-kicks down your door- PEEBEE/SUVI.

Peebee fearlessly shoving Suvi’s experimental recipes in her mouth even after the 4th time she had to see Lexi because of one of them. Most of them taste awful and after twice swallowing them and lying about liking it she opted to spitting them out and showing her disgust and giving Suvi a thumbs down.

Peebee just generally encouraging and taking part in Suvi’s adventurous appetite and Kallo cursing her name for it.

Suvi listening ecstatically as Peebee goes on and on about the remtech and the sciences behind it and lets Suvi see all over her work and samples.

Peebee and Suvi chilling in zero gravity, Peebee taking notes on earlier observations and Suvi reading. Lots of snacks floating around there with them.

Zero gravity snack fight followed by escape pod janitorial duty.

Peebee and Suvi in a state of mutual pining, both holding one of Poc’s tentacles on a walk until they’re together and holding each other’s hands.

Peebee and Kallo playfully arguing over which of them is Suvi’s best best friend on the bridge right in front of her. Peebee gets a little too serious about it and that’s Suvi’s favorite part.

inter-galactic-planet-ary  asked:

What real life era of fashion do you think the clothing in asoiaf is based off? I know this isn't necessarily meta- and I'm not even sure this is something you would have considered- but I felt as though you have The breadth of knowledge needed to point me in the right direction on my quest to see if it's canon compliant to draw Sansa with bangs.

Westeros has a general European medieval fashion style. (With very little apparent difference from the Conquest to the Dance era to D&E to the main books.) I don’t think GRRM is that specific – he takes armor styles from all over the Middle Ages, all over Europe – but clothing seems to be fairly early medieval to Plantagenet-era to pre-Elizabethan based on the fact that corsets don’t seem to exist but there is lacing in dresses themselves. (But note women covering their hair is not generally a thing, and Westeros dresses are often very immodest compared to our world.) @joannalannister also has a great post with discussion and links to descriptions of all the clothes mentioned in ASOIAF, which might help you narrow down RL fashion era influences.

As for hair… ¯\_(ツ)_/¯  That’s all over the place, era-wise, but again, pretty medieval-inspired. Still, Sansa isn’t said to have bangs or a fringe at all. Also note that “bangs” is not a term that is used at all in the books (it’s an 1860s Americanism so I can imagine GRRM is avoiding it on purpose, even though he’s not perfect there), and “fringe” re hair is usually only used for balding men. Women with hair cut short are pretty rare – Asha, Mya, Arya (after her terrible cuts from Yoren and Sandor), and Dany (post-pyre) are the only notable ones I can think of right now.

I mean, you can draw Sansa with bangs if you want to. (I’m pro-freedom for fanartists, although I can get weirdly pet peevy about hair and eye color, and not at all weirdly about weight depictions.) I’m sure it could look very pretty. But if you prefer to be canon-compliant, I’d avoid it.

Basically, for GRRM’s visual influences regarding fashion, you should think of Renfaires and Prince Valiant and Robin Hood and the Lion in Winter and Anne of the Thousand Days – not actual history, but fictionalized depictions of history. (With much more bared flowing hair and bared cleavage, if fewer corsets.) And yeah, that’s all over the place, but as I said before, so is he. :)

I watched Anthony bourdain’s parts unknown; Senegal yesterday (it was a bit peevy because he kept going on and on about how although Senegal is an African Muslim majority country it’s so “peaceful and secular”) and I liked it, all the food looked so good. They mentioned how similar the food is to that of the American south.
Honestly I only watch the ones on African countries lol. After Senegal I saw the one on Beirut which was somehow less about food and more on lebanon’s history with war and sectarian conflicts, compared to the one on Senegal I barely got anything about the food in Beirut. Then I was watching the one on the Greek islands and I fell asleep.

gypsy-squirrel-deactivated20150  asked:

Hey! You mentioned cernunnos in your previous post and how you think he isn't really this lord or animals. I am do interested. Can you expand on that please? I have researched him a lot, the wild hunt fascinates me.

