now we know that they are definately related

Sam could practically feel  the music thrumming through the house, even from where he stood outside on the sidewalk, looking up at the house that he would never belong in. Dean’s standing right next to him and for the first time that Sam has ever seen, he actually looked nervous.

He was chewing at the corner of his lip, his shoulders most certainly curving inward as if he was trying to make himself seem smaller. Dean never tried to make himself seem smaller. But dad’s jacket was hanging off of him and there was a spark behind his eyes and while he was nervous, there seemed to be more life in him than what Sam had seen in a while.

Sam jumped as Dean turned to him, grabbing his shoulder making sure that Sam had his undivided attention. “Listen… tonight… we’re not brothers. Alright.” Dean’s voice was tight and Sam felt something twist in his stomach. “In there…” Dean pointed towards the house. “We are not related. We don’t know each other. Just two guys who happened to show up at the same time.”

Not brothers. That’s what Dean wanted and that hurt because Sam defined himself as being Dean’s brother. People knew him as Dean’s brother and now Dean was just asking for…

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Peter Parker's Day Off

“Tony, I’m glad you’re back at the compound, I don’t like the idea of you rattling around a mansion by yourself. (Captain America Civil War, 2016) …we accept that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. But we think you’re crazy to make an essay telling you who we think we are. You see us as you want to see us… In the simplest terms, in the most convenient definitions. But what we found out is that each one of us is a brain…and an athlete…and a basket case…a princess…and a criminal… Does that answer your question? (Breakfast Club, 1985) Who am I? I’m Spider-man.” (Spider-Man, 2002).

The idea of Spider-Man: Homecoming being a John Hughes type film is beautiful for me. A teen flick in this generation that is not based around sex, drug, and parties but goes back to the basics of teen sensation which is: identity. It’s the perfect medium, where we see Tony Stark literally suffer from PTSD (Iron Man 3) or have Jessica Jones choose to do what’s right despite knowing she’s the furthest thing from heroic (Jessica Jones, Netflix); a teenager in all his awkwardness and “pubescent mood swings” struggles to find his place in society as well as his “responsibility” to be a hero should be the movie of this generation. Marvel will be Marvel with the quit-wit, visual effects, fun-filled action, and personalized Stan Lee cameo to boot when it comes to the Spider-Man of the film. But what they’re promising and what I’m most looking forward to is the day in the life of the Tom Holland “I can’t go to Germany!” Peter Parker.

“Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it. (Ferris Bueller’s Day Off, 1986) …I want John Cusack holding a boombox outside my window. I wanna ride off on a lawnmower with Patrick Dempsey.” (Easy A, 2010). I honestly want this movie to be as much if not more about Homecoming or Peter Parker’s daily life as I want it to be about Spider-man or any of his colorful band of animal themed villains. I want him to crush on girls: be good or bad at flirting or not even know when he is or when they are. I want him to make dumb jokes and pranks with his friends and make decisions he may come to regret later. I want him to struggle with money and timing and procrastinating on homework. I want to make memories with him through film, to learn about him along the way, and to not forget that he’s just a Sophomore; and where he doesn’t know what college he wants to go to or what career he wants to pursue that one thing is clear and that is that he is Spider-man. He might not be a respectable Captain America or a polished Iron Man but he’s got heart and compassion and the will to simple do and these are the aspects we already know and love about the character, but we now just want it brought to life in a way that we really feel connected to and that kids nowadays can relate to.

Keys to success (outside of the comic book elemental aspects):

1. Do not focus on a defined love interest as this is high school and in high school… “That’s why they call them crushes. If they were easy, they’d call em something else.” (Sixteen Candles, 1984)

2. Tend to the generation and give us moments of  nostalgia years from now that this Peter Parker was a Millenial and when he was it was ‘swag’ and ‘lit’ and ‘oh what a time to be alive’ but please not those specific examples.

3. Soundtracks are crucial to films, “preferably one with a really awesome musical number for no apparent reason” (Easy A), especially in the teen flick genre where the song really sums up the film and resonates to the generation: “Don’t You (Forget About me)” -Simple Minds (Breakfast Club), “Kiss Me” -Sixpence None the Richer (She’s All That, 1999), “Scotty Doesn’t Know” -Lustra (Eurotrip, 2004), “Pursuit Of Happiness” -Kid Cudi (Project X, 2012). Honorable Mention: “I Want You To Want Me” -Letters to Cleo (10 Things I Hate About You, 1999) RIP Heath Ledger.

4. We know it’s a Spider-Man film and it’s Peter’s life but each person has something to add to the mix and we want to know that. Build the story that surrounds his everyday with the characters he encounters everyday. They’ve casted a lot of well known personalities to make for a lot of potential in each scene.

