like there are hardly any characters left

||I’ve noticed a lot of the parents in Durarara!! aren’t the greatest. 

Take Masaomi’s parents for example. Mikado said to him in the chatroom, “Your parents don’t really care what you do, so I’m guessing they don’t mind your dropping out of school either.” (DRRR!! LN Volume 4)

Or Namie’s parents:

Namie’s parents were the original successors of Yagiri Pharmaceuticals. But when her brother was born, they made a serious error with a transaction that caused them to be completely ostracized from the company core and were excluded from the inheritance rights. The couple became estranged as such, and slowly grew distant from their children.

However, her uncle still regarded them as ‘a chess piece in the family’, and continued caring for them. But the concern he offered was what a superior would offer to a subordinate, and was completely devoid of kinship. Finally, Namie directed her craving for familial affection on her brother who was in a similar situation. These desires exceeded those of sisterly love, and contorted into some form of twisted affection.

- DRRR!! LN Volume 1

Then there’s this scene from Epitome of Eighteen Histories, where Celty finds something about Shinra being abused which turned out to be fake, but this is what it says:

Ignoring the cries of Shingen, who had the unusual habit of wearing a pure-white gas mask, Celty softly pat the head of Shinra, who was clinging to her still.

‘I’m sorry I tried to take on a mother’s role. I even embarrassed you.’

“No way. I don’t even remember much about my mom.”

‘Oh… I see. Bad things don’t need remembering, anyway.’

“Bad things?”
Shinra tilted his head. Hastily, Celty wrote on the notebook,

‘Ah… I mean… I’m sorry. It was nothing.’

“Celty-kun. Could this be about… Shinra’s mother having mood swings and pushing him to the floor?!”

‘Don’t talk about it! Who would say that in front of the victim?’

Celty panicked, but Shingen paid no heed as, trembling, he cried out, “You… youyouyou read it! You! What have you done! Damn it… To read the story I wrote in a padlocked journal, have you no heart or soul! You monster!”

‘Ah, I’m sorry about that…’ Celty wrote on the notepad, before startling, and asking Shingen, ‘Huh? Story?’

“A story indeed! It was a story I started in my journal with my life with Shinra and you as the models; I was planning to get a mountain of awards, too!” (A father shouldn’t write about stuff like that, but Shinra’s mother is just as bad.)

‘So that was all fiction?!’

“I wouldn’t have gone anywhere near a woman that unstable in the first place!”

‘Th, then, why divorce?’

Upon being asked, Shingen averted his eyes behind the gas mask, and mumbling more muffled than ever, replied. “You can’t say spending all our living expenses on antiques* is letting down my son, it’s not that important, right. It’s all in the past…”

(*Reference to Saika.)

‘There’s no excuse!’

After Shingen had fled the apartment in embarrassment, Celty wrote on the notebook, with an air of weariness, ‘I don’t know about your mother, but are you really fine with that sort of father?’

“Maybe? Children don’t choose their parents. I don’t really know.”

So Shingen is collecting things like Saika, and it’s making the mother mad because it’s taking away the living expenses and is somehow letting Shinra down? Okay, I can understand her feelings in a way, but does that make it right to completely walk on Shinra, and never make an effort to actually see her son? It makes it. He didn’t even know he had a younger sister for a couple decades.

Shinra has been through so much that he doesn’t even want to truly involve himself with his so-called family. A lot of his personality, and his desperate clinging to Celty, could very possibly stem from the absence/abandonment of his mother, but he refuses to psychoanalyze himself, because he doesn’t want to care about anything but Celty.

Wasn’t Celty, to me, a substitute for a mother? As a mother and not a lover, she has been with me for 20 years, am I still not sick of it?
……Even though Dad says it that way, I think it’s different.
It’s true that from the time I was aware of myself, my mother was no longer around. Even though father obviously tried his best to love me, it’d be a lie to say I wasn’t lonely.

- Shinra’s Secret Diary entry. What got me though was this:

Yes, Celty was special. She was gentle and filled with human kindness - and yet, she made a wall between herself and humans. That was was probably the reason I couldn’t consider Celty a maternal figure. But it couldn’t be helped that I wanted to break down this wall.

While he didn’t have abusive memories of his ‘mother’, he never actually had good ones either. Because she had left him before he was really aware of it going on.

This could also be a little like the reason why Izaya doesn’t see his parents as any different from other people; he never had that chance to form that bond with them because they weren’t around much. Perhaps this is one reason why Shinra and Izaya are a little alike.

I could go on about many of the other characters, but I’m gonna stop here, because I’m kinda mad. Izaya was clearly neglected, and so were his siblings, because his parents were hardly ever around. It’s not Izaya’s fault he didn’t know how to raise them and then felt guilt for how they turned out. 

Yahiro’s parents completely abandoned him.

