rachel's meta

queenmorganlafay  asked:

Hey, out of curiosity, is MCU Steve's origins closer to Ultimate Steve's origins? What's Ultimate Steve like, and is he different than he is in the 616 universe? And, is it true he dated Janet Van Dyne?

Oh boy. I have so many, many thoughts on this topic. Poor @queenmorganlafay, you’re probably going to be sorry you set me off. ;)

Short answer: Joss Whedon was writing Ultimates!Steve, Markus and McFeely are writing 616!Steve. And yes, Ultimates!Steve dated Jan at one point.

Now the long answer: Did you ever watch Buffy the Vampire Slayer? The slayer mythos went like this, every generation a slayer is born. The Watchers Council usually took that child as a baby, isolated her, and raised her to be 100% committed to her duty and purpose, with no space left over for friends, or family or love. They basically molded the perfect soldier and sacrificial lamb. Buffy escaped that fate, not being activated as a Slayer until she was already a teenager. She was raised by her parents, she formed friendships and emotional ties, and despite coming from a broken home, had a strong support network in her mother and her friends. Ultimates!Steve is how Captain America would be without his emotional ties, someone 100% committed to duty and honor and sacrifice. Someone with whom Steve Rogers got completely buried under Captain America.

For Steve HOW he woke up from the ice made all the difference in how his personality would evolve. I like to explain things this way: Steve Rogers is very much an introvert. He’s socially awkward, he once told Rachel that his idea of leisure-time was reading a book or working out, all solitary activities. Captain America is an extrovert. They are completely different skins that Steve wears. When he woke up in the 20th/’21st century (depending on which run you’re reading) Captain America had reached legend status. Steve woke up to a time when his alternate persona was absolutely revered. Which was immensely disconcerting for him, because what he found is that people had built Captain America up so much, had this ideal in their heads of what Captain America was and should be, that Steve Rogers was completely overshadowed. No one outside of his circle even knew who Steve Rogers was. And Steve struggled for decades trying to live up to the ideal of Captain America, the side effect being one big massive case of existential crises. 

In the 616 universe Steve, like Buffy, has had a very strong support network. All the women he has loved: Sharon, Bernie and Rachel, have all left their imprint. His bond with Sam also left a tremendous imprint. And, very poignantly, his relationship with Tony Stark. In the 616 the Avengers (Tony, Thor, Hank and Jan) found Steve, and right away Tony took Steve under his wing. Gave him a home, helped him adapt, was fully committed in integrating Steve to the future. Ultimates!Steve didn’t have that. He was found by SHIELD, and unfortunately SHIELD was not really invested in getting to know Steve Rogers, they wanted Captain America, thus Steve Rogers got buried. 

For 616!Steve, the people Steve surrounded himself with, the ones who said ‘you know, Captain America is great and all, but I really want to get to know Steve Rogers, can you bring him out, please’ made all the difference. So while Steve’s origins in the MCU matches that of the Ultimates universe, the various MCU writers have completely different takes on Steve’s personality.

I honestly believe that Joss Whedon was writing Ultimates!Steve. I also believe, because they’ve stated as much, that Markus and McFeely resent Joss for it and are very adamantly writing 616!Steve. I actually posted that quote from them once were they cast aspersions to Whedon’s characterization of Steve, just a minute let me find it… ah, here it is, from the 2016 Markus and McFeely SDCC panel…

McFeely: We don’t think of him quite as square as he was in the Avengers.
Interviewer: Darker edges basically?
Markus: He is… he’s a little more… he is a boy scout in the Avengers. And I don’t think our Steve ever was… that… pure. I mean, he’s pure, that’s the whole basis of him, but he’s not naïve.
McFeely: That said, if I had written “there’s only one god, ma'am and I’m pretty sure he doesn’t dress like that” I would be really happy.
Markus: See, I would have cut it. 

So that’s probably way more than you wanted, but yeah, as in everything, it depends on which writer is writing him.

i recently re-listened to ‘you stupid bitch’ and i was just amazed at how many different levels of self loathing rachel bloom & co manage to cram into that one song… like it gets to the level where the part when she adds ‘and lose some weight’ isn’t even surprising because rebecca bunch hates everything about herself at that moment, even her physical appearance… it also depicts how easy it is for women to slip into self loathing about their physical appearance even when it ostensibly has nothing to do with the matter at hand… anyway what im trying to say is that i love crazy ex girlfriend

I was watching an interview with Rachel Bloom recently about how they wrote “I’m Going On a Date with Josh’s Friend!” and Rachel was saying how she was relying on this clean, mathematical way of writing that she’d learned. In the “clean” way of writing, Rebecca would’ve had a great time with Greg and then sabotaged the date because she’s afraid of happiness. 

