perception is a lot

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{From Star Wars: Poe Dameron drawn by Phil Noto and (I believe) written by Charles Soule . I don’t know which issue}

This exchange changed my entire perception of C3PO.

C3PO is the butt of a lot of the fandom’s jokes.  This usually comes from them being characterized as stuffy and because they are effeminate (<— And that being the crux of a lot of C3PO’s ridicule is some Grade A bullshit as we all know.)

But C3PO is the Mother Hen of STAR WARS.

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anonymous asked:

Do you think that when Eva asked Eskild if he thought Isak was gay he didn't actually thought he was? Or was he being nice and not outing the poor boy?

i didn’t really think about it much at first when i first saw it but now i think theres a good chance eskild saw himself in little isak and figured he’s not ready and helped brush the girls off his back. maybe eskild decided right then and there that he was gonna be there for this strange grumpy boy and that’s why he wasn’t that surprised to find isak drunk at a gay bar and it was easy giving him a place to sleep when he didn’t want to go home and he didn’t bother telling noora or linn about it cause it wasn’t something they needed to know

Perception vs. Reality

I’m starting to realize that a lot of the disparity and disagreement in the fandom is due to the multi-layered writing of the show. I mean, MJ and company wrote episodes in such a way that you can either take everything you see play out on screen at face value OR you can take into account BMW history, the easter eggs he promised were sprinkled throughout the show and the meta/👀 words they have characters say. Neither is wrong, per say, it’s just a matter of what you’re actually seeing and/or if you’re looking beyond what’s supposedly right in front of you (at this point we know even most of the characters themselves haven’t been doing so). MJ is a genius given that the characters are missing the point at times and I think that can also be the case with us, as viewers.

Having said all that, don’t forget what our common goal is: having more episodes to talk about, argue about and find common ground in in the future.

The enemy is Disney, NOT each other! 😉Get back to signing those petitions, streaming the show, making those airplanes and making those calls! 💛✈️🌎😘

I love how the things that make gon seem adorable and innocent and the things that make him seem ruthless and terrifying are completely connected

he’s clueless about a lot of things (including some normal perceptions of morality)

he’s extremely forgiving (even when the person in question has done awful things that just didn’t happen to affect him personally)

he’s very trusting (because he can afford to be; if the person in question turns out to betray him he can just tear them apart and continue on his way)

he cares deeply for his friends (and has absolutely zero mercy for those who hurt them)

he deals with everything through unfailing optimism (and breaks down in spectacularly destructive ways when that optimism finally fails him)

he loves the thrill of adventure (especially combat)

i love gon. i love how complex and layered he is and how he turns the “plucky innocent shonen protagonist” trope completely on its head. I love Hunter x Hunter so much

Oh and now it’s the train station scene (spoilers for the end of North and South ahead!)

I know it’s hugely anachronistic and I really do prefer the ending scene in the book in some ways– not least because book!Henry is a lot more perceptive than movie!Henry and spares me from feeling embarrassed for his dumb self– but seriously, I love this scene so much. As soon as their eyes meet I start not being able to breathe and then he’s just watching her, thinking “Sure it’s just a business proposition, tell me again how it’s purely a business proposition”:

He’s only interested in how her proposition will benefit Marlborough Mills.

Uh huh.

Seriously his face I can’t take it.

So then he takes her hand because that’s what you do with a prospective business associate who also happens to be your landlord:

And Margaret joins me in not breathing. And then she kisses his hand because clearly that’s the only possible thing to do:

And he thinks, “Let’s not stop at hand kissing, shall we?”

HIS FACE I JUST CAN’T

I once read a blog post about the acting Richard Armitage does with just his thumb during this scene. It was strangely accurate.

Margaret’s train is called and she blindly gets up and walks jerkily away (I cannot blame her AT ALL for her sudden loss of fluid motor skills) and poor John thinks that he’s overstepped and she’s leaving but then she’s standing next to him with her bag in her hand and he asks in this wondering, almost breathless voice, “You’re coming home with me?” because apparently he stopped being able to breathe as well and he just looks SO HAPPY.

Of which there apparently aren’t a lot of pictures out there (why?) but this is the dawning of the super-happy-I-now-have-everything-I-ever-wanted-how-is-that-even-possible face:

Of course, this would NOT have happened, it’s like 1855 and she wouldn’t have just hopped on the train and gone back to Milton with him and does she really want to have his mother (who hates her) as a chaperone until they can obtain a marriage license?

But who cares about that when clearly the correct answer is: “YES!!! Do not pass go, do not collect $200, let’s head straight to a Milton vicar!”

The music swells and off they go, dappled with sunlight and the reflection of leaves and they’re so happy and I notice I’m still not breathing.