Edit: This is gonna be a long. Damned. Post. Brace yourselves.

I sware we have this discussion like once a month. Not that that’s a reflection on you, mind; if it’s a conversation we keep havin’ then it’s a conversation we keep havin’. Bear in mind, though, I’m pretty darned pet-peevy about this subject, so if I come across as irritated it’s nothing personal.

The personification of Cernunnos as the “lord of the animals,” hunting deity, and especially fertility god comes largely from the adoption of Cernunnos into Wicca as the personality or emblem of their ditheist God, which isn’t even slightly fair to the actual historical depictions of Cernunnos. (And that’s leaving alone the fact that a lot of Wiccans tend to view this God as basically an accessory to the Goddess.)

The hunting deity has the most basis in fact, given that wearing antlers is usually a symbol of hunting or the wilderness in a similar context; it’s the implication that that’s all he is, or his central purpose, that is problematic. And it’s easy to see how one might come to the “lord of the animals” conclusion, but it’s a lot more complicated than that. People tend to come to that conclusion by looking exclusively at the Gundestrup Cauldron (which is a rant I’ll save for another day), ignoring his other depictions.

When it comes to animals, the Celts did a lot of depictions, steeped in a lot of symbolism, and when they took the time to do so you can be pretty damn sure that it’s important. People look at the Cauldron and think, “wow, such animals, much animal god,” but, I mean, look: more than one incident of horned cattle, there’s a man riding a fish in the corner, and the eyes of the stag, dog, and god are level which could indicate connection—like, that’s the kind of detail that gets ignored when you just say “animals.” And there’s actually a theory about the interpretation of this too thanks to his other depictions that people tend to ignore, such as, say, the Reims stela (which is my personal favorite depiction, but that’s kind of irrelevant).

In the Reims stela, Cernunnos sits between two essentially symmetrical, parallel halves. On the left (or his right), there is Apollo and a bull; on the right, Mercury and a stag.

Given the symmetry of depiction that’s some pretty clear evidence that he could act as a “mediator,” or a similar role, between these two halves.

In the Reims stela, Apollo and the bull could represent cultivation or civilization, whereas Mercury and the stag would represent the wilderness. Apollo and the bull could represent the material world while Mercury and the stag could represent the otherworld or spiritual world (Mercury being a psychopomp, the stag being a Celtic indicator of spiritual significance). Apollo and the bull could represent life and Mercury and the stag could represent death (which is essentially just a different phrasing of the material/spiritual worlds).

So given this evidence of mediation and balance, we can use that to interpret, say, the Gundestrup Cauldron, in which Cernunnos also sits between symmetrical depictions. On the left (his right), the stag and the torc; on the right, the dog and the horned serpent. This depiction is a bit harder to solve.

The torc, frequently found in other deity depictions, can mean many things, but it’s usually interpreted as meaning divinity (sometimes we use it to determine whether or not a depiction is a god) or nobility. The stag, again, is a symbol of spirituality; in contrast to the dog, however, it can also be associated with life (as stags mythologically tend to avoid capture; killing a white stag can be bad luck; etc.)

On the other side, we have the horned serpent. The serpent in and of itself tends to be a chthonic symbol, but the horned serpent is also evocative of the Slavic duality of Perun and Veles, a thunder god and a subterranean god respectively (I am of course generalizing here). The dog, which also tends to be a Celtic spiritual symbol, is a positive spiritual symbol as the stag is; rather, they tend to be indicative of death, such as the black dog, or the Cwn Annwn who could be associated with the Wild Hunt.

So those are kind of complicated and obtuse, but I think some safe bets would be a balance between the “high” divine (Hellenically, this would be Olympian) and the chthonic, especially given that the horned serpent is evocative of Perun and Veles who share that dichotomy. Which, again, is evocative of a life/death liminal role.