But Aline Brosh Mckenna, who has been screenwriting for a long time now and is very good at what she does, said that didn’t work because Rebecca wasn’t afraid of being happy, but rather growing up and being brought down from the clouds. Rachel was a little nervous, but she trusted Aline and we got the episode we have today.

And I realized this is something that they do a lot. Initially, watching Crazy Ex Girlfriend can be almost uncomfortable, and you’re not sure why. But knowing this, I see that it’s because they often stray from the mathematical, clean story structure and instead go with what actually makes sense for the character.

When you’re someone who has watched a lot of TV you learn the basic structure and format of an episode, especially with comedy series. So when a show ignores that basic, expected structure you can sense it. And because you’re used to it, this is sort of unsettling. 

While I think this is one of the many things that makes Crazy Ex Girlfriend one of the most unique and well made shows on television in recent history, I think it may also be part of the reason why its ratings are so low. A lot of people don’t want to be challenged. They want to be given a simple A+B=C story that has a clear structure and lesson.

But Crazy Ex Girlfriend, in all its genius, is never going to make it that easy on you. They want you to think. They want you to see the nuance in the situation. If you ever feel like the lesson to be learned from an episode is simple and clear, you probably need to think about it a little more. Rachel and Aline want you to question the content. This is a show where nothing is to be taken at face value. 

And I think that is absolutely genius. True fans of television need a show like this. A show to keep them guessing, keep them thinking and questioning. I wish more people realized that and gave Crazy Ex Girlfriend more than a shot- but the critical thinking it not only deserves, but requires.

Rachel having complicated feelings about parental figures. Rachel distrusting and hating people with power over her but at the same time continually attaching to parental figures who show up in her life. Rachel fixating on Sarah and Sarah’s motherhood. Rachel hating Sarah because of jealously over her fertility and her ability to run, run, and keep running, and also because of Rachel’s negative experience with parents. Rachel to save Kira from what she grew up with. Rachel wanting a chance to do better than she was given, because she is better. From the beginning, she was made to be better, and so she will be.

I saw this post by @danosphere91 and I was going to reblog it and just ramble in the tags for a minute, but it got way too long for tag rambling very fast and I figured if I’m going to ramble I may as well just go ahead and let myself ramble for days. 

‘Cause, like, I’ve been thinking about One Piece having different languages since somewhere around Alabasta in my first watch, and I always kind of low-key headcanon it as being a thing going on in the background.

Like, there’s a standard language enforced by the World Government, but of course it gets tweaked a bit as the years go by and some islands don’t have much contact with other islands, and then there are places the World Government doesn’t control and it’s really anybody’s guess whether or not the people there will be able to speak a language anyone recognizes. While most of each individual sea speaks the same language, most islands in the Grand Line have their own languages, since going between islands can be so difficult. One of the most notable exceptions is the islands connected by the sea train, which have agreed upon a shared language to make trading easier. 

The Marines all speak the standard language, and officially that’s all they’re really supposed to speak, though most are aware that there are some circumstances that call for a language shift. A good early indicator of what sort of person any given marine is is how willing they are to cycle through languages and dialects until they find the one the person they’re talking to is most comfortable conversing in. (Akainu probably doesn’t speak anything but Standard.)

The East Blue group has a bunch of inside jokes that only work in the East Blue dialect, and sometimes they’ll try to make a new one and it just completely falls apart because the slang in Syrup Village is not at all compatible with the slang in Cocoyasi Village and then everyone is just speaking nonsense. 

Luffy’s language skills are just a fucking mess because he learned some from Garp, and some from the people in Windmill Village, and the entire time Shanks was in town and for like two weeks after Luffy just practiced talking the way Shanks did, and then he learned stuff from the mountain bandits and Ace and Sabo and people in the Grey Terminal so it’s all just a mashup of different grammar rules and slang terms and everything else until he’s almost speaking a different language altogether. You know how he does that thing where, after having something explained, he’ll go ‘ah, its a mystery (insert thing here)’? It’s partially because his standard isn’t very good and, rather than try to cross the language gap, he just lets it go. He usually understands a lot more than people think, he just doesn’t have the language skills to communicate it. 

Sanji isn’t much better; the fighting chefs come from all over the East Blue - to say nothing of all the language quirks Zeff picked up in the Grand Line and from his crew - and it shows. He’s a little more aware of it than Luffy though, and can usually at least pick one style and stick with it for the sake of consistency over the course of a conversation. His ability to do this slips when he gets mad, and he’ll also start adding in stuff from the language he spoke while living in the North Blue - his arguments with Zoro usually dissolve into physical fights around the time no one can tell what he’s saying anymore. It’s even worse against enemies - Black Leg Sanji is known as ‘that one Straw Hat who will scream nonsense at you while he kicks your face in’.  