Shizuo’s probably didn’t know how to handle him, and for the most part couldn’t control him. Therefore it contributed to him becoming even worse and tear his body to pieces. Where were they when he was in the hospital recovering from that? Why were only Kasuka and Shinra there?

Kasuka doesn’t even know how to express himself emotionally, and doesn’t even understand emotions very well, because of Shizuo’s over expressive behavior. 

Izumi’s parents abused him, so he started abusing Aoba, the one that received all the love from everybody, the one Izumi was jealous of. 

Aoba, at first, didn’t do anything and just let him beat him, before finally snapping when Izumi went too far and framed Izumi for setting the house on fire. He gained a hatred for the world. 

Ruri’s parents were super controlling, and when they died a part of her felt literal relief for having some freedom.

Vorona’s father was extremely neglectful(while her mother died when she was very little). 

Anri’s dad was abusive and then tried to kill her, before her mother killed him then herself.

Saki was terribly abused, so Izaya adopted her in a way.

Mikado’s parents at least showed up at the hospital and hadn’t really wanted him to move to Ikebukuro, but I’m just gonna stop here, again… Pretty much all of the parents in Durarara!! aren’t attentive enough in some way or another in Durarara!! even if some of ‘them’ ‘tried’. 

One question, though: Where’s Mikage’s mother?

Atonement

Request : hi hi hi! could you write something about a reader running into rick somewher and yelling at him for leaving her like the scene between rick and morgan from s3?? lots of angst nd fluff pls XD

Characters : Rick Grimes x Reader

Word Count :

Warnings : vvv angsty, lots of yelling


With a short, pained gasp, your eyes flew open. Knowing immediately you weren’t in your usual hideout, which consisted of a hard, cold floor and hardly any lighting, you quickly leaped up from the soft cot, lurching to grab your rifle which had been left by your bedside. You stumbled, feeling a searing hot pain at your side, but managed to grab the gun anyway, and within seconds, your weapon was raised, prepared to fire. With a low grunt of pain, you gritted out a few low words, “Who the hell are you people?”

You had run into trouble when a group of men with guns had stormed your camp in the early morning. Luckily, you had heard them coming from a mile off, and you had just enough time to scramble up a tall tree before they had flooded in, kicking over the small, metal pot of river water which you’d boiled the night before so you’d be able to drink it in the morning. You had watched in fury as they rifled through your belongings, picking through your pack as if it were their own.

With a rather angry expression, you tugged your silver, and extremely expensive, wrist watch, off your wrist, kissing its face, before hurling it as far as you could. You were rather annoyed about losing your watch, which had cost your ex-boyfriend just under three hundred bucks, but you figured that losing your watch was a better deal than losing your life.

Your watch thumped against a tree, snapping a thin branch, before softly hitting the ground. The noise quickly attracted the attention of the men, who dumbly hurried after the sound, leaving one skimpy teenager with a handgun to see if whoever was living there came back to their camp.

As soon as the other idiots disappeared from your view, you prepared to leap from your branch, which only seemed to be a head higher than the skimpy teenager, and abruptly tackle him to the ground. Although, before you could jump, your foot suddenly slipping, and a gasp slipped past your lips. The kid’s head snapped up, spotting you just as you leapt at him, giving him just enough time to raise his handgun, firing blindly.

You had gasped at the feeling of a bullet tearing through your side, continuing to fall on top of the kid, knocking him out as soon as his head hit the floor. Knowing the other men would be back any minute, you grabbed your rifle and set off into a sprint in the opposite direction.

You had run as fast as you possibly could, one hand pressing at your side, feeling a warm wetness underneath your palm. And eventually you had reached the outer walls of a prison, surrounded by walkers. You had suceeded in killing a few of them, before you had crumpled to the floor, your vision fading quickly to a dull black.

These people, stood in front of you now, watched you in worry, some even with slight anger in their eyes. No one spoke, and you quickly grew angry, aiming your rifle at the ceiling and opening fire. The people flinched, some gasping, “Cut it out!” A little boy shouted bravely at her, before a man rushed round the corner, looking ready to break up a fight, only for his eyes to fall on you instead.

Immediately, his face dropped.

You stared at him for a long moment, your grip on the rifle loosening as you lowered it slightly. You took a few seconds to study his face, his hair longer, beard shaggier, his eyes holding a horrifying sort of grief, just beneath his lashes. His lips were parted in surprise, arms still at his sides, staring right at you with look on his face that made it seem as if he thought he was hallicunating.

You could feel tears burning in your eyes at seeing him again; just his presence felt like a godsend, just as you needed it. Your heart seemed to ache in your chest, lungs clenching as your breathing sped up. “Rick,” You managed to choke out, your rifle almost slipping from your fingers.

