anonymous asked:

Honestly when I saw the picture of Dean looking up at Cas next episode, the first thing I thought about was Dean looking up and seeing Cas when he came to save him from hell. Maybe it was something with the lights or with Dean's expression, I don't know, but that's the first thing I thought about and I was reminded how incomprehensible Cas must have seemed to Dean at the time... It's such a romantic and heroic story

I know what you mean, but given that Dean doesn’t remember it, it’s hard for me to think of that part of their relationship as romantic… but yeah incomprehensible would definitely be it if he remembered!!

You know what IS romantic though and a standard trope in romances? (And I can’t help but think of all the times that balcony and those stairs are associated with Cas, even when the brothers come down the stairs talking about him…).

1. The Romeo and Juliet Balcony / Lovers trope.

Annnnnnd I’m gonna leave this one right here for fun too :)

2. The lovers gaze up trope in a range of other forums.

Originally posted by joleenalice

Originally posted by gifthesilverscreen

3. The lover’s gaze up in SPN, but let’s be fair you know, I’m sure they aren’t aware and this is a total accident.

Bela & Dean

Originally posted by castielamigos

Dean & Cas

Originally posted by inacatastrophicmind

Cas & Dean

Originally posted by itsdeanwinchesterr

DEAN & CAS 12x19

Originally posted by yourfavoritedirector

Originally posted by postmodernmulticoloredcloak

So, umm…..

Originally posted by heda-leksa

I have to say, I really love the balloon squad and their shenanigans. Like they remind me of my brothers and their friends when we were all in college. Incredibly silly kids doing and saying stupid things. Their physical affection is casual and shows how close they are. They do everything together and spend their weekends just hanging out at the Bakkoush household doing dumb things. 

Like it’s just refreshing to see young Muslim boys be allowed to be carefree and harmless. While also serving the sobering reminder that just their name alone is a reason why it’s so difficult to get a job. Like, it’s delivered in the context of a fun video but it isn’t sugarcoated either so it hits home. 

taz fandom on reddit: and they messed up this in the episode, and they broke these 4 rules. it was hard to listen to because of this tbh. also one of thb totally couldve done this and forgot about this thing that they bought from the fantasy costco, so theyre really not maximizing their potential in battle and-

taz fandom on tumblr: and that fucking line lup said then? incredible! oh man what a good ep

Time Will be VERY KIND to The Last Guardian.

I live in a house with a couple roommates, and one of those roommates has a pit bull. The pit bull, like all animals, has a mind of it’s own. It can be hard to get the pit bull to do what I want it to do. It can be hard to get a lot of animals (or people) to do what you want them to do.

NPCs in video games aren’t animals. Behind the graphics, they are weird math problems, and the controller is a weird calculator. If you can give them a certain value they will provide a certain result. Provide an undead Nazi dragon with the value of a chainsaw bazooka blast and it will provide you the result of dying.

The Last Guardian makes bold decisions that create a mind blowing illusion: Trico doesn’t feel like a math problem. When you play the game it feels like Trico has a mind of its own. Your actions, the values you provide, don’t seem to yield consistent results from Trico. Trico doesn’t feel like a party member to command or an item to be used; it feels like Trico is an animal. It’s infuriating when Trico won’t listen. Animals in real life can be infuriating.

But, when Trico shows it cares about you it feels real. It doesn’t feel like you provided the right values; it feels like you provided time and effort. When you and Trico are successful it doesn’t feel like winning at a video game; feels like a friendship. I know all I’m doing is providing values to the math problem that is Trico. I know that it’s an incredibly complex math problem, and it changes based on where Trico is in the game world, but it feels like bonding with an animal.

People have certain expectations from video games. The Last Guardian doesn’t fulfill many of those expectation. Primarily, it doesn’t provide short term satisfaction. People didn’t know what to expect when this game came out, and they didn’t know how to talk about it. It’s not a puzzle game, an action game, or a platformer. It’s a pet simulator, and it’s the first of its kind.