All those verbal tics characters have? Heavy accents. Law, for instance, never really got the hang of speaking Standard and when he does it - as he usually does in the Grand Line - he does so with a heavy accent that’s a mix of the general North Blue accent and the Flevance-specific one. All of the Minks have accents because of the way their mouths are shaped. ‘Garchu’ is a general greeting and carries a strong sense of community because they can all say it with pretty much the same pronunciation. Bepo lost his accent as a child from trying to sound more like Law, Shachi, and Penguin.

Speaking of Law. He rarely speaks Flevance’s language, but he writes all his notes in it. If people see them, they often assume he’s being paranoid or planning something, so he’s writing in code or something. Really, he’s just trying to make sure this last piece of Flevance doesn’t die before he does.

Big crews with people from lots of different backgrounds, like the Whitebeard Pirates, have to learn each other’s languages in order to communicate, and the crew ends up with a language that’s made up of all their different slang words and figures of speech. You’re really part of the crew when you can communicate fluently in it. Ace isn’t good at picking up new languages - Makino teaching him the proper dialect to be able to thank Shanks for saving Luffy was a nightmare - but the rest of the crew, especially the second division, helps him out where they can. Marco has a pretty heavy accent but he’s fluent in pretty much every language that’s ever come onboard. 

The language of the Celestial Dragons is holy and no one else is allowed to speak it. With the exception of a few slave commands and a handful of employees, no one else is even allowed to understand it (plenty of people pick up on parts of it, of course, but you’d better not let on that you can understand it where they can see you). Doflamingo still speaks it to himself or at other people sometimes, as a ‘fuck you’ to all of them. No one else understands it so no one realizes how he’s forgotten a lot of the grammar rules, how he’s lost the accent and now the words break on his tongue, how he’s never had - never will have - a vocabulary better than a ten year old child. 

Brook’s speech patterns range between ‘posh gentleman’ and ‘your embarrassing grandfather who thinks it’s still normal to say things like ‘groovy’ unironically’. 

Chopper had to learn how to speak human languages from scratch. He can read tons of different languages fluently, but he can’t really speak any but Standard - he can’t get the hang of pronunciation, slang words, or context clues. He’s also not very good at tonal indicators or facial expression cues, since they weren’t things little baby reindeer learn (this is part of why he never realizes when Usopp is lying about things like having 8,000 men - in addition to his naivety, he can’t pick up on the tone shift that Usopp takes on when he starts telling stories). 

Franky, in addition to whatever his biological parents spoke, Standard, and the language of Water Seven, can also speak some of Fishman Island’s language. Iceberg used to speak it better, but these days Iceberg is out of practice because the government doesn’t think much of people speaking it (yay, racism). Franky spoke it with Kokoro when she’d come to visit, and would help Chimney practice it too. 

And while we’re on the subject of Fishman Island, they probably don’t get access to very good education, especially for the lower class citizens (*coughracismagaincough*), so the lower class the citizen the less likely they are to be able to speak Standard well, if at all. This is one of the arguments used for keeping them out of world meetings, to justify enslaving them, and so on - ‘look, they can’t even speak the language’. Those who can speak Standard usually do it with a thick accent, partially because of the education system and partially because of their mouth shapes. 

Koala learned a decent amount of the Celestial Dragon language while a slave, and then the Fishman language from the Sun pirates. The latter is a comfort language; lots more positive associations with it than any other language. She relearns the Celestial Dragon language in the Revolutionary army to help translate things. 

Sabo and Koala have some difficulties at the beginning of their friendship because Sabo’s noble accent and some of the terms are ingrained in him and last past the amnesia and it reminds her too much of the Celestial Dragons and other nobles. He purposefully uses more slang and forces a more casual accent around her. He isn’t sure why he’s so much more comfortable talking like that than he is talking like a gentleman. 

So, yeah, I could go on for about a thousand years because I’m a linguistics nerd, but basically languages and the cultural and social implications thereof are super interesting and I like thinking about them, can you tell. 

Animorphs Battle Markings AU

This was actually an AU I came up with quite a while back but haven’t gotten time to develop. 

The premise is that in canon Animorphs (including Ax, and also any other morph-capable beings) don’t develop physical scars on their natural form from battle wounds received in morph. But in this AU, any injuries they receive in morph appear as skin discoloration/marks/conditions in their natural form.

Rachel and Jake develop freckles.

Marco’s skin peels.

Cassie has discoloration.

Tobias develops striping/speckles on his feathers.

Ax’s fur brightens and spots (and this happens with all Andalites).

As all scars, these marks can and will fade. But with their constant battling, it always comes back. Some of the more severe injuries leave very permanent/long lasting marks.

(meat of the post under the cut!)

