meta ex

i recently re-listened to ‘you stupid bitch’ and i was just amazed at how many different levels of self loathing rachel bloom & co manage to cram into that one song… like it gets to the level where the part when she adds ‘and lose some weight’ isn’t even surprising because rebecca bunch hates everything about herself at that moment, even her physical appearance… it also depicts how easy it is for women to slip into self loathing about their physical appearance even when it ostensibly has nothing to do with the matter at hand… anyway what im trying to say is that i love crazy ex girlfriend

I was watching an interview with Rachel Bloom recently about how they wrote “I’m Going On a Date with Josh’s Friend!” and Rachel was saying how she was relying on this clean, mathematical way of writing that she’d learned. In the “clean” way of writing, Rebecca would’ve had a great time with Greg and then sabotaged the date because she’s afraid of happiness. 

But Aline Brosh Mckenna, who has been screenwriting for a long time now and is very good at what she does, said that didn’t work because Rebecca wasn’t afraid of being happy, but rather growing up and being brought down from the clouds. Rachel was a little nervous, but she trusted Aline and we got the episode we have today.

And I realized this is something that they do a lot. Initially, watching Crazy Ex Girlfriend can be almost uncomfortable, and you’re not sure why. But knowing this, I see that it’s because they often stray from the mathematical, clean story structure and instead go with what actually makes sense for the character.

When you’re someone who has watched a lot of TV you learn the basic structure and format of an episode, especially with comedy series. So when a show ignores that basic, expected structure you can sense it. And because you’re used to it, this is sort of unsettling. 

While I think this is one of the many things that makes Crazy Ex Girlfriend one of the most unique and well made shows on television in recent history, I think it may also be part of the reason why its ratings are so low. A lot of people don’t want to be challenged. They want to be given a simple A+B=C story that has a clear structure and lesson.

But Crazy Ex Girlfriend, in all its genius, is never going to make it that easy on you. They want you to think. They want you to see the nuance in the situation. If you ever feel like the lesson to be learned from an episode is simple and clear, you probably need to think about it a little more. Rachel and Aline want you to question the content. This is a show where nothing is to be taken at face value. 

And I think that is absolutely genius. True fans of television need a show like this. A show to keep them guessing, keep them thinking and questioning. I wish more people realized that and gave Crazy Ex Girlfriend more than a shot- but the critical thinking it not only deserves, but requires.

  • simon, iron sisters: they (shadowhunters) act like they're our allies but they don't know what we go through just to get through the day
  • TRANSLATION: I'm homeless, starving, barely surviving, depressed and I had a clan who understood what it's like to live like this but I lost them. no one at the institute gives a damn and I realized this too late
  • maia, agreeing: tell me about it
  • TRANSLATION: we'll never be equals with them
  • simon: you know, and just when I thought I was starting to get the hang of it (being a vampire) I sank to an all all-time low
  • TRANSLATION: just when I started liking my life, the clan who became family and this new version of myself, I did the lowest thing I could've done and hurt people I cared about - it's something I regret
  • maia: what happened?
  • simon: *silence*
  • TRANSLATION: let's not do this, it's still an open wound (mentally flashes back to that day and raphael's behavior since, watching him walk away again and again)
  • maia: oh Now you're quiet?
  • TRANSLATION: that bad huh?
  • maia: *deflects by sharing an embarrassing story*

shit i know i literally just told lia i was gonna sleep but i had!!! a thought about yuuri not adjusting well at all to being in russia (bc lbh, reality is he probs won’t) bc not a lot of people speak english (or, not well) or they prefer russian and ofc viktor speaks russian to the people around him so yuuri starts feeling Left Out, esp when he’s around the russian skate fam and they talk to each other, they have their inside jokes, their default is a language he doesn’t understand, and viktor tries to be around a lot but he has his own obligations (like a million press interviews and commercial duties for sponsors he kind of abandoned almost a year ago) so when yuuri’s left alone he kind of… doesn’t really have anyone. yura is busy training + talking to otabek, georgi is nice but overwhelming and busy trying to woo this new girl, and mila is nice enough but doesn’t exactly go out of her way to be friends. so yuuri is… lonely

