narrative threads

just rick and morty things:

- when the episode bills itself as a self-contained, filler-style episode about atlantis but instead addresses the biggest and most compelling mysteries of the entire series, the citadel and evil morty

- when roiland, harmon and co face nigh insurmountable fan expectations for delivering on the narrative promises and payoffs associated with evil morty but yet pull it off and deliver in the most delicious way while setting up even higher stakes for the ultimate revelations to come

- when the FUCKING CALLBACK SONG COMES ON AND YOUR JAW DROPS AT THE ABSOLUTE MASTERY OF STORYTELLING AT WORK. like holy shit, all the 4? 5? narrative threads of this episode interweaving and aligning on one theme, each simultaneously playing up and subverting their respective narrative tropes in that familiar, delightful way this show does so well? that’s just a mastery of craft you don’t see very often, all building up to a final shot and final reveal that just satisfies. 

- when you know that it’s not “en vogue” to be this fucking enthusiastic about rick and morty anymore because some of the fans suck in a major way, but you don’t care?? because the show is still this goddamn excellent? fight me

anonymous asked:

ive always appreciated ur fandom discussions, but in this case, ur defense of the sup*rcorp fandom is misplaced. what the sup*rgirl cast did was unprofessional but u aren’t around 2 see how that fandom behaves. they aren’t ‘passionate’ theyr obsessive & terrifying. they’ve been harassing cast, writers, crew & press all season. its not advocacy its throwing a tantrum with threats & slurs. this isn't a response to ppl just shipping. the cast had no prob w/sup*rcat last year. what changed was fans

Do you really believe that your dislike for a ship fandom changes the narrative of my thread?

Are you trying to convince me that because certain people in a fandom are obnoxious that the mockery and ignorance being displayed in that video towards a non-canon queer ship is valid?

That the few people in that fandom who don’t know how to respect the line between fandom and actors means the entirety of that fandom (including the quiet folks, the folks who keep to themselves, the folks who freely share their art/stories, and the folks who are respectful despite whether or not you’ve witnessed that respect) is abusive?

Are you really going to sit here and tell me what I do and do not know about the pervasiveness of bullying and abuse across fandoms, both shipping and non?

“U aren’t around 2 see how that fandom behaves”?

Oh really? Please, tell me more about what I do and do not see.

Do you think that because I do not actively participate in a fandom or ship that I am ignorant to the dialogue that’s happening within it? Is my not ranting about something evidence that I know nothing about it?

You don’t know me as well as you think you know me if you thought you were coming into my Asks with real intel. I’ve been in fandom for over two decades, my friend. I shipped the OG non-canon relationship that set sail to the abbreviated word SHIP when it was still airing live, Friday nights at 9PM on FOX.

I know how fandom works. I know how fandom has changed. I have watched it change for more than twenty years.

If you think I don’t see folks crossing the line, throwing fits, invading people’s privacy, then you haven’t been paying that much attention. If you think that a Black woman in queer fandom has never seen a threat or a slur, the ignorance here is yours, not mine.

I’m glad you have appreciated my discussions in fandom until now but in this case, you’re allowing your personal bias against a ship overwhelm a very real and necessary discussion that I willing to have with or without your anonymous support.

This isn’t just about Supercorp. It’s about folks in entertainment not knowing how to interact with and within fandom. It’s about folks in entertainment constantly praising canon het ships (whose fandoms are just as if not more abusive for their pervasive homophobia) while sidelining, making a mockery of, and belittling queer ships.

It’s about people who want to call themselves allies, cite all their “gay” friends, and hashtag “Love Is Love” in June… but can’t see how their mockery of a subtext queer ship and a fandom full of queer folks perpetuates harm against queer ships and the very real queer people who enjoy them. Very real queer people, some whose only affirmation comes in the form of interactions with queer fandom.

Somehow Katie McGrath still manages to interact with this fandom just fine. (I see that often, do you see it?) Somehow, I know plenty of decent people in the Supercorp fandom, do you know them?

In your mind, this is the one and only ship in the whole entire entertainment world that has abusive people in it but no, I’m the one out of bounds?

Look, I’m going to tell you something. You can take it or leave it. I suggest you write it down.

Some people are just fucking rude.

Some people don’t know or care to respect boundaries.

Some people are stalkers, unabashedly.

Some people are racist.

And some people have the nerve to come into another person’s asks, presuming to know what that person does and does not know about fandom, while trying to silence their concerns based on something as ridiculous and inconsequential as a ship bias.

These people exist in all facets of our lives. They are everywhere. In everything. They even like the same things we like.

That doesn’t mean they have to represent us.

Your bias against Supercorp is not more important this conversation. I truly and honestly don’t give a fuck what you think about that fandom. I don’t give a fuck about shipping wars, period.

Queer folks are being made a mockery of and for some reason, in your mind, the existence of loud and heinous folks in a fandom is supposed to negate the validity of my concerns about how unprofessional and homophobic a show’s entire cast has presented itself to be?

