stop! meta time


Watch Usagi.

She’s able to keep together with everyone for the arm stuff, but because she’s Usagi and out of shape, her legs give out in the knee bend and she has to struggle to stand and then rush to catch up to the others.

ginnvs asked:

why do you think she was sleeping in his room?? can you do some meta on that?

I certainly can. I will meta on anything pertaining to these two. First off though, I didn’t think that it was his bedroom? I think it’s just a general sort of Chancellor gathering area you know, somewhere for the council to pool resources and discuss and for them to work and get some peace. The sleeping quarters Lincoln entered that he seems to share with Octavia were much, much smaller than the room we saw Abby and Marcus in and in HIC’s interview he stated that his first scene takes place in ‘this room’ wherever they were filming the interview and then followed up by later saying we got to see Marcus’ bedroom, I’m guessing if they were one in the same he would have mentioned it.

HOWEVER: I still think there are a lot of things to be gotten out of her falling asleep in that room and in his company as well. I mentioned in the meta I wrote yesterday that there’s a certain intimacy to that scene; even if it’s not his bedroom per se it still has such a ring of domesticity about it, largely because of the way that Paige and Ian play it and Marcus’ little ‘the Chancellor hasn’t slept in two days’ which still has that little tinge of intimacy to it despite the fact he uses her formal title when he speaks about her to Bellamy.

So, I think there’s something important in the setting, being, as I think it is, more council chambers than sleeping quarters coupled with the fact that Marcus is working there and says that Abby hasn’t slept in two days and also the way in which she fell asleep and where, on a couch, and sitting up, with a tablet in her hand, it doesn’t even look as though she meant to sleep, it looks as though she and Marcus were sitting talking shop and she just couldn’t keep her eyes open anymore because at the end of the day she is only human. It also means that Marcus just let her sleep there and continued to work through whatever they had been doing but let her get the rest that he knows she needs.

On a ‘less canon; more feelings’ note (because there’s really no point unless you take things to another level of ‘Lauren you’re reading too much into this’) I think there are more things to be said about this scene than maybe initially meets the eye, things that I’m taking as implied even if this wasn’t precisely what the writer’s had in mind but I want to yell about it anyway. 

Abby falling asleep with Marcus in the same room is important because she’s nice and chilled around him and he just lets her sleep quietly and stops people waking her up and looks after her  but I think there’s also something to be said for the fact that:

 a)- Abby hasn’t slept in two full days according to Marcus and he lets her sleep even though he knows how busy they/she are because she needs it b)-Abby not sleeping for that long and in this way I think is out of character for her; she’s a doctor, she was on the council on the Ark and she was a wife and mother as well, she had a lot on her plate but she almost certainly didn’t not sleep for 2 days because you know, I mentioned the doctor thing right? She knows it’s not healthy, it’s not good for her, it’s not something she does lightly.

I think this episode shows us the ways in which Mount Weather broke everyone. Abby is suffering and just as broken as everyone else, she’s self-destructing just not in the same explosive way as say Jasper. It’s not as outward, it’s not as obvious, but it’s very much there. She’s not taking care of herself. She’s working herself into the ground doing two massive jobs, doctor/chief of medical and Chancellor, even with Marcus and Jackson’s support that is a ridiculous task for just one person to accomplish and Raven points this out to her (albeit in a rather harsh manner) that she’s spreading herself so thin like this because she doesn’t want to deal with her pain.

Abby was tortured at Mt Weather for bone marrow (and as part of Cage’s revenge ploy) her daughter, the last member of her family she has left, has been missing for three months. Even if she’s not trying to have it on her mind all the time and isn’t making irrational, impulsive decisions to try and get her back we know that she’s worried (“Clarke?” And Raven’s small, sad shake of the head is not only heart-breaking it’s learned, she’s going through the motions, this is something they do every time they come back, they’re both just reading from a script, she doesn’t expect anything but she has to ask, has to know, and that’s really quite crushing and crushingly different from her desperate hope last season)