and he tries not to let viktor see, ofc, it’s yuuri, that’s what he’s like, he doesn’t want to be a burden, he wants to be happy here with viktor, with his fiancee in his hometown (and viktor left st petersburg for months to stay with yuuri in hasetsu, so yuuri should be able to do the same). he doesn’t want viktor to know that when viktor’s not around, yuuri barely speaks; that sometimes he makes international calls out of desperation just to hear a familiar voice, but time zones and training make it difficult. that he really, really misses hasetsu and the people there, the warmth, bc st petersburg is beautiful but so very cold in many ways, and yuuri is a small town boy who misses his home. he loves viktor, he really does, he wants to love st petersburg too but.

but one day it just comes to a head, too many half-sleepless nights and too many days spent trying to ignore the hollow feeling in his chest, and yuuri is tense and viktor doesn’t know what’s wrong so they fight, all these little arguments that flare up and simmer down and are never truly resolved. and one of them ends with yuuri in tears and saying he wants to go home, he needs space, he needs to be away and back where things are familiar and he’s not so scared, not so alone. (but you aren’t alone, viktor tries to reason, and yuuri just shakes his head.) (but viktor gets it, the feeling of being surrounded by all these people but feeling so disconnected, like you’re not really there, like you’re not of their world, and it hurts bc he never wanted yuuri to feel that way, he never wants yuuri to be hurt at all.)

so viktor says okay, we can go back to hasetsu, but yuuri – yuuri says no, not we.

and viktor just looks at him, and there’s a cold creeping feeling coming up his throat.

and yuuri says you have to stay, you’re working on your programs, viktor was out of competitive skating for months and he’s been struggling with balancing coaching and training, yuuri can see it, so he says you should stay here, i’ll go back. 

viktor opens his mouth, closes it, looks at the floor. (what can he say?)

it’s a fight but it’s not a fight, and when viktor sees yuuri off for the airport in the early morning, there’s an edge to their every interaction that nobody likes. yuuri kisses him on the cheek, smiles tightly, says he’ll text viktor when he’s arrived in japan.

later, the space beside both of them feels so very empty, but they don’t know what to do.

  • *wakes up* young girls are attracted to misogynist "bad boys" not because of poor taste, but because of internalized societal misogyny which suggests that all women are worthy of poor treatment and elevates the value of a man's regard. that a character is openly sexist makes all the more elusive his affection for one woman, and elevates the object of his desire above her peers, making her special only by degrading other women in an unwitting and involuntary competition for male desire. the longing to "fix" bad boys so as to no longer be misogynistic stems from an unconscious wish to be valued as a person interacting with the deeply rooted social impulse to cater to men's developmental needs. *goes back to sleep*
Rant over 6x17

The driving forces behind this week’s episode:

- a deus-ex-machina magical object that was never mentioned before, will probably never appear again, but is capable of solving all the problems the characters face at the moment - from cancelling sleeping curse to create magical door to another realm to the place where your loved one is. And Rumple knows how it works. I repeat. A door to the World Without Magic capable to find any person you think of and Rumple KNOWS how it works. I let this line of thought sink now a moment.

- writers amnesia as per usual. The Evil Queen built a fail-safe into the curse, but conveniently forgot to tell them after she became good enough and she actually told EVERYTHING about how it worked so Regina could break it.

- horrible wardrobe choices for Emma. Someone should keep JMo far from the wardrobe apartment, because it’s starting to be cringeworthy. (Okay, it is not totally true. It HAS BEEN cringeworthy for 2 or 3 seasons now.)

- horrible retcon with the Charmings making a conscious choice of letting Emma grow up as an orphan even though they could do something about it.

- Emma’s stupidity - condemning your parents to an eternal coma because of Hook? That was SO wrong on so many level. (Altough, maybe that was her unconscius revenge for her parents’s decision that kept her in the World With No Magic when she was a child.)

But my favourite really, because it is so OUAT:

Regina finds a way to save Snow and David, everyone shares the curse (was I the only one who was annoyed they did not let her take the first sip, but Hook?), they are in Regina’s office.