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#holy shit #they gave us glimpses of a dynamic between these three in the first season #but now i know for sure we need to buckle in #what they’re doing with these three #giving us the future the present and the (almost - quinn isn’t quite ready to let go) past #showing quinn passing the reins on to rachel not only in showrunning terms but /mentoring/ terms #i’m pretty sure will kill me by the end of the season #and not just because i am so here for women passing on power and women teaching women and so on #but because /look at these fucking reactions/ #this is gonna be a bumpy ride #we have madison who has ‘wanted to be in this business since she was a little girl’ #who seems so soft but is going to develop her own claws #has already shown an edge of teeth when she made herself a field producer #who pushed herself and another woman to tears and enjoyed the shit out of it #and then we have rachel who pushed madison so effortlessly #who is so naturally gifted at manipulation #who knows just how to twist a knife and /hates it/ #hates herself for what she so easily does to other people #how she can be so blinded by an end goal she makes a child sob until she vomits #who is always running ahead and looking back at the mess she’s left but still not slowing  #and then quinn #quinn who is smiling #who is enjoying this #who is FEEDING off of watching her monster make her own #who is so proud of her goldie because #(not only is rachel so good at what she does) #she’s using what quinn taught her and sliding into a role that rachel despised yesterday #she’s watching rachel Get It #seeing rachel realize how ruthless you need to be #seeing rachel breaking madison and smiling #because she knows rachel isn’t only going to survive #she’s going to thrive

anonymous asked:

So was this cake competition Sangwoo's way of projecting his mother's issues onto Bum (i.e defending her/Bum by winning)? Does Sangwoo still see Bum as his mother, or as a separate person?

Interesting question, anon.  Honestly, this is probably an unpopular opinion, but I don’t think Sangwoo actually sees Bum as his mother, or even really as a “replacement” so to speak.  Bum has always been his own person, but Sangwoo wanted to have the companionship and unconditional love that his mom provided him.  So, I don’t think he ever really saw Bum as a “new mother” or some kind of mommy kink thing.  I think he was really just lonely and looking for someone who would accept him as he is.  As for the comparisons, I have a feeling the forced feminization was a method of control through humiliation.  How better to keep Bum off-balance and subordinate?  Plus it reminds him of his “place” in the household, namely beneath Sangwoo and at his beck and call.

I do think that Sangwoo was trying to defend Bum’s “honor” though.  He walked up to his “partner in crime” being harassed and bullied by some other guy, someone who was stopping Bum from doing as Sangwoo asked.  At no point was that exchange “about the cake.”  It was always about power.  Yoonjae was one of Bum’s (many) bullies, and he absolutely wanted to relive that rush of power.  He can’t push him around in front of his girlfriend (that would make her uncomfortable and maybe make her dislike him), but he can take the last cake from him and remind Bum of how much less he is.  So when Sangwoo steps up and interrupts, Yoonjae needs to escalate.  He can’t let Sangwoo take the cake, because that means that Sangwoo is the better/stronger man.  Sangwoo knows that; it’s why he insists on continuing and refuses to back down, even though Bum and the girlfriend clearly just want it to be over with.  (She offers to let them keep the cake more than once, after all.  That was more about her discomfort with confrontation than kindness in my opinion.  She was in an awkward situation; giving them the cake would end it.  Plus it isn’t even an anniversary cake.)

I really love the relationship growth we’re seeing, actually.  Sangwoo has decided to keep Bum, Bum has decided to stay, and Sangwoo is going to be a lot more protective moving forward, I think.  I doubt this is the last time we’ll see Sangwoo stepping up to stop people from being mean to Bum.  After all, an insult against Bum is an insult against him as well.  That means they doubt his taste and his choice, which is Rude.  He needs to keep Bum on his toes, of course (hence the taunt with the phone), but the days of constant tests are probably (hopefully) over.

I think the most telling scene is actually that little head bap he does with Bum.  We’ve just seen Sangwoo get a 998 on a punching strength test.  So the fact that he holds out his fist and tells Bum to knock his head against it says a lot.  He doesn’t want to hurt Bum, but he does want to make his displeasure clear, so he lets Bum control the strength of the hit, almost having him choose his punishment.  “You’re annoying, but I’m not going to hit you when you were trying to do as I asked” or “I’m mad, but for once I’m more angry at someone else than at you or “I’m mad that you lied to me, but you’ve been good lately.  Continue being good and I won’t have to hit you again” or something like that.  I really think that he’s more annoyed about Bum having the gall to lie to him than about anything else that happened.  If Bum plays his cards right, he could make it through this unscathed, but it really depends on how apologetic he is.  And how mad Sangwoo really is.

I give us three chapters, maybe four, before Sangwoo has the uncle in the basement.  My major question is how active a role he makes Bum take.  This is the perfect time for him to make Bum see killing as a way to exert power and take control of his life.  No one would be a better turning point than his uncle.

youareiron-andyouarestrong  asked:

How Joe and Henry respectively father Barry?