When Dark Souls came out it didn’t necessarily seem like the greatest game of a generation (I think it’s definitely up there). Dark Souls used its difficulty and cryptic nature to hide that it was math problem, and it created the illusion of a great terrifying journey. Immersion in this illusion had a cost; you needed to spend a lot of time playing the game.

The Last Guardian is the same way. Once you’ve spent enough time playing the game, and you know how to approach it, the illusion is breath taking. In the years to come people will talk about The Last Guardian in a different way, and the people who play it latter will know how to approach it. Time will be very kind to The Last Guardian.

Side note: I’m writing a lot on Tumblr, and I’m working on a novel. If you’d like to keep up with me follow this blog. I appreciate all the support I’m getting from this community.

Thanks, Jo


9x04 “Slumber Party”
On Real Life vs. Fiction and Strong Female Characters

Posted as part of the Series “Of Blood, Bone and Darkness”:
A Carver Era Rewatch Hiatus Meta-Series

In an earlier meta part to this episode I talked about how one could read the Wicked Witch as an Amara parallel. That is not the only possible mirror character for Amara though. Dorothy too can be seen as  an Amara parallel imo. And I find this moment here, right after Dorothy tells Charlie that she died and was brought back, very fitting in this regard. Throughout the episode Dorothy talks about her father and his writings “as the ravings of a sad old man” and multiple times breaks down the fourth wall when she tells the true story of Oz opposed to the “watered down” or rather “more family friendly” version of her father’s books. And even though she doesn’t think very highly of her “old man” and his books it turns out that as Charlie puts it “he left clues for her in the books” to use to her advantage in the fight for Oz. This not only is a direct parallel to the Winchesters’ story and how their father left clues for them in his journal, moreover one can also put Chuck and his writing about the Winchesters into the equation as well as the the bible and the tablets he had Metatron write down. At the end of the episode that parallel is even head on explored when Dorothy tells Sam “that he has no idea how weird it is to have a series of books written about yourself” to which Sam just deadpans and says probably one of the most important lines that I think the characters yet have to really act upon and move from possibility to reality. Because what Sam says is this:

“But at the end of the day, this is our story, so we get to write it.“

And this aspect actually brings me to the parallel existing here between Amara and Dorothy and the Wicked Witch. As Dorothy notes after Charlie learnt that she died (Charlie as the Dean parallel, who would later return from Oz being split in two and that also serving as one of the biggest mirror episodes to Dean’s entire MoC arc, this very Charlie dies in the episode and not anywhere, but inside Dean’s room and she is resurrected (much like Prometheus’ son is put down in Dean’s bed when dead and comes back to life in his bed too - see meta here) when laying on Dean’s bed (the same bed in which Dean at the end of the season would rise from the dead). As pointed out in the earlier part Amara and the Wicked Witch can be loosely seen as mirrors. Amara, who was described as a “femme fatale wtih an acid tongue“, who was the original mark, who was one with Dean, who while bearing the mark served as lock and key to keep her sealed away. Likewise Dorothy - as she couldn’t find a way to kill the Wicked Witch cut out the Wicked Witch’s tongue and performed a binding spell that trapped the Wicked Witch and her away for eternity (which imo is still the scenario in which S11 was originally meant to end: with Dean sealing himself away with Amara in the Empty), until the Winchesters came along and when the Wicked Witch was freed she picked up where she left off, she looked for a key to be able to get her army into the real world and shape it to her liking.

This all imo feels very very similar and comparable to Amara after eons being released and wanting to seek revenge on what her brother did to her and reshape his creation to her liking - after all much like Dorothy couldn’t find a way to kill the Wicked Witch, Chuck couldn’t and didn’t want to kill his sister and so simply locked her away for eternity.

And this is where Dorothy’s line from above imo connects the character with Amara. I have written multiple times about it during S11 how S11 with the introduction of Amara as a female force in many ways was making a direct comment on the treatment of women throughout the decades in which they were simply erased from history. Imo S11 was a very feminist season (and I know many will flatout hate me saying this and hate me for stating it, but that’s simply how I saw the season) Amara was erased from the entire story of the world, Dorothy was stylized to be the typical girly girl cause that fit the time better in which her father published the books. Both characters were put down and belittled and Dorothy very decidey makes no fuss about how she thinks the Men of Letters is a sexist bunch of guys who think women can’t do these things like men can. Well, if I may sound rather snappish here, maybe one should ask the question if the MoL was extinct too if the order had in fact more womanpower. It seems to me there at least is possibility to explore this as the British MoL at least with Toni Bevell nad Mary obvioulsly seem to find women just as capable as any man.