Never mind my concerns about het fandoms using that mockery to further bully queer fandoms. Literally your only concern in this matter is that I have something to say about a show’s cast making a mockery of queer ships because YOU, center of the goddamn universe, have an issue with Supercorp?

I’m afraid this is one more discussion that you are not going to agree with me on, my friend. Because trust me when I say, I sure as fuck don’t give a shit what you think about what I have to say or which queer fandom is worthy of benefiting from it.

You can keep these trash ship war thoughts to your goddamn self.

All Along the Watchtower - 12x23 (and 12x22) and Circular Narrative Structure

An entity with yellow eyes enters a nursery:

1x01(Azaezel Prince of Hell over Sam’s crib)

and 12x23 (Jack the Nephilim, son of Lucifer and Kelly)

A woman dies in a nursery:

1x01 (Mary Winchester burns on the ceiling)

and 12x23 (Kelly Kline dies in a blaze of light giving birth to Jack)

Keep reading

anonymous asked:

If Katara had married Zuko she would've had a loving caring husband who would've treated her like a queen and would've treated their kids equally plus Katara would've been an ambassador in the Fire Nation and then Fire Lady, she would've had a huge political role and she would've used blood bending in so many good ways, she would've gotten a statue that she deserved so much, all this would've happened if she had married Zuko, but she didn't and I feel so so bad for her, it makes me so sad.

I don’t disagree with a single thing here, but I do want to address a misunderstanding that is likely to occur when non-shippers see this argument: the idea that Katara marrying Zuko would be a panacea for all the things that went wrong with her character in the post-A:TLA material.

Out of context, “Katara marrying Zuko would have made everything better” is only another way of Katara’s destiny hinging on who she is paired with romantically. So let’s talk for a moment about what we actually mean when we use that as a catch-all phrase for A:TLA’s improvement:

A return to the themes and symbolism that A:TLA espoused. As I explain here, a lot of the themes of A:TLA were subverted in order to make the canon pairings happen. If the creators didn’t force a romantic pairing between Aαng and Katara, her character would have been better served because motifs such as “choosing one’s own destiny” would have played out naturally through her development arc.

More creative control by A:TLA’s best writers. Bryke had no writing credits to their name prior to A:TLA, and a lot of the best writing work on the series was done by Aaron and Elizabeth Ehasz. These two had a special focus on Zuko, but they refused to succumb to the temptation of making Zuko the guy who just “gets” everything in the end because he’s the hero. Unlike Bryke’s favorite character, which leads nicely into …

The series would not have played favorites with Aαng. This is a major part of what annoys people with the A:TLA finale, and leads to further problems in Legend of Korra. Aαng is not allowed to go through the same soul-wrenching struggles as the rest of the characters. It’s not that he doesn’t suffer, or he doesn’t lose people, or that he isn’t conflicted. It’s that his core beliefs are never challenged in a way that makes them develop. In the show, it is reality that always bends to Aαng’s beliefs, instead of Aαng having to adapt his beliefs to reality. If you go back through A:TLA and compile a montage of all the times other people learn that Aαng was right and they were wrong, you would a) understand what I mean, and b) understand how damaging that is for a protagonist, the person you want in your show to change the most

Katara’s agency as a character. It’s safe to say that Aαng, in the context of romance, is detrimental to Katara’s agency as a character. We see this when side characters repeatedly encourage Aαng to pursue Katara “because you’re the Avatar”, even though they have never met Katara and have no idea what her opinion is on this romance thing, if she even has one. We see this again when Aαng kisses Katara without her consent and never apologizes for it or brings it up again. And we see it in the comics, where Katara’s ideals are Aαng’s ideals, they never have any conflicts, her feeling abandoned by him is portrayed as wrong, but her approval of Aαng’s potential murder of Zuko is right, her leaving it up to Aαng to decide whether the Four Nations should be forcibly separated is portrayed as right, and her old Water Tribe friends accuse her of having forgotten her homeland because she spends all her time with her boyfriend.        

Avoidance of black and white morality. One of A:TLA’s strengths as a show is that it portrays a complex world. There are lessons to be learned and characters with strong moral convictions, but there is rarely a sense of one set of principles being lauded over all the others. In fact, a sense of moral superiority without listening to other points of view, such as the Fire Nation has, proves to be highly destructive to the world at large. 

But when it comes to Kαtααng, this complexity falls by the wayside. Zuko the morally ambiguous deuteragonist is suddenly the “bad boy” who “doesn’t really care about [Katara]”, despite the fact that he risked his life for her in the finale. Arguably the most complex episode of the series, “The Southern Raiders”, is seen by Bryke (who did not write it) in purely good-vs-evil terms, with Aαng being the “angel” and Zuko being the “devil” on Katara’s shoulders, respectively. Oversimplification of morality is something that plagues Legend of Korra to a major extent, with the embodiment of that being “goodness” and “badness” personified in Vaatu and Raava during Book 2. (Notice, too, that Katara in LOK had bloodbending outlawed, instead of her embarking on a similar journey to Zuko in “The Firebending Masters”, where even seemingly destructive bending could be used to create life.) Black and white morality in LOK has its beginnings in the tail end of A:TLA, with the boy who could not be allowed to kill under any circumstances, and who is, quite literally, a Nice Guy.