I can sum it up better in pictures than in words.

Barry and Joe:

Barry and Henry:

To attempt to describe their relationships in words: Joe and Barry are more deeply bonded; Henry and Barry are more intensely bonded.  

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catpella  asked:

What is your Sorting for the Animorphs?

Tobias gets transferred into Hogwarts during his third year after Ilvermorny discovers that not only is his aunt months behind on tuition, she is also not taking care of him.  Three days after showing up at the house of some distant British uncle, he boards a train in London with dozens of other teenagers and gets shipped off to a castle up north somewhere.  Once he gets there, Professor Robbinette gives him a private sorting ceremony in a back room.  The Sorting Hat spends quite a while telling Tobias that he has a lot of the qualities of a good Ravenclaw before admitting that he would probably fit best in Hufflepuff, and Tobias thinks whatever you want.  In response to that answer, the Hat of course puts him in Hufflepuff.

Cassie is already on the short track to becoming a prefect for Hufflepuff, so she’s the one that Professor Chapman sends to show the transfer student around.  She chats with Tobias about how her favorite subject is Care of Magical Creatures and his is Astronomy, and assures him that there are more students like the two of them—raised as muggles—than there are purebloods like Rachel and Jake and their siblings.  After leaving his things on a bed off the Hufflepuff common room and stopping in the kitchens to introduce him to the house-elves, she brings him upstairs to introduce him to her friends.  And to Jake, who might just think of her as more than a friend, if Rachel is to be believed.  

Jake is distracted while meeting the new student, less concerned with some American transfer than he is with the fact that he didn’t make Gryffindor’s Quidditch team.  It’s not just that he got cut.  It’s that when he admitted to Tom that he didn’t make the team, Tom just shrugged and said there were more important things than Quidditch, which was why he’d quit being captain himself.  Tom has been acting strangely for weeks now, ever since he made Head Boy, and it’s just bizarre that he would quit the team when their entire family lives for Quidditch.  Still, Jake makes an effort to be nice to Tobias, even if he doesn’t know what to make of the way that Rachel is looking at the new kid.  

Rachel spends the first five minutes with Tobias coaxing one of those shy, dreamy smiles out of him, and grins so broadly in return she thinks she startles him.  It’s a shame that Tobias is not in Gryffindor, she thinks, because not only did a certain cousin of hers—she glares at Tom down the table and debates the merits of hexing him—decide to quit the team, but Tobias also shyly admits when asked that he’s pretty good at flying himself.  Proud Gryffindor or no, Rachel is also not about to try out for the team herself.  She barely has enough balance to stay on a broom, much less fly around swatting at bludgers the way Tom does.  The team is going to get slaughtered this year without him, though, so she gets as far as pulling out her wand before Jake grabs her arm and whispers “If you get detention for jinxing the Head Boy two days before a full moon…” and she reluctantly sits back down.  When she glances over at Tobias, he’s watching them both with clear curiosity.

Marco is, as always, reluctant to be seen hanging around with the Berensons since they’re the most Gryffindor family in the history of Hogwarts and his own position in Slytherin tends to be precarious at best.  Sure, Marco knows how to make the whole common room laugh, and he can talk circles around most of their professors enough to impress the younger students, but everyone knows about his family history.  His mother might have been a pureblood witch famous for her beauty as well as her skill with potions, but she married a muggle man who stumbled upon magic accidentally by way of science and then she died ten years later.  Marco’s dad has been Obliviated so many times that nowadays he barely functions, and some of the more meatheaded older students in Slytherin think that that makes Marco no better than a muggle-born.  Jake doesn’t really get it—not only is he as pureblooded as they come, but he also got sorted into Gryffindor in ten seconds flat with no questions asked—but he’s also been there for Marco since before they even started at Hogwarts, so Marco lets himself get dragged over to meet the new Hufflepuff since he’s such a good friend and all.  

Ax floats across the Great Hall from the Ravenclaw table, oblivious to all the heads he turns with his casual beauty, to ask Cassie if she’s finished with the bouillabaisse.  He introduces himself to Tobias and explains he’s a transfer student as well, “From the Ivory Coast” [Cassie coughs loudly] “…of Canada.”  Tobias frowns at this explanation like maybe Ax said something wrong, but then Marco distracts them all by teasing Ax for being able to say “bouillabaisse” without hesitation and yet giggling every time someone says the word “potato.”  Ax cringes in remembered sympathy when Professor Chapman (who as the Deputy Headmaster gets stuck with these responsibilities a lot) stands Tobias up in front of the whole school to introduce him, before going into the usual announcements about how students are not allowed to enter the Forbidden Forest even though the rumors of werewolves and strangely intelligent animals hiding in its depths are unfounded gossip.  (Rachel and Marco grin knowingly at each other at this last one, and Jake shoots Ax a sympathetic look as the first years all start whispering about werewolves.)  