So as the credits start to roll I take a deep, wheezing breath.

Then I press the back button on the remote and watch it again.

Perception is Reality

If, on a regular basis, you’re blaming other people for how bad you feel, you are then giving them control of the power that can actually cause you to feel better.

The changes in the outer circumstances that you want, start first in how you are feeling within.

It might feel good, in the moment, to pass the buck in regards to responsibility, and it can be helpful, but if done too much it can also keep you from making the progress that you may be needing in the moment.

In that case, your happiness is solely dependent on what they say or do - what they’ve said or done - or what they have or haven’t done. All of which you have little to no control over.

Remember, perception is typically reality.

Remember, what you have a lot of control over is how you respond to reality and how you choose to feel from within first and foremost.

First Impressions of the Signs

Aries: Generally loud and opinionated; affectionately calls their friends assholes and probably has drugs; hilarious, but not someone you want to cross.

Taurus: Sweet and kind of gossipy but loyal to their friends; tries very hard and is somewhat easy to walk over; is crafty and probably likes cooking.

Gemini: Fucking chatterbox; an absolute genius that seems to hate everyone; sort of mentally distant and is probably smarter than you.

Cancer: Very nice, but changes moods very quickly; hates getting called out or picked on; usually has a well-established friend group and eats a lot.

Leo: Popular and charismatic; more perceptive than they let on; kind to their friends, but can raise hell if you piss them off; loyal.

Virgo: Hardworking, stickler for detail; is in multiple fandoms; can’t let topics go in conversation and likes colored skinny jeans; most likely has dimples.

Libra: Queen Bee; social, flighty, and talkative; great at making people feel special; started saying “swag” and “yolo” ironically and can’t stop.

Scorpio: Closed book; expressive eyes; outgoing but somehow not quite part of things; best resting bitch face; eye rolls 5ever.

Sagittarius: Energetic and friendly; the nicest asshole ever; walks with confidence; brutally honest but only if you ask for it; protective of their friends.

Capricorn: Quiet and reserved but can be silly with friends; lame puns all the way; likes money and power; sometimes plays the victim too much.

Aquarius: Really fuckin weird, like they don’t even act weird it just radiates off of them; detached and bored-looking; talks fast or mumbles; are usually hardcore weebs; definitely smarter than you; 10/10 could kick your ass.

Pisces: Quiet and dreamy; stares at people a lot/seems to look through people; tries a little too hard to be funny sometimes; acts like an asshole even though deep inside they are fluffy bunnies; makes people feel special, like Libra.

Skype with a scientists?

Hi guys,

This election has reminded us that many people in our country have a negative perception of scientists. Some of the scientists here at UConn were kicking around the idea of offering to have skype sessions with classrooms that are isolated from places scientists tend to congregate (e.g. cities) and have an ask-a-scientist day in your science classes. If any of you guys would be interested, have your teacher e-mail me at sarahj(dot)mack(at)gmail.com.

We’d also really like to know your thoughts on this. How can we do better at reaching a broader audience and helping people see that scientists aren’t cold calculating machines with an an agenda but just people like the rest of the country? We know sometimes scientists come off as pretentious and preachy and we want to avoid that perception. If you live in an area that doesn’t get a lot of exposure to scientists or you think you might be in an area of the country that doesn’t view scientists favorably, we’d really like to hear from you.

Looking forward to hearing your thoughts!

Sarah (and the other UConn scientists)

chara is honestly such an important part of undertale’s message, because they’re the only character you aren’t forced to try to understand

sure, you can complete the game by murdering everyone you run into, or even going full genocide, but you know that you’re missing content by doing that. it’s pretty obvious that there are more endings and you need to learn to be understanding to get them

thus you’re forced to show mercy and understand all the monsters’ motives without necessarily coming to the decision all by yourself

then there’s chara. calling them evil…doesn’t actually lock you out of parts of the game. coloring your perception like that will make you miss a lot of IMPLICIT information, but no EXPLICIT information.

so, because of the nature of their character is so vague, as well as the fact that they’re someone you aren’t forced to understand, they make a perfect test for what the game taught you. can you show mercy and understanding without being railroaded into it…?

Elementary 3x19

Sherlock: What I was trying to say was that one of the things I have gained from our collaboration is a working definition of the word “friendship”. Friendship, I have come to believe, is most accurately defined as two people moving towards the best aspects of one another. Another thing I have learned is that my isolationist tendencies are decidedly not my best quality. I am not a better person because of the lack of connection. So I think the healthy thing is for you not to move in my direction. In fact, quite the opposite.