Sokka: The number one mistake nice guys like you make: being too nice.

So, to translate: “all this would’ve happened if she had married Zuko” = “there is a natural narrative thread that would have culminated in Katara having a relationship with Zuko if it weren’t for the executive producers derailing it, and her character, for the sake of their own pet character who was in many ways a self-insert for them both.”


pattheanimator  asked:

Have you seen the animated short film "Mall 84"? If so, I'm curious what you think of it. Silly as it may have been, it kinda makes me mourn a time gone by, even though I was barely old enough to experience it. What's it like for someone who was a little more involved at the time?

I didn’t know about it until you mentioned it, so I just watched it. I loved it!

It’s described as a love letter to the 80s, and speaking as someone who came of age in that decade, it hit me squarely in the feels. I thought it captured the experience we all had, basically spending as much of our free time as possible in the mall. 

From a critical perspective, it’s objectively good, too. The animation and art style are beautiful, and it feels like there’s a narrative thread holding it all together, rather than just a collection of nostalgic images. 

Thanks for bringing this into my life! I’m glad I watched it.

For anyone who wants to see it: Mall 84 on Vimeo.

It Should Have Been Garth...

Narratively speaking, Garth was the one who should have been killed in 12x21, not Eileen.

Why? Because Eileen is human, whereas Garth is, since 9x12 Sharp Teeth, a werewolf, although he’s still a hunter and he doesn’t eat people. 

S12 has had such a strong theme running through it, woven into the BMOL vs Winchesters’ storyline, one which is spelled out for us in this exchange between Dean and Mick in 12x16 Ladies Drink Free:

MICK: “Killing monsters is what we do. Or maybe, palling around with demons and witches, you’ve forgotten…”

DEAN: “You thnk it’s that simple, huh?”

MICK: “I really do.”

DEAN: “Yeah? I used to think the same thing. Well, here’s a little tip. Things ain’t that black and white out here.” 

Dean then goes on to tell Mick the story of Magda (from 12x04 American Nightmare) and how despite the fact she was psychic and had killed people with her powers (without meaning to) they let her go and gave her a second chance, because, Dean says, “It was the right thing to do.”

Of course this is all a horrible irony for the audience, as we know what Dean doesn’t - that Ketch found and murdered Magda, cleaning up, from the BMOL perspective, a “Winchester mess”. 

This theme, of a clash between the Winchester brothers’ grey area perspective and the BMOL’s black-and-white view of the supernatural, has been tied throughout the season into another narrative thread of S12 - namely disinterring the Winchesters’ family psycho-drama, thanks to the return of Mary Winchester.

 In particular this has meant the haunting of the S12 narrative by the ghost of John Winchester, which the BMOL in fact exist to provide a parallel to - because John also had a very black and white view of the supernatural. This John/ BMOL parallel is made particularly evident by having BMOL assassin Ketch become Mary’s lover, just like John before him.

See the post below for more on the ghost of John Winchester: 

The John Winchester’s ghost theme is made explicit for the audience in 12x21 There’s Something About Mary, when Lady Toni taunts Mary by filling her in on John’s less than stellar parenting:

Lady Toni: “The drunken rages, the weeks of abandonment… child abuse, really.”

My point is, that the BMOL’s monster-genocide plans should have been enough, within the narrative, to get Sam and Dean to reject them. And that would have been logically underlined by the killing of their were-wolf friend, Garth.  

Making the BMOL additionally decide to exterminate all the American hunters, is a narrative cop-out. It dissipates the tension, carefully previously set up, between “all-monsters-are-bad” and “some-of-them-are-cool-and-our-friends”, perspectives. 

Hating the BMOL for killing Eileen and planning to kill Sam and Dean, is easy for the audience. It sinks Dabb’s attempt to make a successful subterranean parallel with Trump’s America, which would have been much better served by making the audience realise (along with Sam and Dean) that the BMOL’s desire to exterminate every member of a group for being different (even if they are “monsters”) is inherently morally wrong.  

John Winchester himself would have been outraged by Eileen’s death and by the BMOL’s kill order on American hunters. On the other hand, the BMOL murder of were-wolf Garth? Probably not so much.

So, quite apart from the way Eileen was killed, tossing her away disrespectfully in the cold open of 12x21: 

her death, as the reason Sam and Dean wise-up and stop working with the BMOL undermines the narrative structure of the entire season. It pulls the punch.

Sorry Garth, but it should have been you who got made into Hell-hound chow. 

4.5/5 Stars.

Wow, what a cool read this was. It begins with a house in upstate New York in 2005. The couple living there is brutally murdered; only their young daughter survives. The crime remains unsolved.

Inhabiting the house is an omnipresent Observer—somewhat of a ghost—who, from that point forward, will follow (or dictate?) the narrative thread that links the house to the people connected with it.

