetting himself, he thrusts his weapon at his enemies with a ghastly vigor.

-he loves war and cutting people makes him feel good. That suits him as the prince of the Kou Empire.

He’s the other king of the Kou Empire and ruling over the shadows

In the imperial palace, Kouha has been regarded as a dissenter ever since he was little. However, without letting that ruin him, with his own hands, he tore open the path he must follow.

Captions:

-Kouha’s strength that originates from his positivity is guiding people.

-Not only in the Kou Empire, there are many people from beyond who swore their loyalty to Kouha.

Point: he especially pampers those who he acknowledges. He opens up his heart and relies on the exceptional. Kouha too has his own unique way of life.

Caption:

Judar is one of the few people other than his family that he opens up to.

Ohtaka’s Maref

Q) does he expose his legs because he’s aware of his own charm?

A) his stature doesn’t suit him as a warrior, does it? However, as someone high-ranking, he probably thought of ways to attract others. Doing his best while following the method that he came up with, it turned out like what it is now.

Djinn Equip: Leraje

The luminous, rock hard wings are circling the battlefield. Kouha’s djinn equip exudes strength and is bewitchingly beautiful. The long wings extending from his back and the massive scythe that he carries with both hands are creating the perfect balance. Kouha, who normally shows a lot of his beautiful skin, does the same in djinn equip mode.

Wings

The crystals intertwined with Leraje’s hair transforms into wings on Kouha’s back that flap wildly.

Great Sword (Nyoirentou)

It transform into a halberd. His great sword turns into a weapon that’s both a scythe and a hammer.

Sturdy Armor

It shows what it shows.

With one swing of his metal vessel, his enemies drop like flies.

Kouha’s slender body and shape-shifting metal vessel has acquired him his own unique battle style. When he swings his metal vessel that also makes the earth quiver under its power, countless enemies that stand in his way scatter away like leaves.

Extreme Magic: Leraz Madraga (Leraz Hammer)

Kouha’s extreme magic leaves a large gaping hole in his enemies.

Captions:

-While his metal vessel is destructive, it can also act as a shield and protect Kouha’s comrades from the enemy.

-Kouha, who loves war, won’t be intimidated even if his enemy is of colossal size and would challenge it head on.

Point: Leraje, who hates unfaithful men. ‘I’ve had enough of unfaithful men’ is Leraje’s reason for choosing Kouha as her king. Is she holding a grudge against one?

Caption:

-Leraje, who was told by Kouha ‘looks like you were dumped by someone’. In the past, was she burning with love for a womanizer who threw her away?

Ohtaka’s Maref

Q) When it comes to maintaining his beauty, what’s the thing he takes care of the most?

A) It’s his face. He probably thinks in order for him to be persuasive, he must take good care of his face and hair. The outcome is a strange one (laugh)

Kouha’s Relationships

Kouen, his elder brother that he respects

Kouha swore absolute fealty to Kouen and obeys his every order. Even though he was chosen to be king, he preferred to be Kouen’s household.

The Kind Koumei, who chides Kouha whenever he behaves mischievously

The calm Koumei always looks after the naive Kouha kindly. Kouha would state his opinion in front of Koumei without reservations.

Judar, who believes strength is justice

Even Judar, who isn’t a member of his family, acknowledges his strength and doesn’t mind his company. Even though Kouha spoils him a lot, Judar seems irritated when he does so.

Aladdin, the friend that he met on his journey

Aladdin, who traveled with him on his carriage, became a good playmate on that boring journey. To kill time, he braided his hair, which ended up looking similar to Kouha’s.

Point: the three magicians who survived a tragedy. They are Kouha’s subordinates who were subjects in an experiment to create magicians artificially. It resulted in them having a repulsive appearance. They are meek and admire Kouha, and it looks like they are in some sort of an adult relationship with him…!?