Rick glanced at the little boy for a moment, who you now realized could be no one other than the man’s son, Carl. He’d spoken fondly of the little boy when you’d first met him. Upon noticing that Carl was staring right at you, and could definitely see you too, Rick started forwards, already lifting his arms out to hug you tightly.

“No,” You snapped, your relief at seeing him again now long gone as you quickly lifted your rifle to aim right at him. He froze, raising his hands in surrender, while the others tensed, feeling threatened again. “Don’t you dare come near me, Grimes,” You snarled, finger hovering over the trigger, “You take one fucking step forwards, I’ll kill you. I don’t care if your friends shoot me as soon as I pull the trigger, I’ll kill you.”

“Y/N,” Rick spoke softly, hands still raised cautiously, “Listen to me, you don’t want to do this.”

You squeezed your gun tighter, clenching your door as tears welled in your eyes. “Yes, I do,” You swore, refusing to look away from him, and reveling in his worried expression. You knew he was scared, you could tell fromt he look on his face that he knew you’d shoot him if he stepped closer, because he knew what he’d done. “You left me,” You spat, a tear slipping down your cheek, which you immediately tried to wipe away by turning your head into your shoulder.

“Y/N—” Rick tried again, but you cut him off.

“You left me to die!”

The others looked stunned for a moment, all glancing between you, before finally resting their gazes on Rick to test his reaction. Guilt. He looked completely guilty, which only confirmed the group’s suspicions; you were telling the truth.

“You told me you were coming back, a- and you never did,” You managed out, voice shaking gently, “I waited for you, for days, weeks. And you never came back.”

“I couldn’t— Y/N, I didn’t—”

“Didn’t what?” You barked back, rifle still raised, “Didn’t have the balls to come back to get me? Didn’t care enough to try?”

Rick cut you off, looking angry, but still too guilty raise his voice too much. “I tried. I did. I tried to come back, but I couldn’t, the road was cut off by a herd of walkers, it was suicide,” He told you, lifting his foot to slowly take a step forwards, despite your promise to shoot him. You tightened your grip on your gun, readying yourself to shoot at him.

“I lost everything because of you,” You choked, another set of hot tears dribbling miserably down your cheeks, welling at your chin before sliding down your neck.

Rick’s eyes softened as he continued to move closer to you, contented with the fact that, despite him taking far more than one step forward, you never dare shoot at him. When he got close enough, he slowly pulled the rifle from your hands, pasing it backwards to the closest person: a rather annoyed-looking Korean man.

You trembled as the rifle slipped from your fingers, knees wobbling weakly, before your legs abruptly gave out underneath you. You crumpled, falling into Rick’s arms, who caught you with ease. You felt one of his hands move to the back of your neck, holding your head up which threatened to drop to the side at any moment, while his other arm secured itself tightly around your waist, keeping you upright.

Rick must have signaled to his group while your head was buried in his shoulder, because the next time you looked up, your eyes red with tears, you and Rick were alone. “I’m sorry,” Rick murmured as the both of you sank to the floor slowly, you falling limply into his lap as he sat back, legs out in front of him, “I’m so sorry.”

You sat in silence, unable to move from your position, feeling safer than you had for months with your head rested gently against Rick’s chest, curled in his lap as he held you tightly. Only the sound of your quiet cries, muffled by the front of Rick’s shirt, could be heard, along with the heavy, mournful breaths coming from Rick, who seemed as if he didn’t have any tears left to cry.

A minute or two passed before Rick spoke. “Forgive me,” He managed slowly, attracting your attention. You raised your head as he choked on his own ragged breaths, watching as a single tear trickled slowly down his cheek, which he didn’t bother to wipe away. “Please.. forgive me.”

You parted your lips, blinking away your tears as best as you could, only for a few more to slip down your cheek. “What I did—…” Rick tried, pausing as his voice broke, “What I did was.. c- cruel. Please, Y/N. Forgive me.”

You looked up at him for a moment, your hand resting gently on your cheek as a silent tear slid down your pinked cheek, flushed with emotion. You stared up into his teary, crystal eyes, feeling your lips tremble as you managed to choke out a few words, which would only make the poor, broken man cry harder.

“I forgive you.”

On The Job -- pt. 4


Word Count: 1877

Characters: Kasey Gallengher. Joe Merriweather. 

Warnings: none.

A/N: Special thanks to @jeffreydeanneganstrash for editing this for me! Hope y’all enjoy!! Don’t be shy! Feel free to re-blog, like, and/or add comments!! (The gifs are mine!!) 


It was four months since the team had been at a crime scene. The killer was in hiatus and that left the team scrambling to figure out who it was. The crew had been working relentlessly to solve this crime and move on to the next one. Hardly any clues were left, and Joe had been slowly coaxing bits of the past from Kasey. It was slow, but Kasey let out small details before shutting down and crawling in her hole for a few days.