What the writers did with this arc/aspect of Joan’s character and what they want us to think they’re doing are two different things. If they had addressed in s4 how Joan is masking her emotional reactions with a veneer of strength, I would not take issue with this scene. But they didn’t, so I do. The fact is Joan is moving in Sherlock’s direction, has been since Andrew’s death. Despite the fact that this episode shows her going to hang out with friends later on, Joan is not forging the same emotional connections she did before Andrew’s death. She is distancing herself from emotional connections that have nothing to do with Sherlock. Most of us believe that to be unhealthy for her. I think that, and I also think it’s a coping mechanism she’s hanging onto as a result of the trauma of Andrew’s death. If she had to fully immerse herself in Sherlock’s world, as she calls it, to distance herself from that trauma, she’s only giving herself an excuse not to confront her trauma. The show wants us to believe, at least through s4, that she’s just “strong” and that her trauma isn’t a trauma, or at least it wasn’t for very long. The problem I have with that is that’s not how humans work. Traumatic experiences and their effects don’t disappear from people’s lives quickly. We see that with how Sherlock reacts to Morland throughout s4, how he reacts to the new information about May Holmes.

What I think Joan is doing by concentrating so heavily on her investigator occupation, on Sherlock’s issues and relationships, and on other’s problems and relationships (Marcus, Gregson, Shinwell, and most recently Kitty), is she is using other’s connections and emotions to stand in for her own. Her own emotions are scary and she’s continuously going to bury them, until something happens where she realizes burying won’t work anymore. She also wanted to concentrate so heavily on protecting Sherlock from Morland because I think Sherlock has become a sort of stand-in for Andrew. She can protect Sherlock where she couldn’t protect Andrew. And she took so many risks with Morland, because maybe a small part of her hoped she would get caught and he would have her killed, like she “should have” been killed before. This is just my headcanon, but I feel pretty strongly about it. (Also I need the satisfaction of explaining my headcanons and better understanding Joan’s “indifference” to anything unrelated to Sherlock or her investigative work).

Which book changed your perception of the world?

I have read lots of books, but a chosen few affected me deeply, more than “oh I liked this story”. Some books forced me to stop reading and actually think about the world in a different way. Did you ever read books like that?

anonymous asked:

Hey this is in relation to the Tony hate in the mcuniverse discussion. I feel like there is a strange perception among a lot of Tony fans that he is this hated and abused Victim in the mcu and I really don't know where it comes from? Who exactly among the Avengers hates him in the mcu? It's not like Team Cap organized over their mutual hatred of Tony Stark. The Avengers split over an ideological difference (that turned out to be pointless in the end as far as Tony was concerned).

I think there are parts of the fandom (my perception is largely St*cky fans?) who do not like Tony.  And, look, if I were a St*cky fan, after what happened in CACW, I probably wouldn’t be a huge Tony fan either, even if I kind of  understood.  But, I do think that is a small part of fandom as a whole.  When you look at the number of people who go see these movies vs. the online fandom numbers, it is a tiny part and then an even smaller part of that doesn’t like Tony.  Clearly, though, Marvel, Disney and the creative team behind the movies like Tony a lot.  I think the general public loves Tony, too.  Look at all the Iron Man merchandise, the new rides and attractions at Disney, etc.  He is hugely popular in reality, but when you are stuck in an echo chamber, it might be hard to see that.  One reason I like to have lots of different perspectives on my dash!  

Tony did get (to some degree justifiable) blowback after AoU.  I also think there is probably some left over sentiment of “here we go again” from comics Civil War where Tony shouldered a lot of the blame.  I  understand the need to defend a character you love.  We all do that to some degree.  But, sometimes it is done by tearing down other characters, and honestly, if you have to do that to defend your favorite, you’re doing it wrong.  

One thing that makes CACW work for me and be so painful is that, as you said, none of the Avengers actually wanted to hurt the others.  They love each other. They are family.  They would die for each other. So, to see them fall apart was brutal.  If they didn’t care, then it wouldn’t have mattered, and we wouldn’t care. 

Dante sometimes felt like he was composed entirely of moments. His body was built from darting glances, flashing smiles, rain-soaked hair and bitter laughter.

Ari started hesitant. When their hands brushed, he’d jerk away sharply like he’d been stung. When Dante looked at him, long and slow and steady, Ari would blush even darker and look down. His touches were awkward and fumbling, shot through with beleaguered caution. Dante was okay with that. He could still see the fear in the other’s eyes sometimes, sharp and sudden and fragile.

Something changed between them, though, slowly, and barely perceptibly. Loving Aristotle Mendoza was a lot like looking up at the night sky. That feeling of immense tininess when you’re lying on your back on the grass of your backyard and all of a sudden the rest of the world tumbles and spins and falls away until all you’re left with is the very essence of yourself - even your body ceases to exist - alone and miniscule under the eye of the cosmos.