Moonlighting, Thundercats, Korra, and why you never want to resolve romantic tension halfway through a series

In the mid 80′s, Bruce Willis starred in a loopy, fourth wall breaking series called Moonlighting, the premise of which…was pretty much a knockoff of a similar show called Remington Steele, about a quirky detective and a failing actress running a detective agency, trying to keeping it profitable, and the sexual tension that emerged throughout the series.  The driving force behind the series was the insane amount of sexual tension between co-stars Cybil Shepard and Bruce Willis.  The problem with the show was that said tension was resolved…in the third season.

When there were two more seasons to go.

It gets even worse for the show because due to various commitments including Shepard being pregnant and Willis shooting Die Hard, the relationship never did anything.  And thus, the term “Moonlighting Syndrome” was born.

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2

Stuart/Vince Signs:  Opposite Closets (Part 2, Vince’s Workplace)

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To sum up from part 1 of this series, Stuart and Vince are carefully written to have opposite spaces where they’re still in the closet. At the start of the series Stuart’s parents think he’s straight, and Vince’s coworkers think Vince is straight. By the end of the show, all our leads–Vince, Stuart and Nathan–are out and proud in every section of their current lives. But oh, there’s a journey to get there. And for Vince and Stuart, that journey is shippy AF.

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Vince: Closeted at Work

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Through most of season 1, Vince is in the closet at his job. We learn this at the very beginning of the second episode, the first time we see Vince at work at all. In a few minutes of footage we see Vince check out a customer (above), make fun of the customer with his coworkers in order to fit in, feel ashamed when the customer sees Vince faux-laughing at a homophobic gesture, and then (a few minutes later) Vince gets tricked into going on a heterosexual group date thing.

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Vince is not living his best life, here.

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This pub night, understandably, really stresses Vince out. Vince calls Stuart on his way to the pub. Here’s a bit of that chat:

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Stuart: Well just don’t go [to the date setup].
Vince: We need a codeword, if I phone you up and say a certain word, you come and get me. Think of a word.
Stuart: Twilight.
Vince: How the hell am I supposed to get twilight into a sentence?
Stuart: Then don’t go!
Vince: Oh my God I’m here, straight pub. I’m going in, I can’t stop.

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Vince isn’t thrilled about this, but he’s going anyway. He tell Stuart later that in an alternate universe, he might have married Rosalie, his set-up. They bond over TV and Vince ends up having fun with her. Still, when she spots him at a gay club one episode later, he’s really, really upset about it.

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Vince: Work alert, we’re going, see you outside. It’s that bloody Rosalie, this place is getting so straight.

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Stuart doesn’t exactly cope with all of this well. I mean, for contrast, here’s Stuart at his workplace:

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That’s Stuart making eyes at a client, who he’s about to suck off. There are some pretty intense class issues at play here–Stuart’s got a white-collar job at an advertising agency, whereas Vince works in management at a supermarket. Between the fancy job and its perks (company car etc.) we’re to believe Stuart had more “fuck you” money than Vince, meaning Stuart feels the freedom to work somewhere accepting of his sexuality. Vince, on the other hand, is working to pay for his life but also sending money home to his mom. Vince and his family need his s2 promotion, and Vince feels less freedom.

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So when Stuart repeatedly tells Vince to come out, at least to Rosalie, he’s coming from a good place (he hates seeing Vince miserable!) but also, it’s not something Vince plans to do anytime soon. Like, um, Vince isn’t gonna follow this advice, Stuart:

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Stuart: Oh for fuck’s sake, tell [Rosalie] you take it up the arse and get out [of the straight pub].

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Vince’s mid-season boyfriend Cameron, by contrast, doesn’t give Vince any advice on the subject. He does show up at work to flirt with Vince, but it’s all verbal innuendo, totally discrete. Cameron is willing to respect Vince’s rules. Stuart is too, to an extent–he eggs Rosalie on by telling her that Vince has a crush in the hopes of upsetting Vince enough to get Vince to come out to Rosalie (and possibly to damage their friendship, I think Stuart’s a little jealous Vince had a good time with his coworkers). But it’s only after Stuart has already decided to torpedo his friendship with Vince that he crosses a line.