Kasey found herself at her desk rereading case files for what felt like the twelfth time. The sky was a blanket of black, the moon was covered by clouds. Shaking the mouse on her computer, ‘8:54 p.m.’ caught her attention. “Is it really that late?,” she mumbled rubbing her tired eyes.

Keep reading

youtu.be
Dead Fantasy Full HD all Part (1, 2, 3, 4, 5, 6)
I joined Maker Studios & so can you! Click here to see if your channel qualifies for RPM Network/Maker Studios http://awe.sm/s3VKj

Okay, I don’t know how many people know of this awesome video it features a bunch of characters (mainly all females) of Final Fantasy and Dead or Alive.(and Kingdom of Hearts and Ninja Gaiden but only one character from KH and two from NG)

Created by the late Monty Oum. The first 2 parts of this series is on the lower end of graphics but this his first actual video creation.

There is no real plot that we can see as he wasn’t able to finish it chapter 6 is cut out as it was just a teaser he had for us. Monty was going to eventually finish it but he went to work on RWBY and well then died of a allergic reaction. :(

His favorites characters is Rinoa and Tifa, he uses Angel!Rinoa who is actually slightly voice (hardly any speech in this just a lot of shouting and such) by his wife. The music is epic for this like all of it fits perfectly. Tifa kicks ass (more so that normal) in this like she’s my favorite of all so I was left tortured not knowing her fate.

Monty uses the Materia and technical skills perfectly, using Dresspheres and spells perfectly.

This is worth watching definitely in HD if you have the bandwidth, it’s like half a hour. Specially if you like to watch chicks kick butt.

anonymous asked:

Fellow Fanastasia! I am so happy I found this blog as I was so pissed throughout the entire Tony Awards and I am glad to see others agree about the snubbing. Anyway I was reading through reviews today of Anastasia to see what the overall reaction was and I was surprised that some of the reviewers were comparing it to the *ahem* current state of affairs in 'Murica (specifically Ben Brantley and Robert Hofler's reviews). I was curious as to your thoughts on these comparisons. I think it's utter bs

My views on the Brantley review are, I think, posted, but I really don’t think they’re a valid criticism. The production has its genesis in a story that is decades old, taking inspiration from the Ingrid Bergman movie of 1956 and the Don Bluth animated production from 1997, both of which far predate the current political climate (arguably, the 1956 production could be read as more anti-communist than the later ones, but I really don’t read a political intent there that goes beyond everything else Hollywood produced in that decade).

Somehow, Brantley in particular found parallels to Trump (and Ivanka) in his viewing of the stage musical, and I just don’t see how that’s possible except on the most superficial and coincidental of levels. The story itself isn’t really a “glorification” of the Romanovs in the way some reviews saw it; the story is one of loss of family and the search for identity, told through the lens of an amnesiac who slowly rediscovers that she was born a princess. In some regards, that’s not an entirely original premise–fairy tales have had the “lost prince(ss)” trope for centuries. The twist here is that it does use some real characters.

@anyasdimitry and I (and, I believe, @peony-pastimes and possibly @nikolaevna-romanova) had a bit of a circular colloquy back when the Brantley review was first posted on this topic. The musical is not an effort to be historically accurate, nor is it an indictment of a) the Romanovs, or b) the Soviet Union. Yes, the massacre at Yekaterinburg is portrayed and Gleb is a loyalist of the Soviet state, but those facts are used to drive character rather than plot. In that sense, it’s hard to see any “glorification” of the Romanovs or demonization of the Soviets/political left. Heck, if anything, the Romanovs that Brantley thinks have been fetishized by the musical are only present as living people for the briefest of moments in the prologue or as ghostly memories–hardly an apt metaphor for a living, breathing political phenomenon.

Here’s the thing. Broadway has had a lot of provocative and politically astute or satirical productions, especially in recent years. You cannot look at productions like RENT, Spring Awakening, or The Book of Mormon (to name just a tiny handful) without seeing political parallels and an effort at political satire. Go back far enough, and the same is true of the Golden Age of the Broadway musical (the stage version of The Sound of Music in particular has a couple subversive momenta and a very on-the-nose critique of post-war cultural materialism). Other musicals have had a political agenda imposed on them: people have looked at them after-the-fact and seen politics where the original creative team did not intend there to be any.

In my opinion as a fan and someone who has looked at the intersection of theatre and politics in the past, Anastasia falls into the latter category. The musical wants to be a touching story of love, life, family, and overcoming tragic loss. In a sense, that is perfect for our current political and cultural era where so many people are struggling to deal with the reality of the world around them. The idea of “home, love, family/there must have been a time I had them too” resonates with any number of marginalized groups, and even with those who may just be struggling with their own grief for personal reasons. If there’s any shade of political meaning in Anastasia, it’s that: no one suffers alone, not really, no matter if one is a street urchin (Dimitry), orphaned princess (Anya), or Dowager Empress (Maria Feodorovna). To find a parallel to Trump or any other political movement, to me, is intellectually dishonest.