I any case Dorothy saying that sometimes “real life is darker than fiction” (and that is certainly something her, the Winchsters and Amara can agree on) fits perfectly to the world’s story, it’s real story, which was a few shades darker than Chuck/God had made everyone believe.

anonymous asked:

once a week but he lives in LA? ok end it because this is just so ridiculous. wasn't he going for joint custody? why would he change his mind? even if he did they would have had to go to court about it which they didn't. chance the rapper settled his custody case in one day so even if louis agreed to stuff with b even then they would have had to go to court for over how much he'll pay. also it's usually the women wanting a pat test to get money from the dad and b hadn't done that...ok

Makes you think, doesn’t it? 

On trauma aftermaths that don't advance the plot

The way TV shows trauma can lead people to expect every reference to trauma to be a plot point. This can be isolating to people coping with the aftermaths of trauma. Sometimes people treat us as stories rather than as people. Sometimes, instead of listening to us, they put a lot of pressure on us to advance the plot they’re expecting.

On TV, triggers tend to be full audiovisual flashbacks that add something to the story. You see a vivid window into the character’s past, and something changes. On TV, trauma aftermaths are usually fascinating. Real life trauma aftermaths are sometimes interesting, but also tend to be very boring to live with.

On TV, triggers tend to create insight. In real life, they’re often boring intrusions interfering with the things you’d rather be thinking about. Sometimes knowing darn well where they come from doesn’t make them go away. Sometimes it’s more like: Seriously? This again?

On TV, when trauma is mentioned, it’s usually a dramatic plot point that happens in a moment. In real life, trauma aftermaths are a mundane day-to-day reality that people live with. They’re a fact of life — and not necessarily the most important one at all times. People who have experienced trauma do other things too. They’re important, but not the one and only defining characteristic of who someone is. And things that happened stay important even when you’re ok. Recovery is not a reset. Mentioning the past doesn’t necessarily mean you’re in crisis.

On TV, when a character mentions trauma, or gets triggered in front of someone, it’s usually a dramatic moment. It changes their life, or their relationship with another character, or explains their backstory, or something. In real life, being triggered isn’t always a story, and telling isn’t always a turning point. Sometimes it’s just mentioning something that happened to be relevant. Sometimes it’s just a mundane instance of something that happens from time to time.

Most people can’t have a dramatic transformative experience every time it turns out that their trauma matters. Transformative experiences and moments of revelation exist, but they’re not the end all and be all of trauma aftermaths. Life goes on, and other things matter too. And understanding what a reaction means and where it came from doesn’t always make it go away. Sometimes, it takes longer and has more to do with skill-building than introspection. Sometimes it doesn’t go away.

On a day to day level, it’s often better to be matter-of-fact about aftermaths. It can be exhausting when people see you as a story and expect you to advance the plot whenever they notice some effect of trauma. Pressure to perform narratives about healing doesn’t often help people to make their lives better. Effect support involves respecting someone as a complex human, including the boring parts.

The aftermath of trauma is a day-to-day reality. It affects a lot of things, large and small. It can be things like being too tired to focus well in class because nightmares kept waking you up every night this week. TV wants that to be a dramatic moment where the character faces their past and gets better. In real life, it’s often a day where you just do your best to try and learn algebra anyway. Because survivors do things besides be traumatized and think about trauma. Sometimes it’s not a story. Sometimes it’s just getting through another day as well as possible.

A lot of triggers are things like being unable to concentrate on anything interesting because some kinds of background noises make you feel too unsafe to pay attention to anything else. For the zillionth time.  Even though you know rationally that they’re not dangerous. Even though you know where they come from, and have processed it over and over. Even if you’ve made a lot of progress in dealing with them, even if they’re no longer bothersome all the time. For most people, recovery involves a lot more than insight. The backstory might be interesting, but being tired and unable to concentrate is boring.