Jake and Rachel are having a whispered argument in their usual spot above the Owlery where Cassie’s dad works—Rachel thinks they should tell Tobias everything and make him an Animagus, whereas Jake is firmly against it out of fear of repeating the David Incident—when Marco comes stalking in, so quickly that Ax looks up from his spell practice and Cassie sets aside the owl treat she’s holding.  Marco slams an enormous book on Imperius Curses down on the table between them, and says, “Loop him in, I say, because it looks like we have one hell of a problem on our hands.”  

anonymous asked:

This is going off of what the devs said at e3 and from reading that article you shared. I get the feeling that Chloe and Rachel's relationship is gonna fall in the lines of Chloe likes Rachel romantically and rachel like Chloe as a friend. I hope this isn't the case and since ashly is on board with the writing I feel like she wouldn't let this pass.

personally my stance on amberprice has always kind of been that they liked each other, but there was a bit more hesitation on rachel’s side due to her involvement with other people + the guilt she was carrying with her as a result of that. not to mention her whole fear of like. real commitment. she’s a girl that wants to go everywhere at once and is very independent. meanwhile, chloe pretends to be, but lbr she’s not

i definitely dont think they were lovey dovey girlfriends, but they weren’t….. nothing either. there was something there, but it wasn’t something that rachel could really let come to fruition

Why We Love to Hate Popular Chicks on TV

So I’ve been thinking too hard about Chloe Bourgeois from ‘Miraculous Ladybug,’ and I had to write out why she and her fellow queen bees were so interesting to me. That train of thought led me to writing this meta post about teenage girl bullies in fiction.

 I’m not a fan of the “Alpha Bitch” name for this trope on TvTropes, and queen bee is too cutesy, so I’m using girl-bully instead. It’s not a perfect replacement, but hopefully I’ll be able to make my argument all the same.

Characters mentioned include Chloe Bourgeois, Pacifica Northwest, Gretchen Wieners, Quinn Fabray, Cordelia Chase, Trixie Tang, and Rachel Green. The focus here is Western television.

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Rachel recently lost the love of her life. This was someone that she was with in High School and thought she’d always be with. They broke up and she believed they would eventually find their way back to each other and they won’t. Then we have Quinn getting back with Puck, someone that she has a history with that started at McKinley, and Mercedes getting back with Sam, someone that she also has a history with that started at McKinley. They’re getting their second chance to make it right and that’s never going to happen for Rachel and Finn. It has to be painful for her to see that. (x)

darknpretty  asked:

animorphs in percy jackson verse

Here’s the thing: they’re not demigods.  They’re not sprites or deities or blessed ones or chosen champions.  They’re just heroes, that’s all.  

Tobias earns Artemis’s respect right from the start, because she knows better than anyone how to turn loneliness into strength, how to kill and hunt and provide for herself while needing no one else’s support or even their approval.  She rejoices with him over each kill and mourns with him as well, because she loves all the orphans with nothing left to lose but most of all she loves the cleanness of putting something right and doing it all by one’s lonesome.  She laughs as he leaps across the sky and clenches her fists with fierce pride every time he asserts again and again: I need no one.  I am myself, and I am free.  

Pan doesn’t come to him until later, crouched next to Tobias to whisper in his ear even louder than Taylor’s taunts, to warm more fiercely than the endless lights of the Anti-Morphing Ray.  Don’t you give up on me, you piece of shit, he growls in the voice of a collapsing mountain.  Us of lesser gods can survive anything, because we already have.  I know it hurts, you fucker, but you already have all the strength of all the ugly and broken and wild things that no human can ever love or tame.  Pan teaches him in that moment, and in a thousand thousand that will follow, that sometimes there is no need for words or norms.  Sometimes all you have to do is scream.  Sometimes you have to hammer your pain into the instrument of your enemies’ terror, and let it loose in a cry that will break the hearts of anyone who hears.  Pan shows him that pain has no words, but then neither does the feeling of the entire Earth joining together at your back to fight on your side.  

Marco wins Hermes over right from the start, with his charm and rule-bending and ability to get away with seemingly anything thanks to the sheer outrageous boldness with which he does what he is told not to.  Hermes cultivates his self-deprecation and quick-wittedness, laughs when he triumphs and laughs even harder when he fails.  Hermes teaches him to tell the truth in such a way that no one even notices when he does, to joke of church-doors and curses even as he bleeds to death, to be all things and all people but never ever serious for long.  Through Hermes Marco learns to be faster than the bullet that would kill him, to move through all places and modes of being—even darkness, even cruelty, even ruthlessness—but never to stay for long.  Always the delicate quick-thinking ones must race ahead of their would-be killers, dodging and twisting and coming at their problems from a thousand angles, if they want to survive the war.