I hope that answers your question–if not, I’m happy to provide more of an argument. And thank you for the Ask!

2

@weareadventurers im sorry to rant at you I just want to figure out if I’m overreacting: the right picture is the kenku entry in the 5e monster manual, and the left is the kenku pc race in volo’s guide to monsters. While, admittedly, my desire to play a kenku character has less than noble intentions (im making a sound board), I can’t shake this feeling that wizards did them so wrong. Like, the skill proficiencies are great, but there are hardly any rules for forgery so expert forgery seems borderline useless. And mimicry: it specifically says in the lore that kenku can mimic any sound they hear “perfectly,” so why can any goon off the street roll a lucky insight check and figure them out? And why the wisdom bonus?? They all live in cities so they wouldn’t be rangers or druids, and clerics or monks don’t really fit them well either. Charisma would make more sense since apparently they need it for mimicry– and the cha classes are really cool thematically (warlock: “oh you want your wings back, wanna make a deal?” Bard: can perfectly recreate any song/performance but can’t make anything new)– and the MM entry makes it look like they have, if anything, an intelligence bonus. So, yeah, sorry again I just feel bad for the kenku, like haven’t they been cursed enough?

Stanford: The Missing Perspective

Why Stanford Isn’t Really an Asshole, Just an Overly Sensitive Owl.

Okay so here’s the deal; A Tale of Two Stans left a lot of fans salty over Stanford, just as badly as Stanford is still salty over Stanley. His reason for hating Stan, aka “destroying” his machine and making him lose his dream school over the selfish prospect of them sailing away together, seemed childish to a lot of viewers. ESPECIALLY because he used it as a reason to stay mad at Stanley over 10 years later. But why would this make Stanford so angry? Why so salty? I mean, he went to school, completed a PHD in less than 6 years AND got a huge $100,000 grant. It’s not like he didn’t get everything that he would have gotten at his dream school… right?

Except what made Ford so angry, so upset wasn’t the fact that the machine broke or that he didn’t go to the school he loved, but the principal behind the entire issue. We don’t really see this because this part of the story - and the subsequent fallout - is all seen from Stanley’s perspective. And to him, this all sounded like really unfair treatment. And it IS. It is cruel to throw your brother to the streets, to not even back him up, because you’re so upset. It hardly makes Ford’s anger and emotion seem justified.

So from Stan’s perspective, this was not an even deal. It was fast, harsh, and left him out on his own. A lot of people related to Stanley this ep, because Stanley is really a relateable character. Like Dipper, he probably felt that he had no redeeming qualities, and that drove him to take drastic measures to make his family proud. Meanwhile, the star child goes to college and finds success.

But What Is Stanford’s Perspective?

Keep reading

anonymous asked:

I miss Lucifer and Chloe's friendship so much. It's one of the reasons I didn't like s2 because there was hardly any emotional intimate moments between the 2 and Chloe's character was so sidelined.

I have to admit that I miss that as well as the endless but never effective flirting of Lucifer towards Chloe. S2 moved us into a different setting, that of serious romance but I think that’s good. The writers didn;t know if the show would be renewed or not so they did the best they could to make everything have some sense. 

Now regarding Chloe’s been left behind a bit… It was normal. Lucifer had a lot to deal with and Chloe was more into inner turmoil at that point. I guess she will shine in S3. ;) 

ahhthehorror  asked:

What do you think of/what do you say to people who describe cablepool as abusive? It rubs me up the wrong way and I don't know how to word it.


My apologies for taking a couple of weeks to answer this one – suffice to say it’s an opinion I’ve encountered myself, and which irritates me so much that answering this in the depth it deserves took some working up to.

I think most folks saying that are probably an even split between those who’ve bought into the sadly-popular idea going around tumblr nowadays that all ships must be 1000% healthy by contemporary, IRL standards because something-something-THINK OF THE CHILDREN!1!-something, and those latching onto a convenient way to justify their own ship as morally superior.* Granted, that’s not really an answer specific to cablepool – there’s more than enough of it to go around everywhere lately (not always without some merit, but seriously, if I let myself get sidetracked now into the whole convoluted parent topic of depiction vs endorsement I may never find my way back again). Of course, it frustrates me that much more to see that argument applied to Cable/Deadpool, partly because (duh) it’s my ship, and I’m invested – though as much because I can’t begin to make sense out of what these people are doing in Deadpool fandom to begin with. This is really not the comic you want to be reading for unproblematic fluff. The capacity of Deadpool as a character to blindside you with cheap humour and then deal with darker themes in a truly compelling, unapologetic way is one of the greatest things he’s got going for him, and the morally shadier parts of his relationship with Cable are a great bit of case-in-point.