5. Let’s face it, he gets the girl. Let’s take into consideration that they want the Spider-Man franchise to follow a Harry Potter timeline spanning hopefully over 8+ movies in 10 years. “Wicked!” (Harry Potter and the Sorcerer’s Stone, 2001) I know right? For Peter we know that he’s had many girls along the way but MJ was always his boo. As much as I would not like to have him end up in relationship by the end of Homecoming, there does still need to be some form of strong relational pull that shows that the feelings are there and are mutual whether it’s by a kiss, a glance across the room, or a smile walking away. Leave us wanting more and most importantly “…you DO NOT talk about Fight Club!” (Fight Club, 1999. I got carried away there with the quotes. 90′s baby. Movie buff.

Originally posted by aisese

Hannibal Rewatch: 2x01

Season 2, Episode 1: “Kaiseki”

**Warning: rewatch blogging, written with knowledge of the full series

Maybe not the expected opening, but, I feel S2 is significantly funnier than S1? Like, generally more ridiculous, as well more actual punchlines. Although, also more beautiful, and more heartbreaking… idk, #PEAK TV. Season 2 is everything MORE, so I’m sure I’ll be over here finger-painting tears in the shape of words and everything, but that means we’re gonna need some lols, and when they are not already there I WILL ENDEAVOR TO BRING THEM.

Ok! So let’s see if I can turn Hannibal: Season Two into a TRAGIC ROMP. Hahahaha*crying* (oh great, we’re already in the money)


Huh. I had completely forgotten that 2x01 begins with the Crawford v. Lecter Rumble of 2x13. Just, utterly out of my head. Which is crazy because this fight is so good. Bless you Laurence Fishburne & Mads Mikkelsen, bless you and your sheep and your family’s sheep.

I feel like I’m looking at my family’s cat right before she sinks her teeth into my arm.

God imagine being Jack though, and Frasier Crane is leaping bodily over his kitchen counter to come snarling after the knife he just flung into your hand. I WOULD PEE.

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We Happy Few/Elegy for the Light

So, this is it. Now we know.

God began his work of creation by creating the archangels, and he created the archangels so he could define himself - whatever Amara says, you can’t exist if you don’t have anything else to help define who you are; it’s not (only) a question of wanting to lord over someone, and, after all, she does acknowledge there was more to it than that (“We weren’t great or powerful, because we stood only in relation to each other.”).

Furthermore, God created the archangels because they were ‘waiting to be born’, and I really liked this image. I found it a poetic solution to explain what cannot be explained or understood.

And also, God loved the archangels. Specifically, God loved Lucifer, his firstborn and his favourite (I think it’s a bit clunky, but also very, very telling that the focus shifted so much - in Season 5 it was all about Lucifer being the younger son and feeling resentful and jealous towards Michael, the favourite). And here, again, we see how we all need other people, even the gods - how we all need something to push against so we can define who we are, because Lucifer, whatever else he’s been all these years, had always seen very unmoored to me, even purposeless. And, well, he didn’t want to admit it, but that purpose missing in his life? God. Just that. Angels were God’s children before they were anything else, and that’s why I found the conversation between Lucifer and God so very touching.

“The Mark didn’t change you. It just made you more of what you already were,” God says, and Lucifer’s reply is a stab wound right in the guts.

“What I was was your son - your child.”

And now he is dead (truly dead, I think - although, with Supernatural, you never know) - the last of the archangels, the most powerful and the brightest.

You know, I loved the archangels (Daddy’s blunt instruments, who, like Dean, were all alone in the world and didn’t know what to do with their free will, because what is free will without love?) - all of them - even Michael and Raphael, with their weary rage and their arrogance. I loved Gabriel, of course, and I was hoping against hope he would come back to us. But, in a way, I loved Lucifer the most, despite what he did to Sam (which is unforgivable), simply because he was such a complex and interesting character and the actors playing him put their hearts and souls into making him believable - resentful and seductive and too big to be understood, like a beautiful winter storm. So all the kudos to Mark and Misha, and, Jesus, he will be missed.

What I found particularly well-made (and also: unfair as hell) in this episode was that lovingly etched parallel between Lucifer and Dean. Now that Cain is dead, they are the only ones who truly understand what it is like to carry the Mark of Darkness, and yet they can find no comfort in each other, because they are, of course, mortal enemies.

And also - God tried to trick Lucifer in the same way he tricked Dean (”Don’t confuse me with your father.”) but Lucifer is, of course, way too old and too smart to fall for that. When God tries to deflect responsibility by asking Lucifer how he would have dealt with himself, Lucifer doesn’t take the bait.

“It doesn’t matter,” he says. “You were my father, and you forsook me.”

This broke my heart, because - he’s right. It’s not up to children to say what their parents could have done differently. The only job children have is to be children, and all they can say is what Lucifer said - I don’t care about your reasons - I was your child and I deserved to be loved and you didn’t love me - or, not in the right way; not enough.