Following a decade of vacancy, a new family moves into the house: a philandering man-child husband, his novelist wife who suspects her cancer may have returned, and their precocious 12-year-old daughter. Whether they know it or not, the very act of moving into this house has inserted them into the house’s narrative, and the consequences will be beyond their control.

The use of the omnipresent third-person Observer helping to narrate the story provides us, the readers, with a sort of godly knowledge of the characters and the ways their lives will intersect. We see the simmering tensions, the secrets they keep from one other, the impending doom. This is not a fast-paced psychological thriller, but a clever and slow-burning domestic drama with the fatalism of a Greek tragedy.

Lennon’s writing is cerebral and metaphysical, exploring the nature of cause and effect, the line between existential randomness and predetermined outcomes. How much control do we possess over our own lives, limited beings that we are? Are we all just part of a meaningless and fatalistic narrative? Does any of it even matter?

Mirror Mirror AU

My Other AUs


Star Trek Quotes

Literature Quotes

Song Lyrics

Quotes from tumblr

Quotes from other Popculture


So…after it happened now twice that I saw a set on my dashboard I didn’t recognize only to find out it was one of mine, I decided to make a masterpost in order not to lose track. I hope I sourced all the quotes correctly. 

On my way home from work I was thinking about Sherlock and how much of what I loved about it was trying to piece together clues from the show, whether in subtext or set design or dialogue.  I loved reading and analysing and writing meta.  It was like we were detectives too and the game was on.  

And then season 4 happened and everything became meaningless.  Nothing we thought was important actually was and all those narrative threads we’d been following through the seasons had been severed.  Why should we care about a show when so little thought was put into its continuation?  Why would we support it by purchasing DVDs or tickets to conventions when fans have been disregarded so completely?  

I’ve felt adrift these last few months (which might sound rather dramatic as it’s just a TV show, but it’s true).  Adrift and sad and angry about the fact that a show I once loved no longer plays a role in my life.

I’ll always have fandom, and for that I am thankful, but my experience of the show has forever been changed. 

lotus-of-light  asked:

Eyyy I thought of something! Would you be ok writing a shidge (ABO) with a size difference kink? <3 tysm

yeah, i could not find the narrative thread but here are two loosely connected blurbs for you @lotus-of-light hope you enjoy!

Title: there are two kinds of people in this world 

Pairing: Shidge

Rated: Mature 

*nsfw under the cut*

Shiro woke to a face full of apricot colored hair and a bare freckled shoulder tucked under his chin and the bone deep satisfaction that came with great sex, a good night’s sleep and the soft snores of his mate.

His mate.  

Just thinking the word still made something in him glow with warm, incandescent happiness even though they’d been bonded for the better part of an Altean pheeb. He’d thought he’d never get to have this but he’d wanted it for what seemed like forever.

He snuggled in a little closer.

Pidge would probably shank him with a rusty spoon if he said anything too shmoopy about it but he loved how tiny her frame was. He loved that he could wrap his entire body around her. He loved how sleek and compact her muscles were. Loved how easy it was to lift her. And how as a couple they tended to linger making-out in the castle stairwells where they could reverse their height difference. And how every hug was necessarily a full-fledged affair. No weak little side-arm hugs here. No sir.

He loved how his t-shirts slid off her bare freckled shoulders when she wore them to bed and how she insisted that his sweatshirts were more comfortable even after she had to cuff the sleeves three times just to use her hands.

He loved how fierce she was, how she turned her smaller size into an advantage. How she was lightning quick, adaptable, flexible and hit like a mack truck. How she took shameless tactical advantage of the way opponents underestimated her.

And he was honoured that she trusted him to protect her. That she, with all her fierce independence, was willing to let him put himself between her and the rest of the world. That she was willing to let him cherish her body on the days where she hated that she needed an organic vessel for her beautiful, impossible mind.

He loved that he could trust her to do the same for him.

Really he just loved her, and had for a very long time now.

Keep reading

fietje07  asked:

Drabble challenge Sherlolly. Can I have #12, 44 and 67? Thanks a million

List is here. This is the last one in my drafts, one less set of prompts to fill, huzzah!

12. “I’m pregnant.”

44.  “Well that’s the second biggest news I’ve heard all day.”

67.  “You’re strong, baby. You have to be.”

A Life Backwards  

It was their favorite story, the one about themselves - all the hows and whys and wheres of their earliest existence (less the bit about how they were conceived - no matter how inquisitive, mature-for-their-age and intelligent the Holmes twins were, that was one story neither parent woud ever tell and one they actually had no interest in hearing). Best of all was how both Mum and Dad had their own ways of telling it, so that even though it was the same in the facts, it was endlessly changing in the details.

Especially once Dad started challenging them to ask for it in different ways and not just as a straight retelling.

“Tell it in sign language,” Hamish and Hester chorused once when they were three. “Tell it in French,” the demanded when they were four and bored. “Tell it on paper in the Dancing Men code” had been their request at five. And now, at six, it was “Tell it backward.”

Molly settled on the sofa next to her husband, holding baby Gregory and smiling, just as interested to hear this version as the twins were. He laid an arm across her shoulder, kissed Gregory’s head (cauinsg the baby’s forehead to wrinkle up and his little lips to purse, even in his sleep), and pretended to go into his mind palace to rearrange the facts.