I mean, yeah – let’s put this right out there – the Cable/Deadpool relationship is not a model of perfect health. It’s made up of two damaged people with unbelievably complicated pasts, leaning on each other for support but often struggling to find the right angle, and they both take their turns to fuck up in epic and horrifying ways. Relatively speaking, of course, Cable’s the one with the more power through most of their association – both politically and in the raw-superpowers sense – while Deadpool, for all his flaws, has a woobie streak a thousand miles wide. Some of the things Cable does during the course of the story really are beyond the pale – in Cable & Deadpool he manipulates almost as readily as he breathes, even (or perhaps especially) when he’s trying to do a good thing. Also, Cable lacks Deadpool’s convenient insanity defence, so that does make him culpable for his fuck-ups in a way it’s much harder to pin on Wade. Taken from a very shallow reading, it’s probably not hard to come out of events furiously indignant on Deadpool’s behalf.

At least, it is if you ignore the fact that Deadpool himself is a sociopathic killer with a history of abusive behaviour all his own. Which is kind of a big thing to just brush aside.

Keep reading

anonymous asked:

TT, this might seem like an odd question, but why do I still watch IB? Like after I gave up on Shivika ('cos of the forced marraiage fiasco), I kinda switched to DBO, 'cos despite all the nonsense, I really liked Rikara. Now Rikara are hardly there, and nothing on IB makes sense. Knowing how obsessed the writers are with Shivaay, its stupid to expect any sensible Rikara story, so no reasons left to watch. Still I keep hoping. Do you know how to get over this loss of a couple and move on?

Oh anon, isn’t this the question we’re all asking ourselves? WHY ARE WE STILL WATCHING THIS DRIVEL??????

Maybe you’re invested in the characters for more than just the romantic plot lines? I know that’s the main reason I continue to watch - I care about the platonic relationships as they were what drew me to the show in the first place, and continue to be written richly (whenever they ARE there. Damn all this focus on heterosexual romance. Ugh.)

Sigh, I don’t really have any advice for how to get over the loss of a couple - I’m a chronic ditcher of shows when I lose interest. The only show I’ve actually followed start to finish is IPK, and now this one. All I can tell you is my attitude for watching/enjoying this show when I hit play on the day’s episode: ZERO EXPECTATIONS, and watching as if it’s a… reality show - like the Kardashians or something. All my analysis and rage at incoherency in scripting/dialogue/characterization comes later. While actually watching, all expectations are reset to zero and I’m a blank slate who’s passively observing and reacting via lb. I don’t care if Rikara got more screentime or Shivika (as long as it’s not wasted on useless Ruvya romance or Pinky acting bitchy.) I don’t care that Svetlana’s crazyass plans are getting increasingly implausible af. Watching this show is just my uninterrupted “zone-out hour” for the day, where I enjoy these fictional ppl’s overdramatic #firstworldproblems. Try adjusting your expectations and see if that works out for you!

Tadashi’s death in Big Hero 6 had a huge impact on me.

In most family movies (especially Disney movies) when a character dies, the movie carries on from that very quickly and doesn’t delve too deeply into the emotional effects of it. But in Big Hero 6, Tadashi’s death downright stung right through to the end.

Have you seen Frozen? Remember when Elsa’s and Anna’s parents died? Did that leave as big of an impression on you as Tadashi’s death? It didn’t for me. But both events were equally tragic, weren’t they? So why? What was it that made Tadashi’s death so much harder to swallow?

In my opinion (note: opinion) it wasn’t so much Tadashi’s death that did it; it was the very realistic grieving process that Hiro goes through after it happens. That was what made the death of this character– one we hardly knew, mind you– so powerfully heartbreaking.

The pain Hiro was going through felt real to us, the audience, because his behavior, attitudes, expressions, and even his body language all communicated grief very clearly and accurately. It didn’t matter that he was just a character on a screen. All of the important cues were still there. It allowed us to sympathize with Hiro as well as we would with any living, breathing person who has just lost a loved one. We watched Hiro experience every single stage of the grieving process, which lasted through the entire remainder of the movie.

Unfortunately (or maybe fortunately, I don’t know), this made Hiro’s sorrow as painful to watch as it would be to watch someone close to us going through a similar loss. It gave us that helpless “I wish I could fix this” kind of feeling. We suffered right along with Hiro. And it hurt. I was extremely emotional while watching the events after Tadashi’s death, even to the point of feeling a little sick to my stomach.

And I know I’m not the only one.

So congrats, Disney. You killed off a character that had hardly any screen time or character development, and yet you still managed to make it hurt like heck. You succeeded in turning Hiro’s feelings for Tadashi into our own feelings. You have made many of us love Tadashi as deeply as Hiro does, even though we hardly know anything about him. Fictional character or not, Tadashi’s death felt very, very real, and it had an incredible impact.