Then, you know, going another step further, at this point why not, I think there’s another reason for the setting and staging of this little moment. It’s clear that Abby has just fallen asleep because she’s physically exhausted and can’t stay awake anymore (I don’t think I’ve ever met anyone who deliberately falls asleep sitting propped upright on a couch without even a blanket tossed over their knees) and when she has finally collapsed into sleep it’s been in a place of work; a place where she can keep her mind occupied, a place where she has Marcus to distract her, a place she doesn’t have to be alone (and I think Marcus watching over her as she sleeps and looking out for her, trying to make sure Bellamy doesn’t wake her is an extension of this; there’s someone there, someone with her, someone she can immediately talk to, immediately confess her dreams to and then immediately move on with, immediately start thinking with and working with again so she doesn’t have to linger on the things that’s tearing her soul into shreds) it’s not a personal place, it’s not her sleeping quarters, it’s not a place she’s supposed to fall asleep. Straying probably too far into the realm of personal headcanon but I don’t think Abby likes being alone, I don’t think she copes with it very well, she’s surrounding herself with other people (and other people’s problems) as a buffer and a barrier for her own so she doesn’t have to think about it, so she doesn’t have to face her own pain, face her own demons relating to all of this.

I think that episode showed the damage that people have suffered in the last three months, the way they’ve changed, the way they’ve broken and I think it does that with Abby as well. She has a very tangible arc in that episode that culminates with her telling Raven “you were right, I am spread to thin.” This is the first, to my memory, big admission of weakness or vulnerability that we have ever ever seen from Abby, it’s not something she does lightly, it’s not something that comes easily to her, it’s not something we’ve ever seen or heard from her before, this is a big moment, even if it’s said quietly but I think that’s the point?

Her whole breakdown this entire episode has been quiet, almost silent on her part. It’s all subtext, it’s all implied, it’s all something she’s trying to hide and something she’s trying to hide from.

 We see her sprawled on a chair in her office, clearly having fallen asleep because she physically couldn’t stay awake anymore; we hear from someone close to her that she hasn’t slept in two days; we see her go through motions she doesn’t really believe in but forces herself to do anyway, asking after Clarke even though she knows the answer; we watch her in that little scene with Lincoln, Raven, Jasper and Jackson all vying for her attention, all demanding that she solve a different problem as a different person; Chancellor, doctor, counsellor, friend, all wanting different pieces of her and all of them implying (and in Raven’s case pretty much outright saying) that it’s not enough, that what she’s doing, working herself to exhaustion isn’t enough because she’s not really in it, it’s just a barrier for the things she doesn’t want to go through. And all these little hints lead us up to that final admission; she is spread too thin; she is doing too much; she doesn’t want to think about it, she doesn’t want to face her own pain and I think that’s something quite big too.

So with all of that in mind I think that scene with Marcus in the beginning is incredibly important, if you see Abby’s relentless working herself to the point of exhaustion as self-destructive, as an incredibly toxic coping mechanism to block out things she doesn’t want to think about that tiny glimmer of vulnerability, watching her sleep, and Marcus encouraging this and letting her do so is important and so is the quiet mention she makes to him about her dream of the Ark, of happier times, before all of this happened.

That’s a moment of quiet vulnerability that Marcus is privy to, she’ll let herself fall asleep with him (and possibly beside him if you take my vague headcanons of them having been working side by side, him talking her through a report or his map maybe when she just couldn’t take it anymore and settled to sleep with her head pillowed against his shoulder) is important again and adds something weightier and more important to the sense of intimacy and domesticity surrounding that scene.

She feels safe with him, she allows herself a certain vulnerability in his presence, she shares little personal things with him, another vulnerability (Abby’s dreaming line and the past parallels with this are something I could write a whole other meta on) and it’s just, again, so much more depth to their scenes than originally meets the eye (or maybe I’m just obsessively analytical and looking way too closely at things…this is a deep possibility too)


(All of these pages were scanned and submitted by thosewackyshittenou, Their tweets with the original images are here and here.)

thosewackyshittenou submitted:

A week ago I unearthed a scrapbook of BSSM stuff from 1996, including newspaper articles. One of them was an interview of a bunch of random parents complaining that Serena wasn’t a good enough role model for their kids (one had a memory of the “bad guys’ eyes popping out” at her short skirt). I had the Letters to the Editor in response to this article as well, which were mostly just as ignorant. What the fuck was wrong with you, 1996? (I’ll submit the links to the photographs separately)

Here are my photographs of the article from the Toronto Star’s Starweek magazine (which was kind of like a TV Guide):

& this is the Letters to the Editor:

I apologize for the paint smears. I was 9.