Of course, this is somewhat up for speculation, but this is what I agree with. (Hot damn, this post got away from me. It’s a damned essay.)

My point? Cernunnos is not simply a “lord of the animals.” The first source that I can find that posit this (this one) uses Miranda Green almost exclusively, when she’s been known to share faulty information about Celtic deities/depictions, and also uses the existence of the Hindu god Pashupati as evidence. (That was linked on Wikipedia, by the way. Fuck Wikipedia, check your sources, hell yeah. [puts on sunglasses])

Furthermore there is no evidence that Cernunnos was involved with the Wild Hunt. The best article I have on hand about the Wild Hunt is this one (which is from a folklore perspective and not an archaeological one). There is no evidence attributing Cernunnos to the Wild Hunt except for the fact that Shakespeare depicted him and Herne the Hunter as the same being, which is not true.

The best cohesive paper on Cernunnos’ depictions is this one by Ceisiwr Serith, which does a lot more theorizing on the nature of Cernunnos as a liminal god.

And now that I’ve eaten up your time with this huge response, I’m going to go actually eat. :P


Seriously though, this movie was quite a lot of fun.

If you ignore the fact that the premise is pretty ludicrous (rocket packs, blimps, Nazis, the Hollywood sign exploding) this is a very enjoyable, very entertaining and very likable movie. It has a memorable cast of characters, the acting is great all around (especially Alan Arkin as Peevy), and the setting and atmosphere are superb. It feels like a time capsule of this bizarre golden age of film making where every new movie was greeted with awe and wonder.

It’s not spotless though. Some of the effects haven’t aged all that well, and having the Disney brand those weird animated segments kind of feel like they’ve come out of nowhere, specially those that have the swastika in them. Also the protagonist is a bit bland, but only when he’s not being The Rocketeer.

Overall, give this movie a watch, you won’t regret it!

And now, if you excuse me, I have to stop a filly from making a big mistake, and landing me with a lawsuit in the process…he, he, he, landing, more like crashing, am I right?

This week’s update brought to you thanks to: fernindt!

It just feels right to read a time-bending book on #TBT (but for the record, they’re actually awesome to read any day of the week.) Read on for 7 of our favorite books that will shake up your sense of time:

1. The Love That Split the World by Emily Henry

The summer before college, Nat starts seeing strange changes in her Kentucky hometown, and then a mysterious apparition tells her “You have three months to save him.” The next night, she meets a beautiful boy named Beau under the lights of the high school football field, and everything about her reality will fall into question. 

2. Once Upon a Kiss by Robin Palmer 

In 1986, a freak Fun-Dip choking accident leaves Zoe Brenner unconscious… and she wakes up in 2016. As she tries to rekindle decade old friendships and maneuver high school and technology, she must decide if she even wants to go back. 

3. Where Futures End by Parker Peevy

Hint: You might want to take a break from Twitter, Facebook, Tumblr…really everything after reading this book. Where Futures End is a collection of 5 time-spanning, interconnected novellas about five teens navigating eerily plausible futures determined by social media, corporate sponsorship, and an alternate world. 

4. The Appearance of Annie Van Sinderen by Katherine Howe

Wes met a beautiful girl named Annie while filming a seance in the East Village, but he can’t help but feel that there’s something strange about her – almost as if she belong to another place…or another time. 

5. Hawthorn by Carol Goodman

In the third book of the Blythewood series, Avaline Hall is briefly transported to the future, where she glimpses a terrifying war that would destroy the human and faerie worlds. Will she and her allies be able to prevent fate?

6. Popular by Maya Van Wagenen

Ok, there’s no real time-travel in this book, but it’s pretty close: This is the heartwarmingly delightful true story of Maya Van Wagenen, who followed a popularity guide from the 1950′s and discovered the true meaning of popular. 

7. Obsidian Mirror by Katherine Fisher

The power of the obsidian mirror is great and terrible: it can send you to the past, but it will not bring you back.