“Your mother asked me how you both looked, since the nurse and doctor had bustled you off to drain out the mucus you’d decided to hoard in your lungs,” he began, eyes sparkling. “I, being utterly in control as always…” Here he widened his eyes in mock-innocence while wife and sprogs giggled. “…blurted out the first thing that came to mind.”

“He said you looked like a couple of turnips,” Molly supplied helpfully. It was hardly spoiling things when the story’d been told so many times.

“Nasty old wrinkly turnips,” Hamish added gleefully from where he was sprawled out on the carpet. He elbowed his sister. “She did, anyway, cause she’s ancient compared to me.”

Hester was three minutes older than he was and never misssed a chance to remind him of that. Just as he never missed a chance to prod her about being an old lady. Ah, the joys of siblinghood.

“Yup, turnips,” Sherlock replied equably. “Purple, moldy-looking turnips that had been kept in the vegetable drawer too long. But,” he added with a dramatic sigh, “your mother said we couldn’t let you cook a bit longer.”

Molly nodded. “Right, there was absolutely no putting you back, not after all the work I’d done!”

Sherlock gave her a doting look. “When she was still having a hard time ejecting you, stubborn brats that you were, I looked into her eyes, let her squeeze the sh…crap out of my hand and forever ruin my chances as a concert violinist, and for the first time ever used a ridiculously sentimental pet name for her. And do you know what I said?” He peered over at the twins questioningly.

You’re strong, baby. You have to be,” they chorused, rolling their eyes. 

“Glad you don’t do that anymore,” Hester added. “It’s silly.”

“And so it is,” Sherlock agreed. “Luckily your mother thought so too because she just giggled a bit, for the first time in fourteen hours, thirty-one minutes. Give or take a few seconds.”

He skimmed over the next (previous?) bits about arriving at hospital and calling Uncle John and Aunt Mary, zeroing in on what he knew was one of the twins’ favorite parts - when Molly had announced oh-so-calmly that she’d been in labor the entire day and night he’d been off chasing a jewel thief through the rooftops of London. “I came home after my triumphant capture of Julian ‘Jools’ Voleur to find your mother packing her overnight bag. I was so caught up in the excitement of the chase–”

“And so loopy from lack of sleep,” Molly interjected in a stage whisper.

“–that I missed the obvious signs of what was happening right in front of me,” Sherlock continued, not missing a beat. “Which meant I was doing what?”

“Seeing but not observing!” the twins responded with wide grins. They high-fived one another before settling back onto their elbows.

“Exactly.” Sherlock nodded his approval. “I was seeing but not observing. I burst into the house, coat flaring dramatically behind me, unwinding my scarf and not stumbling over Toby II as I began explaining how I’d captured the idiot when he jumped onto what he thought was a solid roof but turned out to be a very dirty skylight, thus crashing into the parlor of Sir George Westingham and landing on that very man’s very startled - and very, very angry - financial advisor. I had just got to the good bit, where I acrobatically and gracefully swooped into the room, cuffs in one hand and mobile in the other to call Uncle Greg, when your mother stopped me with her hand over my mouth.”

“Oh, weren’t you put out by that!” Molly reminisced with a giggle. “The glares your father was giving me!” To show no hard feelings, she leaned over and kissed the tip of his nose.

“And that’s when she said it,” Sherlock declared, after returning the kiss. “She has a real way with words when she wants to, your mother. ‘Well that’s the second biggest news I’ve heard all day,’ she said to me, and that’s when I stopped seeing and started observing…and dashed the three of you off to the hospital.”

Next he talked about measuring Molly’s tummy, about researching the latest trends in child-rearing strategies (useless, all of them) and finally being forced to ask Uncle John for advice (even more useless), and all the rest until there was only one thing left to tell.

The twins sat up, leaning forward with their hands on their knees in anticipation of what - sometimes, depending on their mood - was their favorite part of the whole story. 

“So,” Sherlock said, clapping his hands on his lap and making as if to stand up. “That’s all the best bits, time for bed, I think.”

“No! Dad! You have to tell the part with Mum and how she told you about us!”

He tilted his head to one side in faux-confusion. “The what, the who, the where, the why, the how?”

Molly scooted over, giggling quietly as she waited for what was sure to happen next. Right on schedule the twins scrambled to their feet and rushed over to their father, clambering up onto the sofa and from there to his lap, demanding that he tell them the best part, right now, it wasn’t fair if he skipped it until finally, laughingly, he ceded the point. “Very well, then. If you insist.”

He sat with an arm around either of them, lowering his voice in a conspiratorial whisper. “Your mum and I had just admitted, for the first time out loud and in front of witnesses, that we loved one another. Other crazy things were happening at the time–” They hadn’t yet told the twins more than the bare facts of their Aunt Eurus’ existance and had no plans to disclose that truth for a few more years– “so as soon as I could I rushed over here to explain to your mum that I wasn’t trying to hurt her.”