First the Animerica article, now this. HELP IT’S STILL 1996 AND IT’S ALL TERRIBLE

I started getting pissed on the fucking Table of Contents blurb. “But does she have to be so ditzy?” Then “She fights evil with baubles, whine and roses.” Someone stop me from kicking 1996 so hard it becomes 1966. And while I do appreciate in that “Oh, 90s SM fandom” way that it acknowledges Save Our Sailors, then I get to “What kind of mushball hero splits her time between chasing bad guys and chasing boys?”


Thank you so much for sharing this, thosewackyshittenou! Man, 1996. I can’t believe we used to hang.

thank you for all the lovely questions/prompts! I am planning on trying to answer everything but it’ll have to wait until after work tomorrow unfortunately  but you’ve all given me a lot to think about and occupy me during my shift so thank you, keep it coming, if there’s anything else anyone wants to say/here my opinion on maybe, my ask is at your disposal 

anonymous asked:

I'm not sure if the Zoisite hair twirl is a director thing or an Ando thing, but it really seems to be in line with Ando's animating style, which is why I've always enjoyed his episodes. I never really understood the flack he gets since he adds so many little details to his frames, just the smallest things that adds so much to the episode.

I’m pro-Ando too. I’d be lying if I said I completely understood the level of hate and vitriol Ando gets. His stuff isn’t on Ikuko Itoh levels (what is), and I agree his style is unique and so doesn’t blend quite as well, particularly as the seasons went on. But I find him generally to be so good at infusing the characters with tons of personality and emotion, which are the most important things to me. I do wish they’d been a bit more selective with WHICH episodes they gave Ando, where his style could really enhance the story. For example, I love Episode 90 to pieces, and I think he did a fantastic job with it, but I admit his style isn’t the most ideal fit.

Still, for my money, there are other animation directors on the show who are so much more deserving of fandom-wide collective shunning. How does nobody seem to have a problem with whoever was the animator for episodes including Minako’s power-up in the Doom Tree, the cake shop one in R, the “Haruka and Usagi are handcuffed together” one, etc. It’s stiff, it’s clunky, it’s lifeless. Just horrible in my eyes.

Anyway, personal opinion and all that. Everyone’s allowed to like or dislike whatever they want. I don’t think the collective opinion is fair, but I’m not dying on this hill, you know?

vegalocity asked:

Who do you think most deserves to be sat through the Haruka Tenoh Presentation (and Pamphlet) on Proper Characterization Writing, the DiC dubbers in charge of 'So I Kept It', the Stars writher(s) that did the Seiya and Usagi subplot, or whoever was in charge of Pegasus?


Not Pegasus and all that crap. I still feel that was done by people who just stopped caring (or was a creative axe grinding against corporate mandates, though I of course have nothing to support that beyond just a gut feeling). I don’t think they didn’t KNOW what they were doing, I just think it didn’t really matter. Such intense Haruka treatment would be wasted.

Same with the DiC dub writers. The dub aggravates me in places (LIKE THAT), but it doesn’t dig at me, you know? Let the dub be the dub in all its horror and glory.

But the Stars writer(s) in charge of the Usagi and Seiya subplot? (And I’d add in there whoever was in charge of the entire Starlights subplot.) I think they thought they were doing something that was completely not the thing they did. I think the DESIRE was there, it just lacked any kind of skill or temperance to actually make it not a clusterfuck. Coupled with how everything else in the season is SO GOOD, my issues with the Starlights are all the more glaring. That’s why – well one of any whys – I’m sad this is the last season. I think the team who came in charge for Stars could’ve done some truly amazing things after this freshman year. I think they’d want to, too. Definitely Haruka’s valuable time and pamphlet-making skills would be put to the most good here.

anonymous asked:

Why don't we ever get main villains who have goals to benefit the world through arguably horrible means that conflict with the guardians, who care about their subordinates, and are willing to die for their beliefs?

Five months later!

Your question phrases it like this is something the series actively avoided, and I don’t know that’s entirely fair. They had five seasons and so five Big Bads. The stories they told simply didn’t lie along those specific lines.

Might they ever have? I think it’s very possible. Complex and sympathetic villains certainly weren’t something the series shied away from. Probably the biggest problem I’d find would be that the show isn’t always great at dealing with the larger repercussions, and the more morally grey your Big Bad, the more time you need to spend with your characters considering that. There should be internal conflict between the Senshi in how to handle things, debate about goals and methods, maybe even *gasp* AGREEING WITH THE BAD GUY. I fully believe it capable of supporting a story like that, particularly as the show, characters, and target audience matured a bit.