Good job, Disney. Well done.

…Now find a way to bring Tadashi back in the sequel (no, not really, that would ruin the realism). Even a bunch of flashbacks or something would be nice to see in the sequel. Something to help us get to know Tadashi better. To show that Tadashi remains an important part of Hiro’s life; a part of who he is.

I just can’t handle the massive hole this movie left in my heart for a fictional character that I hardly know anything about. Please give us more Tadashi in the sequel. Please.

There is going to be a sequel, right, Disney? There better be a sequel, or so help me…

Am I the only one who gets slightly offended when people try to parallel Katara and Asami? Like don’t get me wrong, Asami is great,I guess, but she by no means, is a Katara.

Asami’s character hardly had any depth, and the the surface of her story was merely scratched for the sake of widening the plot. Asami had her mother taken from her at a young age, but we never see any closure about that, hardly any emotion about it, aside from when she tells Mako about it. She has to face the fact that her father was rallying with the Equalists, but after that, she didn’t show much growth from it. Her story sort of died out and was left as a loose end. She had to become a self sufficient business woman on her own, but really, had a lot of Varricks help in that matter. In the first two books Asami is portrayed as a shallow, trophy-esque figure for Korra to compete with on a romantic field. Then in book 3 and 4, she hardly had any development at all. She was overshadowed, and pushed aside.


But Katara. Katara right off the bat is a blatantly obvious feminist, a social justice warrior, a fighter, a woman grown up in poverty and war. A woman who has complexity, and depth. She’s yet to face her demons, yet still has so much hope for the world. She decided to leave her home, the only life she’s ever known, in order to make that vision come true. Katara becomes a Master. A Master Waterbender. Faster than any of Pakkus other students, who are all male. She’s has fierce determination, like a storm intent on destroying what’s in its path. Katara saves the Avatar. She masters bloodbending. She, for all intents and purposes, becomes a diplomat. She helped bring down the oppressive patriarchy of her sister tribe. She DEFEATED Azula. She gets closure about her mother. She’s a warrior, a healer, a master, a bloodbender, a mother figure, a guardian, a best friend, a 14 year old woman fighting in a war to save the world.

So yeah, Katara and Asami might both end up being the Avatars canon love interests, but you can’t compare the two. You just can’t. Asami is very aesthetically pleasing, but had little depth. Katara is both aesthetically pleasing, and is a multi faceted character.

8

Hollywood, I know we’re at odds sometimes. But in the grand scheme of things you provide great entertainment and you make some people’s dreams come true. At the end of the day I love you more than I hate you. I mean that.

But for FUCK’S SAKE can we PLEASE get a new hairstyle for your women?! GOOD GOD this is out of control! EVERYONE HAS IT. EVERYONE. There’s hardly any exceptions left! Even if the character really SHOULDN’T have such a style because it makes no sense for their character, they still have it! Even if they start out with unique hairstyles in the beginning THEY ARE STILL EVENTUALLY ASSIMILATED LIKE A FUCKING HAIRSTYLE BORG

JUST STOP

OMG

You know what this’ll end up being, right? You know how embarrassing it is to rewatch 80s movies and seeing the ridiculous styles, especially in period films where apparently people in the 1700s had 1980s hair? You know how awkward that is? YOU’RE DOING IT AGAIN. You’re giving these hairstyles to EVERYONE regardless of when the film/TV show is set, regardless of their personality or job or financial position (seriously it does not look easy to keep up with), you are giving that style to every single woman.

JUST. STOP. I miss unique hair. I miss every female character looking at least SOMEWHAT different from each other… I miss seeing three blonde characters and being able to see them from a distance and knowing who I was looking at instead of going “welp, who the fuck knows, it’s ALL THE SAME FUCKING HAIR/BODY/BUILD, I GOT NOTHIN"Bring back short hair. Bring back straight hair. Bring back natural curls. Bring back ponytails and buns. Bring back bangs. I don’t care what you bring back and to what degree, just please stop having the EXACT same style on everyone. It’s almost creepy at this point and I mean that. It’s like pod people for hair. A few of them look lovely like this, that’s fine. Keep it on them, no one’s saying the hairstyle needs to vanish completely. It’s okay so long as it isn’t EVERYONE. THAT’S just weird. Come on. I know you can do it, Hollywood. I believe in you.

Real talk

I started watching teen wolf because I saw sterek all over my dash and thought it was awesome so I wanted to get to know the characters

But after watching all the seasons of teen wolf I actually have no idea where anyone would even get sterek from. Like, the characters hardly ever even interact with each other at all except a few key moments in seasons 1 & 2 (primarily). There’s actually more of a relationship between Stiles and Danny than there ever has been with Stiles and Derek, and that’s if you’re focusing on the idea of Stiles dating men - although they’ve left that open to canon, he’s consistently shown way more interest in Lydia and Malia while typically showing revulsion towards derek. Like, I’m always up for ships and stuff but this one just doesn’t make any sense to me after watching the show and that makes me sad cause I really wanted that to be a thing. 