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Because once Stuart needs a way to so offend Vince that Vince will throw away their friendship, Stuart knows just what line to cross. He invites Rosalie to Vince’s birthday party and outs him.

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Rosalie’s embarrassed, and Vince is so mad. Rosalie uses some homophobic language and storms off, Vince leaves the elaborate birthday party Stuart has thrown in Vince’s honor, and Cameron even calls Stuart out directly, showing yet again that he’s team Let Vince Stay in the Closet at Work:

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Cameron [to Stuart[: What’s he [Vince] going to do at work? Christ, but you’re a bastard.

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Here’s the thing: Stuart isn’t exactly a one-motive kind of guy. Like, yes, he thought he needed to anger Vince to ultimately help Vince gain independence, but I think he also wanted to help Vince ultimately feel more comfortable at work. And he succeeds! Rosalie eventually forgives Vince, and Vince comes out to his other coworkers at the end of the season. Please enjoy Marcie’s reaction:

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Here’s how the script describes the end of the scene:

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Vince gives Rosalie a smile, saunters back the way he came. King od his domain.

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Vince will run into issues involving homophobia and the supermarket in s2, but at least he’s no longer hiding. 

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Why is this shippy?

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There are a few reasons why this matters for Vince/Stuart. Firstly, we see how these closets hurt the relationship between our boys. Each “closet” fucks with their respective head spaces and leads them to “break up” as friends at Vince’s 30th birthday. And issues with the relationship between Vince and Stuart is where the series as a whole finds its conflict.


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Secondly, though, we’re looking at a fundamental truth of shipping. One of the key ways media-creators write compelling romances is to have the main ship resemble a series of opposites, so that their coming together as an “ironic pair,” representing order being brought to a disorderly system.


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So RTD has strengthened the ties between Stuart and Vince, and how dramatically compelling it would be for them to get together, by showing them each dealing with a “closet” of their own. It puts more quality conflict between them, and, in each coming out of their closets, helps them find the freedom to be together.


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[even more QAF UK meta]

Just a headcanon I wanted to write down.

Every blue moon Tigress was sent to the market. And Po would watch her from afar. It wasn’t immediately like this, but he had noticed that she would come by herself or accompanied by one of the five, and he had recognized her immediately as being that girl who took down the scary boar.

Seeing her made his heart race. He would feel jittery and it was like his lungs closed up, he couldn’t breathe. He would tip toe around the customers as he was serving them, and inch closer and closer to the opening of his dads shop. Some times there would be a crowd and he would struggle through the villagers just to get a moments glance of her.

Tigress came so irregularly to the market that Po would often space out thinking about when he’d see her again, and was caught by surprised when she finally was sent out again. He wondered constantly what it would be like to have a conversation with her. 

The first time he saw her it was like a feeling he could never described. She was intense, bold, brave, and just plain cool. Nevertheless he found her intimidating but still, cool. And then he saw her smile.

Po found the way Tigress smile so full of life. It was genuine, it was warm, and he noticed that this particular smile was pure happiness. It was an expression she showed when she couldn’t help herself, she would just be overcome with joy it spread across her face, there was a slight embarrassment when this happened. Almost as if she was apologizing for showing such brightness.

Then all of a sudden it stopped, Tigress stopped coming to the market, by herself or with a friend. And for a long time he didn’t see her again until The Furious Five were given actual missions. They would all come out together to patrol the valley or go on a journey to another village.

Po had gotten older and so did Tigress, and when he saw her he saw someone who definitely matured, and a lot. She and her group of friends were protectors of the valley now, protectors of china. It was quite a title to hold, and she looked the part. She was the perfectly molded hero and still very intimidating, very intimidating now that he noticed she didn’t have that smile.

Everyone in a while Po would catch a villager make their way towards Tigress to talk. She gave a slight smile to them, but not out of the happiness he used to see her have, but out of respect. He was curious as to what changed, what had she been through, what things did she see.