The way the world tastes on your tongue, when you lie there and stare up into nothing and realize that no matter how big you get, there is always somebody bigger, and something is bigger than them, on and on forever until you’re left with only the unfolding expanse of the universe and maybe what’s beyond it. When shapes present themselves to you in the tiny pinpricks of long-lost light, only they’re not the ones you’re supposed to be seeing (what large spoon? Can’t you see the penguin and the castle and the words ‘I love you’ written in every single language?).

Loving Ari was what it felt like to inhale stardust and exhale dreams.

The next time he said, “Kiss me,” Dante obliged.

They were sitting in the bed of Ari’s pickup, a blanket wrapped around their shoulders, the universe cupped in their hands. They’d been laughing (about what, Dante wasn’t really sure, they were usually laughing about something and it wasn’t usually particularly funny). “Kiss me,” Ari had said, like a command, like a thunderstorm, and Dante remembered leaning in. He could see himself reflected in Ari’s too-large, too-dark eyes.

Ari’s hands came up, trembling, calloused fingers tracing Dante’s jawline. Their lips were inches apart. Ari’s breath tasted like coffee and midnight and something warm, decidedly masculine, indescribable.

“Kiss me,” Ari murmured again, his voice a growl in his chest.

It was rather like a storm breaking. Dante half-lunged forward, his arms closing around Ari’s waist, his lips finding the other boy’s. Their mouths fit together like puzzle pieces, sliding together and falling apart like waves crashing on the shore. Ari’s tongue traced Dante’s lip and he couldn’t help groaning, too low and too loud and too needy.

Ari pulled away. “Sorry. Was that—?”

“Don’t say sorry,” Dante snarled, and he kissed him again, long and slow and steady. Kissing Ari was a lot like watching him from a distance. Dante got the same quiet, violent ache in his chest, the same terrible, consuming burn when Ari’s hands left his face and trailed down his chest, peeling his shirt away from his skin.

(Dante felt like he was shedding parts of himself and God, God, it felt good.)

Somebody pulled away – Dante wasn’t sure who – they’d become too much like one entity – all heavy breathing and glazed eyes and vicious heartbeats. Ari’s mouth moved to Dante’s throat, kissing a trail down his skin. He felt like fire, like the center of a star. His hands knit in Ari’s mop of almost-curls.

Ari’s hands moved down. “Okay?” he asked.

“Okay,” Dante affirmed.

Ari whispered something in Spanish that Dante was either too far gone or too stupid to understand. He thought it probably meant “I love you,” though. Everything in the world meant “I love you,” right then. A million trillion stars and a million trillion worlds and all of them were theirs, pressed between sweaty palms, caught under tangled tongues.

The cosmos tasted like coffee and midnight and Aristotle Mendoza.

People are allowed to be mad and upset at koogi for not doing research. Like I know she’s nice and she’s friendly and everything but she literally made a comic where the main character has BPD and did no research on it. That’s a big fucking deal. This comic is read worldwide and if she misrepresents Bum then she’s fucking up a lot of people’s perception on those with BPD. If people are mad, upset, disappointed, or choose to not support her all together then that’s them and it’s understandable. Koogi fucked up big time with his one.

It’s possible to argue that depressive realists are cursed with the kind of consciousness that isn’t automatically guarded against the horrors of life - that their consciousness sees a meaningless universe for what it is and apprehends the struggle of daily life with the jaws of death in the end. In other words, depressive realists may not be eccentrics or party-poopers but people who are born without the common anti-horror filter, who discern hopelessness -  with all manner of denials produced against it - as our unavoidable lot. Their perception may not be due to clinical depression projected outward, but to an all-too-naked perception and understanding of what life holds.
—  Colin Feltham, Keeping Ourselves in the Dark, P. 74

izzy223-doglover  asked:

Terri and Noah, if you could have one wish and only one wish what would it be and it can be anything in the entire world/ multiverse what would it be and why?

Noah: I’d…

Noah: Haha… I dunno… I think I’d want to wish for something that’s not already possible…

Noah: Maybe… I wish people didn’t let my title get in the way of their perception of me… I think a lot of people don’t like me or don’t want to have anything to do with me just because I’m this ‘dark prince’ figure… It’s not really fair…

Terri: … ( @purpledinorus? )

“I’m generally not much of a big talker anyway, so it worries me to have to sit there and be entertaining and interesting. The journalist’s perception of me might alter what hundreds of other people think. Also, a lot of the time I’m just walking around thinking about what I have to do that day, and then I get thrown a curveball of a question that throws me. I have to think about the grand scheme of things and sum up my life in an answer.” – Nicholas Hoult