FURY

Alright, let’s do this. I’ll get the usual stuff out of the way first: I love war movies (however inaccurate they may be) and though I may be harsh on this movie, it’s really because the script is thin and watery so there’s not a huge deal to chew on. Everything else is great but this could have been brilliant. 

1. It is not Saving Private Ryan. That’s what we’re all thinking. And it’s not. It doesn’t touch SPR but it has a ragamuffin vibe about it that makes me want to hug it. It’s like this: SPR and Fury are in the same class at school. SPR stayed up all night and delivered a dedicated show and tell. Most of the students eye rolled at the blatant Oscar baiting but secretly they were all impressed. Fury is like when the class jock has a brain explosion and miraculously pulls some heart felt poetry out of thin air and it completely surprises you. It’s a moment of connection but he’s back to being a jock the next day so you will always feel like it’s a waste of serious talent. 

2. Michael Pena. He’s always good. I knew he would be in this but he was underused and the story did not give him what he deserved. David Ayers cast him in End of Watch so I know there’s good blood between them but still, I feel he was ripped off. 

3. Jon Bernthal. Dude. I fucking hated his character on The Walking Dead and I fucking hate his character in Fury. Jon is just so good at playing complete assholes. I didn’t think it was unrealistic because I know military guys that are like him: all brawn and ego with an underdeveloped cerebral cortex. There’s a compliment for Jon in there somewhere. 

4. Brad Pitt. Wardaddy is just one of those roles. He’s got all the moves and smarts. He’s too cool. He’s too brave. He’s too battle hardened. There’s hardly any humanity left. I get that that’s what they were going for but yo, if you’re getting Brad Pitt it wouldn’t hurt to throw in something more two dimensional. Brad can act that over the phone. It’s like with Superman, he’s the perfect soldier so how do you make him relatable? I just wish he was that jock that wrote more poetry, you know what I mean? 

5. The cinematography. This movie is just gorgeous and so well shot. There were at least 5-10 shots that were just beautiful. It reminded me a little bit of Atonement. Not quite as heartbreaking though it does screw up your mind when it is cut amongst the dirt and fighting. The soundtrack is great and even brilliant in parts but not particularly memorable. 

7. Shia La Beouf. He smells like crazy Joaquin Phoenix but you know, Joaquin is an amazing actor so I can’t even use that in a negative way anymore. Shia is fantastic in this. I truly think that in terms of emotional attachment and line delivery, he did the best job. I’ve only ever been a low level fan but now I just think, fuck it, this guy is actually talented and impressive with the right material. I love the restraint and intimacy with which he played Bible. Out of everyone, I was the most attached to his character and was heartbroken at the end. I’m pretty sure that’s not what was meant to happen but that’s what happened. *kanye shrug*

8. Logan Lerman. I bet you thought there was going to be a glaring omission. This guy. Man, I wanted to have a cigarette afterwards because it was like really satisfying sex. I expected nothing from him but sad contemplative faces and crying because he nails sensitive/innocent. I got that but it progressed to something more. Like, I completely bought that we were watching him become a man. His face is just a revelation on the screen. He’s not going to win an Oscar because this role is too quiet but he is seriously great in this. His scenes with Brad are brilliant. I’m excited for what he’s going to do next. I want him to get out of the Teen Movie Cycle and move to the A leagues. Oh yeah, I may have kicked someone off the bench to make room for him. 

Subjectivity and Favorite Characters: Robin vs Guy

So, I’ve been writing about Robin Hood a lot lately (thanks for bearing with me 90% of my followers who have no interest in this decade-old show), and so far I think I’ve stayed away from the Robin/Guy rivalry, despite finding it endlessly entertaining.  I’m sure if I’d been in the fandom as long as some of you, I’d be weary of it, but it’s such a carnival of passion (and, in some cases, illogical folly) I can’t help enjoying it. But it’s occurred to me that a lot of posts debating the relative merits and flaws of these characters use the vocabulary and strategies of literary criticism, like textual evidence and terms like “hero,” “villain,” “antagonist,” and protagonist. As an English teacher, I love to see that, but I think it’s a bit out place in discussions of this rivalry because people don’t choose favorite characters, or least favorites, on the basis of such objective criteria.  These are kinds of evidence that tell me what a character does and says, what happens to them, what their role in the story is, and what kind of relationship they have with other characters.  They don’t tell me how complex, sympathetic, or compelling a character is.  These things are subjective; they’re based on the individual fan’s beliefs, values, experiences.  It’s no one’s place, therefore, to tell fans they’re wrong, for example, for preferring the villain to the hero.

Under the cut for examples and controversial opinions.

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