Triggers can also mean having to leave an event and walk home by yourself while other people are having fun, because it turns out that it hurts too much to be around pies and cakes. Or having trouble finding anything interesting to read that isn’t intolerably triggering. Or having trouble interacting with new people because you’re too scared or there are too many minefields. Or being so hypervigilant that it’s hard to focus on anything. No matter how interesting the backstory is, feeling disconnected and missing out on things you wanted to enjoy is usually boring.

When others want to see your trauma as a story, their expectations sometimes expand to fill all available space. Sometimes they seem to want everything to be therapy, or want everything to be about trauma and recovery.

When others want every reference to trauma to be the opening to a transformative experience, it can be really hard to talk about accommodations. For instance, it gets hard to say things like:

  • “I’m really tired because of nightmares” or 
  • “I would love to go to that event, but I might need to leave because of the ways in which that kind of thing can be triggering” or 
  • “I’m glad I came, but I can’t handle this right now” or
  • “I’m freaking out now, but I’ll be ok in a few minutes” or 
  • “I need to step out — can you text me when they stop playing this movie?”

It can also be hard to mention relevant experiences. There are a lot of reasons to mention experiences other than wanting to process, eg:

  • “Actually, I have experience dealing with that agency”
  • “That’s not what happens when people go to the police, in my experience, what happens when you need to make a police report is…”
  • “Please keep in mind that this isn’t hypothetical for me, and may not be for others in the room as well.”

Or any number of other things.

When people are expecting a certain kind of story, they sometimes look past the actual person. And when everyone is looking past you in search of a story, it can be very hard to make connections.

It helps to realize that no matter what others think, your story belongs to you. You don’t have to play out other people’s narrative expectations. It’s ok if your story isn’t what others want it to be. It’s ok not to be interesting. It’s ok to have trauma reactions that don’t advance the plot. And there are people who understand that, and even more people who can learn to understand that.

It’s possible to live a good life in the aftermath of trauma. It’s possible to relearn how to be interested in things. It’s possible to build space you can function in, and to build up your ability to function in more spaces. It’s often possible to get over triggers. All of this can take a lot of time and work, and can be a slow process. It doesn’t always make for a good story, and it doesn’t always play out the way others would like it to. And, it’s your own personal private business. Other people’s concern or curiosity does not obligate you to share details.

Survivors and victims have the right to be boring. We have the right to deal with trauma aftermaths in a matter-of-fact way, without indulging other people’s desires for plot twists. We have the right to own our own stories, and to keep things private. We have the right to have things in our lives that are not therapy; we have the right to needed accommodations without detailing what happened and what recovery looks like. Neither traumatic experiences nor trauma aftermaths erase our humanity.

We are not stories, and we have no obligation to advance an expected plot. We are people, and we have the right to be treated as people. Our lives, and our stories, are our own.

Here’s a graphic for a spread I whipped up last night. Use this to dig into the personal narratives you tell and live out. It can be used to glean insight on your life story as a whole, or particular aspects of/arcs in your story. I used it to take a look at my career path and got crystal clear results, so I felt obliged to share it with ya’ll. Enjoy! 

1) Theme 

The underlying theme or overarching lesson of this narrative.

2) Your Perspective

Your interpretation of the story/scenario. 

3) The Bigger Picture

A more accurate representation of the story/scenario. 

4) Your Role

The character you play; who you are in this story/scenario.

5) Plot Twist

A future potentiality that you may not see coming. 

anonymous asked:

I honestly tried so hard not to ship Destiel but it's just one of those ships y'know you just kinda accidentally ship and I really don't wanna cause some of the fandom is kinda toxic but I can't help but to ship it

Dude, SAME.

Originally posted by findyourownhappyending

Honestly, I’ve never shipped anything before (I liked it when Spike x Buffy did eventually go somewhere and was kinda beautiful but I didn’t really ship it), I didn’t even know what shipping was until I found tumblr a few months ago, I’m mostly straight (I’m a bit fluid but meh, mostly straight), and I never really thought about representation that much beyond ‘yeah, thats a great thing, there should be more of it’. 