And then David’s first words?

- “Emma! YOU WOKE US UP!”

those70scomics  asked:

How do you think season 4 would've gone had Eric been the one to have a serious (non-Donna) girlfriend while Donna remained unattached?

Well, I actually think Donna shouldn’t have dated anyone since her reasons for not accepting Eric’s promise ring was that she wanted to do so much more before having a bigger compromise. She felt like if being with Eric (and I asume, anyone else) was going to hold her from achiving all these things she dreamt of.

But Eric wanted to be in a relationship. He wasn’t interested in a future beyond a desire of finishing school and going to college (and we even get to see that he didn’t have a clue of what he was going to do with his future in later seasons). For him, a big deal in his life was to get the girl and he did. His error? Taking her for grounded.

I think a more in character Eric may have tried to date with odd results. He sort of tries in season 4, but everything always takes him back to Donna and how they are both just waiting for the other to give in. Which is sick and toxic, and shouldn’t had been this way. So, had he dated someone instead of Donna dating an asshole, I think he may have learned to respect Donna even more.

Because part of what makes Donna feel comfortable with Eric is the fact that they have know each other for a long time. She can understand where his internal sexism and self-dislike is coming from, she has seen it since they were kids. She tries to fight it and to help him, but both are young and are still learning not only to form their own opinions and ways of thinking, so her methods (and his) weren’t enough. At the end of the day this is a job he needs to do himself.

He dating another girl will not give him that past he has with Donna. This girl will have to be one hell of an observer and even more patient than Donna, because he was also really hurt by how things went down between him and his first love. Knowing Eric at that moment, he would probably keep comparing both girls and that’s not healthy.

Donna’s reaction to this is simple. She will be jealous, especially if things work out between Eric and his new girl. It may happen that she’ll be mean to her and everyone would notice. For this, I think Jackie would get in her side and be mean to the new girl too. While Hyde would try and talk her into understanding that she got what she wanted (freedom) and Eric what he did (a girl that may want the same as him).

I don’t see Eric getting into a relationship like Donna and Casey’s, mostly because that relationship was put to make Eric look like the only one for Donna, the only one that is good. In this case, that can be shown as him being in good terms with this girl. But eventually, I believe, his love for Donna will always win over anyone else in a romantic way.

But in case he got into a toxic relationship and he got a lapsus brutus like Donna’s in the show, that would be ugly to see. Because Eric’s worst part is horrible. He can be mean and rude, his sexism can become mysoginy and he can get– well, like when Pam appeared in season 6: unbelievable. Having Donna to reject him after, making him to go to runaway from his house for the summer with Kelso, may teach him a few things.

At the end, I think he may understand his bullshit has no justification and he needs to learn to respect Donna as a person, not only as his girlfriend and maybe future wife. As long as he can’t see her, and any other woman, as persons first, he’s lost.

ultima thule: character deaths

when i first read CoHF i was so shocked that Robert wasn’t killed off (there’s a huge list of reasons Robert was likely to be killed off); and then confused when he was killed off in LoS – I thought, wouldn’t CoHF have made more sense; have been neater? why LoS, when its main characters don’t have much of an emotional connection with Robert?

but now i get it. cassie needed to kill off Robert at a later date because she needed Robert to redeem himself (to a certain extent) – he shows compassion for Annabel; he is not judgemental about Julian and Emma’s situation and is hinted he recognises its echoes with his and Michael’s relationship; he shows that he’s accepted his son’s sexuality and respects his choice of spouse; he shows that, despite the fact that Alec is not very forthcoming, he is going to persist in trying to make amends. 

because of the fact that Robert is redeemed somewhat, his death is made all that much more effective (read: painful). if he had died in cohf, unredeemed, the adulterous husband and absent/homophobic father, lost in amongst plenty of other deaths, Robert’s death wouldn’t have had nearly as much impact, or been nearly as painful. now, we’re haunted by the idea of what Robert could have been, rather than glad that he’s out the way. so as it stands, robert’s death is the first of a double whammy – the sacrifice of the repentant sinner – and the sacrifice of the innocent with Livvy. 