Apollo shows Marco how to love beauty in all its forms—male, female, in others, in himself—but above all teaches him the beauty of simple clean rules of logic applied across all situations.  He might be cold at times, might be aloof even, but he also sees all possible angles to every problem that confronts him and can offer half a dozen solutions, most of them more elegant than anyone else might come up with, in half the time it would take an ordinary kid.  Marco has a beautiful body but more importantly a beautiful mind, and Apollo cultivates that mind like a peer and a lover and a patron and a worshipper all at once.  

Rachel fights with Ares’s own ferocity, the terror of tyrants and the pathbreaker for her peers.  She is a creature of legend and song, a pure warrior who can strike fear into Crayak himself while even the Ellimist watches in awe.  She laughs off her own wounds and drinks in those of her enemies like mother’s milk.  Ares revels in the slaughter at her side, and swaggers at her shoulder murmuring: You have power, power that you have killed and wounded and been wounded in turn in order to earn.  Walk with your head held high, because you deserve it.  Ares laughs with her as she kills, and he laughs with her as she dies.  There’s no such thing as a fountain of youth.  There’s only one path to immortality, and it’s fighting to your last breath.  It’s living like there’s no tomorrow because there is none.  It’s taking hundreds of the bastards with you as you go.  It’s leaving the world a safer place than it was when you entered.

For every ounce of Ares’s ferocity she possesses, Rachel also has all of Aphrodite’s poise and grace.  She can draw beauty from the most unlikely places and keep it at all costs, emerging unscathed from the hurricane and the carnage alike.  She is ethereal, untouchable, as golden and glowing as the goddess herself and as—rightfully—prideful besides.  Rachel has the instincts that tell her when a blouse is overpriced, when adjusting the curtains will draw out the beauty of a room, and it comes from her patron goddess.  After all, Aphrodite always does spare her best love for the ones who will never age or grey.   

Cassie doesn’t catch Persephone’s eye, not at first, because Persephone may love all things that grow but she also sees the pretty ones the most.  And then Cassie, eight years old and with tears striping her face, picks up a rock and crushes the skull of a suffering rabbit that was fatally injured by a passing car.  Persephone takes notice.  When Cassie saves four baby skunks and doesn’t blame Tobias for eating the fifth, Persephone watches carefully.  When Cassie coaxes David so gently to his doom, Persephone smiles just a little.  When Cassie eats a seal while its children watch, Persephone approves.  Life is death.  Cultivating a garden is a matter of loving every blossom and also knowing when to snap its neck.  Persephone is green and growth and spring, but she is also the goddess of death because she understands that these processes—growing and aging, blooming and dying—are one and the same.  Persephone may see the pretty ones first, but the ones she loves are the ones who know that all things must end, that all cycles have two sides, and that humans are ultimately not that special in the grand scheme.

Hestia’s interest in Cassie begins on those late nights spent watering horses and murmuring to sick wolves and checking on cranky eagles, but it blossoms into admiration the day that Cassie hugs Jake goodbye and chooses not to adventure.  Hestia is a one-woman army of her own, a burning homefire to her own adopted family, a brilliant brand in the darkness who never ever compromises her morals even for a second.  Hestia nurtures Cassie through the long years during which she must redefine home after everyone she loved is gone, but it is work that she is glad to do because Hestia is like Cassie in that regard: she understands that a hard day’s work is its own reward, but that a smile at the end of it is a greater reward still.

Ax comes to Gaia late, as an outsider, and she doesn’t know what to make of him at first.  In all her infinite millennia she has never had a creature quite like him running across her surface tasting the sweetness of her grass.  But he sees her in a way that none of her homegrown children ever really do, drinking in the incomprehensible richness of the millions of species she uses to populate even the meanest square of grass on the most neglected of her fields.  He speaks to her trees and drinks of her streams… and he shares her taste for vengeance as well.  Gaia can adapt and evolve, and so can Ax, but they both understand the importance of following certain rules and never losing sight of one’s heritage.  Gaia welcomes Ax and gives him a home like none he has ever known before, strange and frightening and wonderful and lonely.  He cultivates himself and his heritage under her watchful eye, and he learns to love her back even though he did not come to her by choice.

Hades is a keeper of memory the way that Ax is, sheltering him first when Ax is trapped beneath an infinite black ocean and surrounded by the dead.  Hades does not forget, and he does not forgive; every time Ax clashes with Visser Three, every time he refuses to compromise his morals to humans or to andalites, Hades is there.  Hades is a collector of rare and precious things, and he recognizes that Ax is a thing like no other.  Ax does not flinch from death, nor from killing, but he does recognize how terrible a life wasted is.  Ax can find the life in a simple sound or a beautiful food, but he never loses sight of the place that he came from.  Ax mourns his family, Ax remembers his heritage, but Ax has enough understanding of the vastness of his task as a warrior that he never allows himself to be consumed by grief.  Hades sees all, and Hades approves.