And this is exactly the problem John and Dean had between them. John did was God did - he loved Dean so much he thought Dean would be strong enough to bear it (not the Mark of Cain, perhaps, but another form of darkness: the responsibility of his brother’s life, and the burden of growing up resented and unloved and never good enough). Like God, he walked away when he realized Dean couldn’t bear it, not completely - because, in a way, Dean failed: Sam hated John, hated the life, and as soon as he could do so, he walked away. And John, well - we are meant to think he assumed Dean was good enough to hunt on his own (which is incredibly rare in the hunting community, as we’ve seen) and we were led to believe John was obsessed with revenge and wanted to track Yellow-Eyes on his own, but now we know the truth, don’t we? John could see Dean was broken, and he knew that was on him. Like God, he couldn’t stand it, and, like God, he walked away. The difference between Dean and Lucifer, of course, is that Dean’s Cage was inside his own mind (his guilt, his self-loathing, his deep conviction he wasn’t in the end, good enough, or worthy of love), which isn’t necessarily better, but also means Dean had help and distractions, and he threw himself headfirst into both. He hunted, he helped people, he killed things (and he liked to kill; now, not so much, perhaps, but back then relished it), he lied his way into people’s beds and smiles and, most importantly, he never let go of his brother. He fought to get Sam back, and maybe that was unfair on Sam, and it did lead to much drama and a string of broken hearts, but it was worth it, all of it, because without Sam - well.

This is why I don’t buy what God said about the Mark.

“The Mark didn’t change you. It just made you more of what you already were.”

Did it though? Did it really? Because on Dean, it worked the other way around. The Mark took away Dean’s best quality and his only redeeming virtue: his profound, all-encompassing empathy. And without his capacity to love, we’ve seen what is left of Dean: someone who doesn’t belong anywhere and doesn’t care. A violent drunk without a purpose. Someone who fights because he likes having blood on his hands, and it doesn’t even matter whose blood that is - friends or enemies, it’s always red and it always sings the same song. The fact Dean left that note specifically to Sam (Sammy let me go) - that he addressed to Sammy - the kid brother in his memories, the one who smiled at him under a cloud of fireworks - and not Sam, a capable hunter and a grown-up and someone a foot taller than Dean and someone who doesn’t, perhaps, need Dean at all - was significant in this sense.

Loving Sam was how Dean learned empathy. Having to care for Sam was the only reason Dean couldn’t become like his father - cold and empty and obsessed with revenge. Because this is what children do to you - children need routine, they need to be fed and changed and burped and played with. Children will love you, period - they will love you when you don’t want them to, and even when you feel you don’t deserve it. By making Sam the focal point of Dean’s life, John did, unwittingly, save Dean from himself. And in writing that note specifically to Sam, Dean severed his last link to his human self - he abandoned his capacity to love.

So, no, the Mark didn’t made Dean into 'more of what he already was’. And I’m guessing it didn’t work that way for Lucifer, either. No, Lucifer accepted the Mark for the same reason Dean accepted to take care of Sammy - because of love. Maybe because he loved God and wanted to please him; or maybe even because he loved Creation and understood it would all be destroyed if Amara was ever set free. Either way, Lucifer went from basically sacrifing himself to keep Creation safe to wanting to destroy it, and that, we’ve finally come to learn, that is on God. Not Lucifer.

And God knows it.

And it hurts so bad he chose to hide and run rather than trying to fix it.

Another reason I am sad to see Lucifer go is because he never got the chance to make his peace with Sam. Sure, Sam saved his life, but he did it because of the end of the world, and because of Cas. Also, Sam managed to somehow heal from whatever it is Lucifer did to him, even a bit too well: Sam’s reaction to Lucifer seemed way too airy to me - Sam reacted to Lucifer the same way he reacts around other annoying villains he can’t kill yet. He is the same around Rowena and around Crowley, and I have to say - that wasn’t satisfying for me, because whatever it is Lucifer and Sam share, it went well beyond that.

(The way Lucifer looked at Sam?)

On the other hand, this whole season has been about humanity being better than divine or supernatural beings, so maybe Sam’s behaviour was scripted that way to make a point. Because if Sam was completely unaffected by Lucifer, the opposite is not true.

Look at Lucifer half-smiling at Sam during that conversation with God, when Sam took his side (because, of course, Sam has been in the Cage - he knows what it was like, and he’s fundamentally good - he’s bound to think nobody deserves that, no matter his crimes).