He turned to look at Molly with such a tender expression of love in his eyes that her breath caught. He could still make her heart flutter, and make her lady-bits do something quite similar, and her return smile promised all sorts of lovely possibilities after the children were in bed. “I knew he hadn’t meant it that way,” Molly replied, just as quietly - and, had she been able to observe herself from the outside, with quite the same tender expression in her eyes. “I knew it wasn’t meant to hurt me or for an experiment or a case, once I’d had a chance to think it over.”

“And I confirmed that belief, showed her that her faith in me was justified,” Sherlock said, taking up the reverse-narrative thread once again. “I came into her flat and I apologized and I explained about how she’d been threatened and how we’d both been forced to confess such a wonderful secret under such awful circumstances. I even told her that Uncle John and Uncle Mycroft had heard the whole thing, and asked her again to forgive me.”

“And then?” Hester prompted when he fell silent, losing himself in his wife’s loving gaze.

“And then,” he concluded, “she said the most wonderful thing to me. She said…”

I’m pregnant,” he, Molly and the twins chorused.

And their lives had never been the same from that moment on…in the best way possible.

Jonsa in 1x02, and Crushed Dreams

In this episode we see Jon and Sansa departing on their separate journeys. They are filled with a lot of hope even though there is sadness in this departure and their brother Bran is still comatose.

Originally posted by miss-oreily

They share a similar narrative thread in that Jon truly believed his future in the Night’s Watch would be heroic – just like the stories. He sees the world as a series of archetypes, and he believes he is going to be that hero.

Sansa also believed her future in the South would be that of a romance – just like the stories. She sees herself as the princess archetype.

Originally posted by branssummer

However, we see that their futures are much bleaker than that. They haven’t even reached their destination, and already their dreams have been crushed. Jon learns the Night Watch is a den of thieves and rapists, and is actually viewed very negatively because of that. You can just see in his eyes that he isn’t going to be that hero he wanted to be.

Sansa is witness to her Prince becoming a monster and the Queen acting in vengeance. She thought that she was playing the role of a princess, and is thrilled when Joffrey calls her that, but then he attacks Mycah and threatens Arya. Sansa calls out that they are both ruining everything, and later her direwolf is executed. She realizes that she isn’t in a story anymore – at least not a happy one.

Originally posted by ryanranalds

This is heavily emphasized between these two characters, and only these two characters. Ned always knew the world was dark, and Catelyn tries to reclaim Stark control of the situation. Arya has a loss, but not a loss of her self-concept (she never has this, that’s why she couldn’t become no one). And Daenerys? She changes the game for her marriage.

As viewer, we are supposed to see this and feel for Jon and Sansa, because even though their dreams aren’t realistic, we still think that people deserve to experience them.

But what I also think is that this episode puts Jonsa into a more narrative parallel. We are supposed to see Jon as the unlikely hero going forward because as a protagonist that is what he must become. For Sansa, we see her as a princess, but one who is now locked into a tower at the mercy of a great enemy.

Originally posted by baelerion

And remember everyone: the hero saves the princess.

Also, I’m not kidding guys. I’m writing a jonsa meta for every possible episode.

laralaralara  asked:


I didn’t mean to stay up late reading it but by the time I realized there was a reveal imminent it was like 2AM and I was IN IT.

Here are some thoughts:

Simon Spier is a super wonderful protagonist; Becky Albertalli did a really interesting thing in not making him exceptional, like, he’s in the play but he’s not the star, he doesn’t even have a speaking part. He’s friends with Cool Kids but he’s not necessarily a cool kid. He’s funny but he’s not The Funniest Kid in Class. He’s not exceptional but he’s remarkable in that he’s just himself, and he’s very thoughtful and curious about what that means, and I liked that so much. I loved that there was that narrative thread about how he’s still figuring out how to be Simon and how to do that when life wants you to put you in boxes. And how that works when your parents are great but they’re also parents. 

The dynamics of his friend group were so painfully real and high school to me–like, Leah? WHO HAS NOT BEEN LEAH. Lunch table protocols, who goes where with who and the little competitions and jealousies and insecurities. It’s so real.

Epistolary teenagers, my heart was aflutter. (Although I’m not sure Albertalli understands how tumblr works.) I really liked how she used that device and how you could tell that as much as they were writing to each other they were also using it to work things out for themselves, and I loved that we didn’t get every single exchange. And it was also, just, like, SUPER ROMANTIC. Super romantic. 

My favorite thing about it didn’t really coalesce until the very end, which was this feeling like every major character in Simon’s life was the protagonist of their own novel. While Simon is going through all this stuff, his friends and his sisters are all going through their own stuff, and where it rises to the surface for him is where it all intersects, but for the most part, there are these pockets of untold stories taking place alongside his. Nora’s living her own protagonist’s arc, and Abby and Nick and Leah are in another novel, and Martin’s another narrative–all of the most important people in Simon’s set have these stories taking place, and while that’s true to an extent in most novels, I really responded to the way it was done in this one because it felt like it tied into that same idea of boxes and identity and being allowed to be yourself in different ways. Like it’s not that Simon doesn’t notice these other novels taking place, but they’re not his, and he’s not going to frame them as the narrator, he’s only got his one piece of the story he can tell. Nora and Alice and Martin and Abby’s stories aren’t less important because they’re happening off to the side, they’re just not the narrative we’re party to. It was just a warm feeling I had at the end that everyone has their version of Simon’s becoming narrative and they’re all different and complicated and weird and full whether or not we’re reading them.