So I just watched the show (on my own) with no previous knowledge of anything at all and…. well…. it was so obvious?!

I mean, I just binge watched the show last year because I love sci-fi and I was in a bit of a bad place and needed a distraction and had watched all the Buffy/True Blood/GoT I could and was looking for something new.

I loved seasons 1-3, I did, but then, enter Castiel and literally, my life has kind of changed?! I have an obsessive personality anyway but…. jeez. What a character and WHAT A ROMANTIC GLORIOUS LOVE STORY!

And then it just dragged… and dragged…. and yet also GREW so much?! 

So, like, what exactly are they doing? Well, I believe they know exactly what they are doing, especially since Dabb took over, but hey, let’s see…. but my blog description is ‘endgame Destiel positive’ so you know what I mean ;)

It’s all THERE, they all know its there, the writers USE it in their plots, the editors make it visually obvious, it’s even referenced in the show, the actors all KNOW, I mean come on!

Originally posted by literarycasualty

It’s not our fault if they use all the romance tropes with these two.

I think it is very relevant that so many Destiel meta-writers and shippers have a background in understanding stories, being teachers, journalists, book worms, cinematography students etc etc and therefore can make pretty good conclusions from the material that is being shown.

I mean, the overall story of these two characters is that one is a fallen, rebellious Angel who just wants to feel Human and belong somewhere and loves caring for others and one is a faithless man with abandonment issues who just wants someone to stay with and care for him.

Said fallen Angel rebels and does it, all of it for Him, eventually looking to Him instead of God, is in return called ‘family’ and cared for himself. 

Said Human learns to have Faith in and through his Angel and through this in himself, which is a key part of his overall story in the whole show.

They’re WRITTEN as each other’s canonical other half (see this post about how its a romantic and not a buddy story according to literary guidelines).

Their story is like so many rom-com, shakespearean and classical for that matter love/mythical stories where they start out on opposite sides and kind of meet in the middle you know? The idea being that they ‘complete’ each other and lead themselves to be the best that they can be and who they really are and want to be deep down? As these two clearly do?!

I’ve said before and I’ll say again, Dean and Cas are canonically central to each other’s CORE CHARACTER DEVELOPMENT and their endgames are INTERLINKED.

Originally posted by sooper-dee-dooper-natural

I mean, if this was a guy and a girl and it was a movie, so all the story was shown in 1h30 minutes and at the end they were like oh, no, but you see, they’re just FRIENDS. Literally everyone would just be like WHAT?!

The fact that Disney movies and romcoms are so highly parallel-able with Destiel, because it fits that literary box - as a romance, not a buddy story or a drama or even a familial story, it does up to a point, but it definitely transcends this and moves into romance realms pretty early on, like, season 5 FFS.

It’s not our fault, the show made us do it.

If fandom wank is a problem for you, well, I don’t like it either, I guess no one does apart from the ones instigating it who seem to get a high off it, I just blacklist on tumblr and I don’t attend cons, so… meh, I have this gorgeous little space where we all know and all discuss what is happening and it is lovely, feel free to join us :)

Ever since watching the final episode, I’ve been thinking about how Season 2 would run. Being a fan of figure skating for a while, I was assuming that our sinnamon roll Yuuri and co. would be competing in different competitions other than the Grand Prix such as World Championships, etc.


So in the last episode, Seung- gil says FOUR CONTINENTS would be fun.

For those who don’t know, Four Continents is an international, prestigious figure skating comp kind of like the Grand Prix WITH A TWIST.

Four Continents only allows certain nations and countries to participate. Asian countries such as Japan or other places such as Canada and America can participate. But EUROPEAN COUNTRIES CAN’T.

This means that countries like RUSSIA can’t compete. 


Victor and Yurio can’t compete. 

So what does this mean for Season 2? Will Kubo Sensei just use comps where everyone can compete eg. Worlds, Grand Prix.. or will she do this!

While everyone is at Four Continents (4CC), Victor and Yurio would be competing against each other at the EUROPEAN CHAMPIONSHIPS or RUSSIAN NATIONALS.