He really wish he had gotten to know her before to have the answer to what she was like now. However he settled with assuming that perhaps this happens when you become a famous hero of china. Heroes are supposed to look intense, they’re supposed to be intimidating, heroes are SUPPOSED to be hardcore.

And so he fantasized about becoming like them (becoming like her). Being able to fight by their side became his dream. And so he dreamt, he dreamt about a legendary warrior who never before had been so feared! And so loved.

renewebb  asked:

I've always thought that Bree, Roger and Claire should've devised some photographic equipment and taken pictures before they (Bree/Roger) left to go back to the future - would love to see a story of them doing this and then maybe Bree showing Joe (who I always felt was Claire's BFF) a picture of Jamie/Claire so he can see how happy Claire is...

Photographs - Part Two

Part One

Brianna looked at her supplies laid out on her bed and tried to prioritize everything. She needed to carry anything she brought through the stones with her so it would be a good idea to get rid of some of the things before her. The problem was that she kept thinking of new things to add to the pile instead of actually removing anything.

The pearls were going with her no matter what. She set them aside in a new pile—the “definitely going” pile. Then she went through her first-aid kit and pared it down to the absolute essentials (including a bottle’s worth of aspirin stored in a wax-paper packet, which she figured would be less obviously out of time) before adding it to the “definitely going” pile as well.

Slowly she pared everything down and then tried packing the sackcloth bag she planned to use.

She accomplished her task a little too well—there was room in her pack to spare.

She turned back to the discard pile; she could bring one more thing.

It shouldn’t be anything too conspicuous or too heavy… It should be something to remind her of home while she was away, after all, she wasn’t going to be in the eighteenth century for that long.

It struck her that while she was excited by the prospect of seeing her mother again—an opportunity she hadn’t thought they would ever have—this time would undoubtedly be the last time she would see her mother, in addition to being the first and only time she would see Jamie… her father.

Her eyes drifted to the new Polaroid instant camera on her dresser—it hadn’t even been among her initial pile of possibilities but now she wanted to bring something that would allow her to capture, preserve, and bring the past back with her when she did return to her own time.

It was too conspicuous and if it failed while she was there she would have no means of repairing it. What would people think if they caught her using it? Her mother had mentioned in great detail the trial she’d endured at Cranesmuir. The thought of the possible consequences made Brianna shudder. It had been chance as much as anything that saved her mother and there was no guarantee that she might be as lucky under similar circumstances.

But to have a picture of her parents together—of herself with them…

She could always paint them… assuming paints, canvas, and the other necessary supplies could be found… and doing a self-portrait of that kind… but again, she would have to carry anything she wanted to bring back with her and a painted canvas—even in its most portable form—was awkward at best. However if she was very careful…

She wrapped it in amongst the bandages in the bottom of the pack and prayed the stones would let it through unharmed.

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Point of No Return

Summary- Naruto, Sasuke, and Sakura are a loathed and feared group of SS – rank criminals for their vigilantism and in secret; carry out dirty work for the Kages. Hinata recalls her past with Naruto as they slip further into the point of no return.

Pairing- Naruhina & Sasusaku

All previous chapters on my blog. Don’t know how to link them all in a post. :(

                            Chapter 10: His Feelings, Revealed

He had never felt this much agonizing distress before. The face of death had been at his doorstep more times than he can count, but this time he would gladly welcome it with open arms before experiencing this type of pain again. It was a pain that overcame anything physical and exacerbated everything psychological. He was not prepared to deal with this and he hated himself because of it.

Dammit, Hinata.

She was in his arms, comatose. He wanted to stop running, to lay her down and hold her, but they were behind enemy lines, a risk he was not willing to take.

Seeing Hinata had been a shock to Naruto. Why was she here, and how did she manage to track them from across the country? The thought barely managed to cross his mind, before witnessing her take down nothing short of a hundred skilled shinobi and blowing up half a mountain.

He couldn’t be mad at her, but he was flustered. She had been reckless and by the looks of it she hadn’t slept or eaten in a while. Was there something you were trying to tell us, Hinata?