And whether or not I had the ending pegged, it was still really romantic and satisfying and sweet.

anonymous asked:

I find it funny that the whole point of going Low Chaos in Dishonored 1, was to be a good influence to Emily. Cause, if you go High Chaos, well she ain't that sweet little girl anymore. Kinda wished that data transfer was a thing in Dishonored 2, so you can see how things are affected, kinda like Bioware's options with Dragon Age (transfer data, or go with an established canon if didn't have the previous games).

[partially in reference to this post]

I find it funny that Dishonored gave us so much choice in the first game to decide exactly what happens to everyone, and then DH2 reset everything so that there would be a single jumping-off point for the narrative of Emily taking back her throne. 

I too would have been interested in a DH2 that operates on a save file transfer (I joked about it in passing here). I suspect the devs didn’t do it for two main reasons. 

  • Firstly, Dishonored has its details and lore stored in more separate, contained places, such as audiographs, newspapers, and journals. So it may have been more work to implement changing variables such as Campbell’s fate, Curnow’s fate, the Pendleton twins’ fate, Lady Boyle’s fate, The Lord Regent’s fate, etc, plus overall high/low chaos (all those characters for example don’t actually show up in DH2 so their fate if mentioned would only be a footnote or a single sentence in one or more books). Mass Effect on the other hand puts those details in dialogue, intros and outros.
  • Secondly, the feel of the Dishonored franchise is different - Mass Effect is set in the future and has pages of lore in its Codex that you can read at your leisure, whereas Dishonored is an alternate reality setting where you learn about your surroundings from your surroundings. For example you don’t learn too much about details that don’t concern you in Dishonored; but in Mass Effect, despite never having to engage in full space combat, there exsit multiple Codex entries on how the human navy has adapted to very suddently meeting a whole galaxy of aliens. The feeling of immersion is different.

I understand what you’re saying and it would have been incredibly immersive to start finish DH1 on high chaos, start Dishonored 2, import your save file and find out that the Crown Killer is plausible and Emily is losing support, not only because Ramsey, Delilah and the Duke have a much keener grasp of politics than the Child Empress or her Royal Protector, but also because she’s a freaking dictator. Like you log on, Corvo says “the Ramseys are getting uppity” and your response is “We’ll have to show them our commitment to keeping the throne. Torch the eastern end of Market Street, but don’t make it too obvious.” Thus (just like Mass Effect) you’d need at least two playthroughs of the franchise to appreciate (say) 75% of the content of the main narrative in both high and low chaos, akin to a full Paragon or Renegade playthrough. 

  • If DH2 had featured a storyline where Corvo remained on the Dreadful Wale but crippled by Delilah’s attack, you could introduce yet another level of complexity by having him realise the mistake he made in carving a bloody swathe through Dunwall fifteen years ago, and have him try to convince Emily to go low chaos while she still can. 

As a quite separate point, it’s annoying we have closure for the rest of the loyalists - Piero, Cecelia, Callista - from the first game. Because there is one argument that can be made for having a new set of characters (Meagan, Hypatia, Stilon, -cough- old man Sokolov -cough-) and a new set of interactions to show how DH2 has progressed in time from the first game; but a counter-argument could be made for the Dishonored franchise being as tightly-bound and personal as Mass Effect, so that we would expect to have closure for supporting characters if so many main characters (Delilah, Daud, Billie) return for the second game. Supporting the former argument is the fact that DH2 is really Emily’s story, not Corvo’s, so unlike Mass Effect where Shepard is the main & player character throughout, there is a handing-over effect.

  • However if we consider DOTO, it seems that the story that it was most important we hear about, before the studio takes a break from the Dishonored franchise, was how Daud and Billie made the Outsider pay for his involvement in spreading chaos and leading to the death of Jessamine Kaldwn. And this is strange because it would seem to imply that we SHOULD treat the three games like a closely-linked intertwined narrative despite so many threads from the first game being left hanging or done away with so quickly.

I wrote previously about how it wouldn’t be hard to include the canon fates of the important characters in-game at the start of DH2 e.g. by putting a general history book near the path of the player during the first mission, that you can read to say “Lord Corvo dealt with the Pendletons X way and dealt with Daud in Y way” instead of clunkily announcing in interviews and publicity  that Low Chaos is canon, but so is killing off one or two key characters for no apparent reason. It’s one of the good AND bad things about Dishonored, that you get so much choice and you can carve out your own story, but that gets reset with each new game to a “standard” narrative. I understand that some people are always going to ask about what is canon instead of waiting for the folowing game to come out, but I just thought that including it in a book in the game would be an elegant solution.