Jake springs from his cocoon of mediocre complacency the moment the war lands in his lap with a speed that reminds Athena of herself, and he wastes no time demonstrating a military spirit that proves her faith was not misplaced.  He is canny enough to maneuver seven Animorphs into the world leaders’ conference with everything from repurposed fishing weights to reverse psychology against Visser Three, but also bold enough simply to tear through problems with a rhino’s ferocity when he cannot solve them with a dragonfly’s cleverness.   He sees how the pieces—of situations, of tools, problems, of people, of teams, of empires—fit together, and how they fall apart.  Athena has fought on the shores of Normandy, in the icy waters of Trenton, on the bloody sands of Algeria, and now in the suburban streets of a California town.  War is an art, won through sacrifice and strategy and sheer cussed refusal to sink to the level of one’s enemies.  War is about victory for the sake of peace, about winning to return to the hearth, about making plowshares out of swords.  Athena fights by Jake’s side, and she considers it an honor.

Poseidon is inscrutability and depth of thought, but also rage that shakes planets and tears islands from their moorings.  Poseidon is about masculinity and pride, not the silly posturing of his younger peers but the brutal self-assurance that comes with hard-won maturity.  Poseidon recognizes himself in Jake, and though Poseidon does not ally himself with anyone, nor does he respect any mere mortal, much less admire such silly fleeting creatures, he still smiles faintly across the battlefield at a worthy opponent.  He watches the Howlers destroyed and 17,000 yeerks sucked into the unforgiving vacuum of space, and thinks that these things have earned his time long enough for him to whisper to Jake: The sea weathers down all things in the end, and the prettier they are the faster they fall.  But any rock that has survived a hundred storms and still stands has more dignity in its defeat than any statue or house never battered into the smooth utter essence of its being by the waves.

TDB Rewatch 1x11 Hairography: Meta Monday

So, I am really struggling with identifying the theme for this episode. According to the Glee wikia, the word distract/distracted/distraction is said twenty times throughout the episode, but I really don’t think that this has any significance here…

Ok, so I am beyond exhausted, I can’t actually bring myself to care all that much about a lot of this episode and this is actually the second time I have had to type this because my computer decided that it hates me, so I am just going to focus on what I really cared about in this episode.

Kurt, Rachel and the birth of Hummelberry
Ok, so I have always been open about the up and down relationship that I have with Kurt and Rachel. There will be frustrations over the seasons, but the Hummelberry we start to see in this episode, is the Hummelberry that I appreciate, enjoy and wanted more of.

Initially played for humour (Kurt’s disgust at Rachel’s appearance/room, and her willingness to go along with this), their interactions here actually start to reveal a lot about their characters. Both are dealing with feelings of inadequacy (in response to the feelings they have for Finn). Kurt’s manifest into his vindictive plan to turn Rachel into a “loose woman” (oh, malicious Kurt, you are a delight to watch) and Rachel’s into believing that she needs to change the way she looks in order to be worthy.

Now competition (from Kurt’s perspective) is what sets them on this little path during this episode. Competitiveness will always be a part of their relationship, and so it should be. Competition between the two of them is what will be a driving force as their relationship develops. Regardless of what might be going on, they are always going to give each other an edge. We have already gotten a glimpse of competition between them in ‘Wheels’. The difference there was that was clearly Kurt’s story. Rachel was more of an obstacle to his goals, rather than an actual player.

But here, neither of them are a prop in each other’s story, they are on somewhat of a level playing field (though, not on the field that Rachel talks about). Kurt manipulates Rachel through his actions, and she cuts his with her words. However, during their confrontation, both come to realise that they have been building a fantasy in their head (Kurt’s more fantastical than Rachel’s, but that is not all that important) and that they are actually alike.

Their shared glance and wave in the hallway shows this. While there has been no true acknowledgement of wrongdoing, they see each other and the seeds of grudging acceptance (which will eventually grow into friendship early season 2) are being planted. The Kurt and Rachel in this little scene are the Kurt and Rachel I want to see grow up together. Theirs will be one of the longest running relationships in the show, and even with all the frustrations it might be bring, it is going to bloody fantastic to watch.

This is so not what I originally wrote but it is going to have to suffice…ugh…

Some final thoughts:

  • Quinn justifies giving up her baby to the Schuesters because she wants her to have good dad. Fair enough. But what about the mother she will be giving her child to? Is a person capable of Terri’s manipulations the type of person you would want to entrust a child to?
  • Focused moments between characters in ‘True Colours’- Finn and Rachel, Puck and Quinn, Kurt and Finn. These pairs will all have a significant impact on the narrative right up until the end of the season.



Scott and Bailey and the Totally Serious Police Department