as uncomfortable as i am with Livvy’s death (an awful strong whiff of woman-killed-for-manpain trope), i think it was necessary in the sense that, even at the end of the book, it’s obvious that Livvy still really fancies Kit (a lot of flirtatious body language) and this presents an obvious problem for kitty’s ensuing relationship going forward into twp (and there’s no way they’re gonna be straight-sailing, anyway). i’m pretty certain there’s already going to be a love triangle between jaime-dru-ash, but added into the mix another love triangle for our main characters, and one that opposes twins? it would have been too much. also, without killing off an actual child (re-running max’s death from CoG), Livvy is the perfect candidate for the death of an innocent who is very close in age to our protagonists. Livvy represents how easily it could have been Kit, or even Ty, that were the target of Annabel’s blade if they had not happened to be elsewhere. Livvy will be the martyr around which the blackthorns can rally themselves, or else, their cause for vengeance. 

9

I am her aunt, this is my gift to her. As God gifted me with my voice. Basically, I’m giving her a gift from God.

can i just say how much the revival has made me grateful for season 7. like, asp was going to have rory get pregnant at 22, which would have honestly been the most heartbreaking ending i could think of for rory- a major part of her characterization is that she didn’t want to end up like lorelai, yes she loves lorelai, yes she respects lorelai and appreciated all the sacrifices lorelai made for her, but she didn’t want the life lorelai had. lorelai is exactly where she’s supposed to be- in stars hollow, with the inn, with luke- but rory wanted more. rory wanted to be christiane amanpour, she wanted to travel, see the world, do things, which was a major part of her turning down logan’s proposal because she wanted a ‘wide open future’. how the hell would she have gotten that with a baby? that’s the  worst thing- like, you will become your parents whether you like it or not. and logan, too- he becomes mitchum, lives out his huntzberger preordained life, the life he desperately didn’t want, without even being told he has a child. at least in the revival rory is 32, she’s done stuff, she’s lived, but geez, that’s still a crappy ending for the girl who wanted to be christiane amanpour.

«Siendo las 4:30 a.m mi cabeza me hace mierda con tantas cosas, tantos recuerdos, tantas promesas sin cumplir, ¿por qué?, si yo ya estaba segura de que estaba mejor sin ti, pero creo que nunca se olvida al primer amor, con el que te enseño tantas cosas, no me gustaría cambiar el pasado, pero destino dame una manito, no quiero seguir mal, ahora que se que te fuiste solo me queda desearte las mejores de las suertes, eres una persona estupenda, al menos uno de los dos cumplio sus sueños, espero algun dia encontrarnos y poder conversar, muchas gracias, te quiero.»

no but can we talk of all these longing looks Tina gives to Grindelwald!Graves and the dude literally just rolls with it????? and like how he plays his role so well he actually goes out of his way to show some consideration to Tina and I mean look at his wretched face when he sentences Tina like why does Grindy show all this concern to Tina if not because the real Graves did?????

2

GET TO KNOW ME ⭐️ AESTHETICS MEME: 2/10 movies → Ex Machina

“One day the AIs are going to look back on us the same way we look at fossil skeletons on the plains of Africa: an upright ape living in dust with crude language and tools, all set for extinction.”

On the rooftop scene from Dead Reckoning

@potcpoi : Because this got super long (again) and I thought maybe it’s a good idea to put it into a post. And I’m so happy you mentioned this scene. I’d love to know your opinion about it!