Naruto glanced down at the ebony haired girl in his arms. Her clothes were tattered and ripped with a coat of mud covering just about every speck of lavender her shirt composed of. Her hair was wet and grimy and her overly long bangs were scattered across her stained face. But despite these vices, her beauty could not be tarnished.

He managed to tear his face away. He was no pervert, but he couldn’t help but have this opinion. Her looks were of no interest to him, but of recently, he couldn’t help but look at her. She was graceful and she was kind. A friend he could always trust with his secret. Someone he could call special.

He grimaced as he recalled a scene displayed before him several days ago. He couldn’t stop thinking about it. A recurring thought every time he admired her. He didn’t want to think about it, but it was unavoidable.

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Everything’s Just Peachy (Laurens x Reader) PART 1

Prompt-“Just put the gun down and let’s talk about this.” (I’m pretty sure this is on the list and it actually has a number but I can’t find it ahaha I really wanted to write with this prompt and John sooo here goes!) 

TW: Guns, Violence, Kidnapping, Implied Abuse

 

It all started as a nice, relaxing night, but would turn out to be the longest night of your life. You and your boyfriend, John Laurens, were cuddled on the bed you shared, wrapped in the soft sheets, watching the latest episode of (favorite TV show) and eating some of his famous peach cobbler (Well, famous only to you, since you were the only one he made it for) with ice cream. You hated to admit it, but you were extremely tired from having to work overtime at the café that night. You were supposed to get off at 3 PM, but hadn’t gotten off until 8 PM, because one of your coworkers, named Ellis Jones, hadn’t showed up and you just had to cover their shift, granting you a laborious 12 hours on the clock that day. She’s one of the worst employees actually, from the little you’ve seen her do. You tried your best to stay awake though, because John had apparently been planning this “date” for about a week, since he worked at night, and had specifically asked to take off that day. So he did, and surprisingly wasn’t at all upset when you told him your reason for being extremely late. So here you both are, enjoying yourselves.

Well, that is, until the power went out.

You snapped your head to where John would be sitting if you could see him. Your eyes adjusted to the darkness and could only make out his silhouette as he reached over to the side table and picked up an object. You only realized what it was when he shined a light on your face, causing you to wince at the sudden change in brightness.

“Sorry, babe…” You couldn’t make out his face much but you could tell he was probably wearing a sheepish grin. You shook your head and picked up your phone, eternally grateful that it was charging as you two were cuddling and had gained 94% battery charge. You turned on your phone’s flashlight and turned it upwards to give the entire room some light.

“Why did our power go out? There’s no storm…” You replied, fear starting to slightly bubble up inside you. John shrugged.

“Something probably happened to the fuse box. I’m gonna go check it out. Stay here.” He said, getting out of the bed. Your heart skipped a beat, and not in the good way. Unbeknownst to John and practically everyone except for your parents, you were always kind of afraid of the dark, though you could sort of tell that John could tell, because he didn’t question why you left your bedside lamp on when you two would sleep. You knew it wasn’t the dark itself, but what could be lurking in the shadows. The unknown. Also, you had a horrible feeling in your gut about this situation.

“No….” You said, hoping John wouldn’t hear the quiver present in your voice, “I want to stay with you.”

John gave you a soft smile. “Of course, (y/n). Come on.” He held his hand out to you, which you gladly took, along with your phone in the other hand.

The two of you set off through the house on your journey to the backyard fuse box. You tried your best not to look at anything besides the back of John’s shirt, knowing it would generate some terrible thoughts that you really didn’t want to deal with right now. There was one terrible thought you couldn’t shake though, and that was a possible reason for your power outage.

“John…” you said, barely above a whisper.

“Yes, (y/n)?” He responded.

“What if… what if the power going out wasn’t an accident?”

He stopped dead in his tracks. If there were any noise at the time you wouldn’t be able to hear his sharp inhale. Instead of waiting for a reply, you decided to look ahead of you two. You were surprised that you didn’t pass out at what you saw. Yet you definitely almost passed out at what you heard. The sound of glass breaking and the figure stepping into the house.