Will it be a battle between our beloved Russians? Old vs New? How would Yuuri handle his (future) husbando away from him? How would Victor handle not only coaching Yuuri but creating a comeback LONG DISTANCE?

What do you guys think? Could this be possible?

Responses are welcome!

anonymous asked:

thoughts on the rolling stone article? overall i thought it was fairly lowkey on the bs meter and thankfully focused the most on harry and his new album

Anonymous said:

What did you think about the Rolling Stone article? It could have been worse, right?

Welp, I was expecting that his promo would follow the established Zayn track in terms of the official narrative. But it was still very disappointing. I shouldn’t be surprised that many in the fandom are downplaying the obvious bullshit. Is it because it’s Harry and there’s the expectation of sincerity whereas we’re used to getting blatant lies from everyone else? Or is it because after Harry being muzzled for this long, it’s a big letdown for his official narrative to beam our exhausted asses back to 2012??

Let me be clear, this is no different than the Zayn articles we got. It’s the same awkward mix of official narrative nonsense and subtle as a sledgehammer rebranding. Harry is now the very deep hipster with well curated taste in music you’re not quite cool enough to be listening to. You are blessed that he’s sharing his philosophical musings with you. Same as how Zayn was rebranded as too damn cool for 1D. You were blessed that he shared his weed fueled musings with you. Yeah ok. It amazes me that people who are deep in the fandom think either narrative is authentic. And it’s not that Harry isn’t a deep hipster or that Zayn is naturally very cool. It that it’s soooo exaggerated because these days everything is written to an audience that is perceived to be rather dumb. It’s insulting.

One of the things that galled me the most was the latest outbreak of Herpes Haylor. I’m supposed to believe that the author thought reanimating that zombie that lived for 2 months 5 damn years ago was more intriguing than asking him about the more recent…

Really?? I know this is the elephant in the room. So in all honesty I didn’t expect this to be brought up. But don’t try to tell me that the new fans Harry is courting give a fuck about Haylor. What I hoped was that he’d be allowed to swerve on the whole thing. If you can’t discuss it honestly then let’s not discuss it at all, k? That’s obviously asking too much.

Also since when is evolved, woman respecting, Harry slut shaming women over the length of their skirts?? And a short skirt means you can’t bring her home to mother? What? The? Fuck? It happens every time with 1DHQ. They can’t frame their narratives from any pov other than sexism and misogyny. I’ve said before they are a very woman hating bunch of troglodytes. And he wrote songs about Kendall? Boring, vapid, vacuous, Kendall inspired uber-deep hipster Harry’s songwriting process? Lies! I hate, hate, hate, that Harry is being used to contribute to the mythos of this empty woman. Bitch, if you wanna be noted, do something noteworthy. Not cringeworthy (hello Pepsi debacle), but noteworthy. 

Another thing that bothers me is Ben Winston (and by extension James Corden) being allowed to use Harry’s feature to promo themselves. Not only that, but sleazy Ben is propping up the official narrative as well. That old story about Harry living in Ben’s attic was dredged up again. Because God forbid you think he was living with Louis. And not only that, the story has been embellished.

“He wasn’t always alone,” corrects Winston, “but it was exciting seeing the array of A-listers that would come up and sleep in the attic.”

Could he sound like any more of a creepy star fucker?? And lowkey imply that Harry just brought home strangers willy nilly and unannounced into his lovely quaint family home like he wasn’t raised right ?? I can’t stand him. And even if these words were put in his mouth, fuck him for allowing it.

So I think the fandom collectively has low standards if they’re ok with this. Because this article was crap. And it’s ok to call it crap. That’s no shade on Harry. Contrary to what many of you wanna believe, he’s still a cog in a machine much bigger than him. I’ll continue to enjoy Harry and the music and cheer for his success because regardless of the shadiness, he deserves to shine. Just understand that this article makes it crystal clear that Harry is in the same boat as the rest of 1D and that none of these guys are free from 1DHQ. That’s an unpleasant wake-up call, but it’s way past time to wake-up.