Also, look at Lucifer claiming Sam’s room for himself. I know, I know - it was a gross invasion of privacy, a parallel of God walking around in Dean’s robe, and it’s unfair that Sam is - still - on the side of darkness, even now Dean is literally the Darkness’ chosen (because, of course, Sam is still Lucifer’s, will always be Lucifer’s, just as Dean is now God’s: look at the chess pieces - after God threw them out of the war room, Sam and Dean landed in front of a chessboard - a chessborad we’ve never seen before, by the way, and that was therefore significant - and Sam was playing with black). No, Sam was, for good or for evil, the only human Lucifer has ever known up close - the first presence Lucifer even sensed after billions of years in the Cage. Like Amara, Lucifer thought he could talk Sam into coming to him willingly - but, unlike Amara, Lucifer understood this human who was destined to be his. He took his time to learn about Sam’s doubts and dreams, to understand Sam’s grief and Sam’s love. I’m not saying he did this out of the goodness of his heart, of course, but still - he did it. Michael never bothered with any of that, and neither did Amara (the way she so carelessly tried to harm Crowley, Cas and even Sam says it clearly: she never understood Dean at all, and never cared to understand him; she just wanted him to be hers). No, Sam was the one person in the whole of Creation Lucifer knew inside and out, and therefore the one Lucifer came to grudgingly respect; like, even. And even after Lucifer was defeated, that bond remained, and it was through that bond - both Lucifer’s knowledge of what Sam wanted, and the sheer power to make it happen - that Lucifer managed to find his way back.

(To the world, to the fight, and, eventually, to a kind of redemption.)

That bond was downplayed, of course (perhaps to avoid repeating an old storyline, or to keep the focus on Dean, or even because of the homosexual and non-con overtones, who knows), which means this episode was, again, all about Dean -

(We never even got to see Sam talking to God, Sam convincing God to give him the Mark of Cain - or, perhaps, God convincing Sam to accept it - and that really hurt. That was an important moment, show.)

- which means they didn’t kill Lucifer, exactly - they killed what Lucifer represented, what he was despite himself - a being of light who had been tortured and twisted and corrupted because he unquestioningly followed his father’s orders - and by doing so, they very clearly eliminated Dean’s last connection to his old self.

I think Dean is out of the Cage, now. I think he’s ready to be his own person. And I am sad it took the destruction of this unfathomable, fascinating being to get him there (narratively speaking) but, on the other hand, this is uncharted territory and I can’t wait to see where it leads us.

Goodbye, Light-bearer. Sit tibi terra levis.

[Thy extreme hope, the loveliest and the last, / The broken lily lies—the storm is overpast.]


Today, i’d like to analyze what Jasper meant by “some lost, defective Pearl”. Now, I choose this line because it elaborated upon something that quite a lot of people missed: maybe gems’ names aren’t just names, but more of an ethinicty label. Jasper referred to who we call Pearl, as “some lost defective Pearl”, which could mean there are many Pearls on homeworld. But, for now, let’s just move on to one of our beloved Crystal Gems: Pearl!

I have multiple theories why Pearl may be considered “defective”, but first, we have to know what defective means exactly. As Webster defines “defective”, Pearl is:

“-defective in form or function”

So now we have our question: how is Pearl flawed in what she does and who or what she is?

                                         THEORY #1: HOMOSEXUALITY

It could be that homosexuality is treated as bad as (or worse than) here on Earth. If that was the case, and the Homeworld were a place of homophobic extremists, it would answer quite a mysteries. That would explain why Jasper called Garnet a “shameless display”. This relates to Pearl because we all know she’s

Yeah Scott, lesbian. This could also explain why Jasper called her defective because it could be that Peals on the Homeworld are “perfect” and “incorrupted by Rose Quartz and her rebels.”


It is nearly impossible for Jasper to be referring to homosexuality because she saw the Crystal Gems for the first time when she got off the hand-ship. If she had known Pearl beforehand, she would’ve spoken with familiarity. Even before Garnet breaks out her epic fucking song, Jasper doesn’t seem disgusted by Garnet’s sexual orientation, but by her act of fusion. 


                              THEORY #2: ORIGINS

Yet another theory: Pearl is from a very distinct part of space. This theory can be supported by the fact that Pearl longed to go into space more than anything else. I mean, she wanted it more than anything, even more than staying with the Crystal Gems. This can also be supported by Jasper’s dialouge:

“…some lost defective pearl

                               THEORY #3: POWER

One of my favorite theories is Pearl’s power. Jasper called her “lost and defective”, and what if that refers to Pearl’s fighting power? I mean, don’t get me wrong, the girl has moves like Jagger

But what if her power doesn’t intimidate Jasper as it should. 

It should, I mean, she did half of this without looking!

Maybe Jasper has met Pearls before, and our Pearl (of the Crystal Gems) just doesn’t size up. 

But don’t let me know your freakin’ ear off, reblog and tell me what you think makes Pearl defective. What do you think Jaspe meant by defective? Was Jasper just being a dick cunt jerk?