“(y/n)?”

“Yes… John…?”

“Go back inside the room and lock the door.”

You look at him incredulously, even if he couldn’t see you. Was he insane??? You knew that figure you saw wasn’t here to have a nice conversation over tea and cookies.

“John, what the hell?? No!! I can’t leave you here!!”

“(y/n), listen to me.” He said, firmer this time, “Go back in the room. Lock the door.”

You still couldn’t process the ridiculous request he was asking of you. Your feet stayed glued to where they were.

“(y/n)—“

“You should really listen to your boyfriend, girlie. Wouldn’t want to get caught in the crossfire now would you?” The figure spoke. You were genuinely shocked, and you let it show on your face. The figure’s voice was feminine. And you don’t know where, but you knew that voice from somewhere. You felt John’s hand tense up.

“Leave her out of this, Ellis. Just put the gun down and let’s talk about this.” John spoke to the girl. Ellis…? As in, the same Ellis you had covered for at work today…?

“I was going to, but this seems like a lot more fun. Now, we’re actually taking up too much time here, soooo let’s wrap this up. Tony?”

You didn’t have time to mentally question who Tony was before you felt a sharp pain to the back of your head and saw black.

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Laurens gasped and sat upright, instantly regretting it when a dull pain forced its way through his head. Gripping his forehead, he stood up slowly, extremely confused. It was light outside, couldn’t be any earlier than 10 AM. He looked around for any sign of what he was doing last night. All he could remember was that he was cuddling with (y/n), the power went out, and–

He froze. Turning his head slowly he saw it. Glass on the floor and a broken window.

“(y/n)…. (y/n)!!” He yelled, no regard for his pounding headache. He frantically searched the house for you, looking in every possible location, praying that this was just a weird game of hide and seek and that you would give up and come out of hiding. Suddenly, he remembered.

“….Ellis. Oh, fuck.”

Scrambling for his cellphone he dialed the 3 people he knew would be most useful in a situation like this.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

“How does she even know where you live??”

“I don’t know, Alex, but she came here, blew the fuse box, and took (y/n).”

The 3 boys exchanged glances. John had called over his best friends (Alexander Hamilton, Hercules Mulligan, and Marquis de Lafayette) to help him find you. They were the only ones who knew how crazy his ex girlfriend, Ellis Jones, could get. That is, if they were present for it. He didn’t ever tell them the specifics of how crazy she could get when they were alone or how possessive she was of John around other girls, but the boys always knew something weird was up with her, and now Ellis and her possible band of hired help have the one person nearest and dearest to John: You. Anyone with eyes and ears could tell how much John loved you, and how much he would do for you. Anyone who knew about John’s relationship with Ellis could see that you were a huge step up for him and made him happier than he ever has been.

“Did you try calling the police?” Hercules asked. John shook his head.

“They wouldn’t know where to find her. Ellis works under the radar, and she’s ex FBI, she knows how to get around things.”

The boys murmured in defeat. John sighed and placed his head in his hands. He felt a hand on his back.

“Mon ami…” Lafayette said softly, “We will find (y/n). For your sake and ours, do not forget she is notre ami aussi (our friend as well).”

John nodded. Alexander clasped his hands together.

“Alright, dudes, let’s get to some FBI type shit. If I was a psyco ex girlfriend, where would I hide my ex boyfriend’s new girlfriend?”

Hercules raised his hand, “Probably not your house.”

Alexander nodded, “Alright, probably not my… Wait.” His eyes widened. “That’s actually not a bad idea.”

Laurens, Mulligan, and Lafayette cocked their heads to the side simultaneously.

“What?”

“What?”

“Quoi?”

Alexander let out an incredulous laugh. “No, seriously! That’s the most obvious way to go, so no one would suspect a smart person to use that way to go. Kind of reverse psychology, if you will. Nice job, Mulligan!”

The two dudes high fived and Laurens smiled a hopeful smile.

“Let’s go get (y/n) back.”