I love that scene so much??? (Actually the whole episode. Every time I re watched it I got so emotional.) I love how it was toned, from the moment Kara showed up, as John’s past catching up, but was later redefined by Harold on the rooftop. Basically what happened to John’s life when Harold showed up, replayed in a condensed, different visual form. Harold was there, out of nowhere, standing between John and his upcoming death, and stopped the counting. I love that John chose to pull a gun, tbh. Not that I’ll ever believe John would shoot Harold or even threatening him, I love that because it gave us a Past!John, since John considered all that bomb thing was what “he deserved” because of his past. That’s the Past!John in John’s mind eyes. That’s how he viewed himself. Calm, not afraid of death, for the greater good (he told Harold about the hard drive like leaving an instruction to teammates), “pulling a gun” on cared ones for the latter’s good, because he didn’t deserve them and their help (like how he pushed Jessica away,) believing that in the end no one would come to save him. He stood there holding a gun, like he was saying: Look, this is me. All these messes were my past. You said you knew everything about me, but did you really know? If you did, then you’ll know it’s time to cut me loose. (And oh, I always believe what Kara said to John, “Fond as I am of you, John, don’t make me remind you just how expendable you are,” really dragged him back to the old shadows, and convinced him even more that there wouldn’t be anyone to save him, thus influenced his actions to an extent.)(Really, I felt so mad when Kara said that. It took a lot for someone held as hostage to try to turn the table using their own life as leverage. And she laughed at that because for her that didn’t matter.)

Yet, Harold on that rooftop changed everything. His words made John lowered his gun in seconds. John accepted his help. John became all unsettled, afraid, and breakable. I think if Harold weren’t there, John wouldn’t be that afraid. It’s hard to have loved ones watching you die. And, of course, John was afraid for Harold. John would trust Harold on almost everything, but did that include Harold’s own life? He was afraid Harold being the collateral damage when he was paying his debt. But Harold disapproved his view. “But this moment does (concern me.)” God, I love that line so much. Harold not only aware of John’s past, and accepted it. He even considered it was, due to their relationship and the fact that they shared every present with each other now, John’s past also concerned him. I think, to John, it’s more than unconditional acceptance, especially he was so convinced no one would love him once they knew what he had done (like his parallel in Foe.)

Also OMG Harold Finch. I love that I never know how far he would go. He went to the fire line to warn his newly hired agent, who hadn’t proved he’s trustworthy. He rushed to the parking lot when John told him to cut him loose. He climbed to the rooftop, an almost certain death, for a chance to save John from his past, again. He didn’t even disarm a bomb vest before! What he had were basic principles, and he might also have some trauma about bombs.

I love that in their probably last moments, John referred to what Harold said when they first met. Harold thought John meant his death, and told John that he preferred later. Harold thought he was the one eventually put John into this situation, since the whole job might cause CIA’s attention. But he didn’t know John wasn’t talking about his death, but about why he was alive. Harold Finch was the reason why John Reese was still alive. And the lines followed were Harold’s “It’s hard to say,” and John’s “Not really.” (My aesthetic of lines!!) Harold gave a rational answer, since it’s probability, and yet John gave his interpretation emotionally. There was no way that John would stand on this very spot without Harold Finch’s existence. And that’s not because Harold dragged him into the number saving mission, but because John was still alive, because Harold saved him. And that’s why he asked Harold to pick a winner. Death or alive, he didn’t even care, as long as Harold called it, even it’s his gut feeling. And Harold was terrified. The weight of this man’s life, and his absolute trust. Also, JC’s acting here was terrific. John was so “not-John,” and he was drowning in emotions. He couldn’t take his eyes away from Harold like otherwise he couldn’t breathe. After the bomb had been disarmed, he stared at Harold like the latter was the one who went back from death and he felt so grateful… to fate, destiny, or gods? Or whatever it might be called. For him the answer was always the same: Harold Finch. Harold picked the winner and saved them both.

Person Of Interest “.EXE” Review

I adored this ep! It moved forward the plot to take down SAM via the Ice 9 virus, but most of all, it was a character ep with some amazing moments between Harold and TM. In fact, this ep was dedicated to Harold and TM. It focused almost entirely on them and showed us how brilliantly the two of them worked together. It showed us a world where Harold decided not to build TM. It showed us the beginning of the end with TM being destroyed along with SAM. It showed Harold having to make that choice and how much he struggled with it. 

It showed us Harold and TM talking. After communicating via words on a screen for such a long time, watching Harold and TM in action interspersed by discussion about AUs, loss, choices, regrets and sacrifices was mesmerizing. Special shoutout to ME for absolutely blowing me away in this entire ep, but especially during the last 10 mins. He was amazing! 

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