Ultimately I think that the comparison between Mass Effect and Dishonored comes down to (on a story level) Mass Effect being planned as trilogy from the very beginning while Dishonored wasn’t; and (on a gameplay level) Mass Effect being envisioned as cinematic and having very strong role-playing ability while Dishonored being a stealth game with very strong emergent gameplay. 

Mindfulness Embraces Suffering

‘The aim of mindfulness is to know suffering fully. It entails paying calm, unflinching attention to whatever impacts the organism, be it the song of a lark or the scream of a child, the bubbling of a playful idea or a twinge in the lower back. You attend not just to the outward stimuli themselves, but equally to your inward reactions to them. You do not condemn what you see as your failings or applaud what you regard as success. You notice things come, you notice them go. Over time, the practice becomes less a self-conscious exercise in meditation done at fixed periods each day and more a sensibility that infuses one’s awareness at all times.

Mindfulness can have a sobering effect on the restless, jittery psyche. The stiller and more focused it becomes, the more I am able to peer into the sources of my febrile reactivity, to catch the first stirring of hatred before it overwhelms me with loathing and spite, to observe with ironic detachment the conceited babbling of the ego, to notice at its inception the self-determining story that could tip me into depression.

And I am not the only one that suffers. You suffer too. Every sentient creature suffers. When my self is no longer the all-consuming preoccupation it once was, when I see it as one narrative thread among myriad others, when I understand it to be as contingent and transient as anything else, then the barrier that separates “me” from “not me” begins to crumble. The conviction of being a closed cell of self is not only delusive but anesthetic. It numbs me to the suffering of the world. To embrace suffering culminates in greater empathy, the capacity to feel what it is like for the other to suffer, which is the ground for unsentimental compassion and love.’

- Stephen Batchelor, Confession of a Buddhist Atheist.

like y’all know EXACTLY what it was like being an isolated and lonely teen whose nearest and dearest friends were internet friends and there’s just something so humblingly honest about the beta kids relationship in homestuck and tbqh its a very important narrative thread to me so im sad it never got the closure it warranted 

anonymous asked:

I was thinking about how currently Dean and Cas are living in the third part of a romcom or a movie where something is obviously going to happen between two characters but things just keep getting in the way. Pretty much they're at the "big gesture" - running to the airport to stop the other from getting on a plane etc. - part. And then I remembered the chart you and other blogs have spoken about and how this is pretty much what is happening


I so enjoyed making these because I’m a super visual person and the concept in my head is nothing compared to writing it down or turning it into a picture or a chart:

Romance Narrative:

Personal growth in a romance narrative (Dean = green, Cas = blue) :

So, I was talking to an English Literature teacher and we were discussing how Supernatural appears to us to be a drama masquerading as a horror show, how the core of the show is the story of the two brothers and it is set to a backdrop of monsters so there is the main narrative which is a drama and then separate narratives alongside it, which link into it, which are horror and romance for example here.

I then though about Pride and Prejudice and Zombies as a good example of this, where it has a narrative of both, but really it is a romance set to a backdrop of the zombie story. 

So, SPN for me is not a romance story of course, but it is mainly a drama which has romance and horror as components that build towards the main drama narrative.

Then when you look at Dean and Cas in particular, their story and the way they interact, it is, for me, absolutely set up as a romance narrative, it’s the romance thread in the show and their story together is written along the ‘rules’ of a romance narrative and uses romance tropes to further it and make it obvious that that is what they are doing (though, SPN, a little more obvious please, for the GA).

So yeah, that’s why I felt a break up point was likely coming, a separation and that it would be more extreme than any other time it’s happened and of course we got Dean finally getting to the point that he can be emotionally open and then Cas immediately dying, not just dying but being stabbed right in front of his face as he screams NOOOOO and collapses to his knees.

It’s a pretty black moment and I love it :D

On to the next part - winning him back :)

anonymous asked:

Hi! I havent read anything about this, so maybe its nuts but... What if Cas's soul is in hell? Cas was human once, so that means he had a soul, right? The angel part of him is gone, but his human part is either in heaven or hell. But, since Cas killed a reaper, I dont think anyone would want him in heaven. And since Hell doesnt have anyone on charge since both Lucifer and Crowley are gone, maybe Michael gets to leave the cage too. Maybe he is a part of getting Cas out of hell.

Hello Nonny!

This is an interesting ask - I thank you!

I’m just going to say that the brothers ended up in Heaven in spite of all their crap, so I doubt Cas killing a reaper is going to land him in Hell, tbh. Now, the fact that he has a soul, however, leaves us with a bit of a snag, and another loophole for the writers when it comes to the how in the question of Cas’ return. 

I wrote yesterday about the possibility of baby Nephi’s grace lingering in Cas and reviving him, which would leave us with a miracle, one that I feel was so nicely foreshadowed in 12x19, when Cas used that very word as he smoked Dagon, but I didn’t take his soul into account, not really.

So let’s take it into account now.

*gets comfortable* *I live for this sh*t*

Originally posted by rickdixonandthefandomlifeposts

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