(This is, in fact, exactly the kind of thing I was hoping the reboot would bring to the Sailor Moon universe, but alas.)

To do it really well, I think the series would’ve had to be willing to branch out if its formula a bit more, which realistically may have been outside of the production limitations at the time, I don’t know. But I don’t think “why didn’t they?” has a clear cut answer you can point to, like “If not for A then B”. It’s all a creative process, and not having done a story doesn’t also mean it was a forbidden idea. I think what’s more likely is that the show was limited by both its own production demands and the general direction of the manga, and this simply wasn’t an avenue it ever got to.

Luckily, this is exactly what fanfiction is for.

anonymous asked:

I thought the term filler only applied if the anime was following the manga closely, and the negative connotation came because, in this situation the arc or episode was usually wasting time, there was no advancing the plot for obvious reasons, but there was also no character development, since they needed the characters to be in the same place they were before the filler, but some animes use this opportunity to further develop it's characters, especially since most mangas are more plot driven.

Sailor Moon stopped being an anime that closely followed the manga at Episode Two, so even going by this it would be a meaningless phrase to try to apply to it.

But “filler” isn’t limited to anime, it’s broadly used across every medium. Original shows, which theoretically couldn’t have “filer”, have people claiming “filler” episodes. Again, typically shorthand for “I think this is worthless”. Which is fine as an opinion, I wouldn’t argue that someone must enjoy something, but it’s couched in terms to try and give a subjective opinion objective weight, and there’s where I have every problem in the world.

Because, again, nine times out of ten it’s used to indicate that an episode that doesn’t advance plot is useless. And it may have been unclear this morning, but I have kind of an issue with that idea.

prismatic-bell asked:

Just curious: what would you call a short story arc that did NOTHING for the show (i.e. no character development, nothing ties to the rest of the show at all in fact, it might as well have been an eight-week hiatus), where 99% of fandom agrees "yeah, this was filler" and the only disagreement is "it was filler but I liked it" versus "It was filler and why the hell is there an Old West arc in a story about robots"?

Because I hate the term “filler” (I KNOW I WAS SUBTLE ABOUT THIS AND YOU MAY HAVE MISSED IT) I would call it “a fucking terrible and pointless story arc”.

“Filler” as a term has long ceased to have a consistent objective meaning. There are other words I can use to say exactly what I mean, so those are the ones I will use.

tresdem replied to your post: “inlustris replied to your post: “Why would you fight someone over the…”:

For me there are places where characters breathe and develop, but, in One Piece anyway, there are arcs where people are so OOC and the animation is so bad you can barely count it as anything other than waiting for the manga to catch up.

Then I’d say it’s a badly done story arc. The problem with a term like “filler” is that it’s used so liberally as to have lost any meaningful designation beyond a way to dismiss or diminish a chunk of story as subjectively determined by the person using the term.

It’s shorthand for “I think this is worthless” and it’s used against functionally anything that doesn’t directly contribute to the overall plot, ie: typically character and inter-character development. It’s a devaluing of character to glorify plot as The One True Story Element, and I will rage against that forever.

anonymous asked:

Question: Why do you think the girls are still drawn at girl height, and not women even in Stars? They are usually much shorter than the adult characters, even though they're 16.

I doubt very much that it was ever a consideration. I’d be surprised if anyone ever thought about it. The anime has a lot of strengths, but being consistent with height, even internally, is not one of them. The character heights are all over the place all the time. Pretty much the only thing you can reasonably rely on is that Mako will be taller than the other Inners, and even that’s not always a guarantee.

I wouldn’t recommend using the anime’s appearance to determine much of anything beyond – maybe – general guidelines. Envision what you like and just roll with the rest.

animestuffies11 asked:

I wish there was a JetWolf for all animes, it's amazing how you break everything down into such fine detail. There is this one anime that has a villain female, but whenever the show her, it's only of half of her face! As in, she's talk and the frame is focusing on just the lips, or she's listening and it's a vertical half of her face. Why is this do you think?

Thank you so much! I’m not sure the world could deal with more than one of me, though.

It is … REALLY hard to try and guess what’s going on with a character I’ve never seen in a story I don’t know. The best I have for you is just general tricks for those kinds of angles. My best guess – again emphasizing that all I know is exactly what you’ve told me – is that they’re intentionally trying to keep the character’s identity a secret and/or continue the idea that she’s mysterious/ominous.

But there’s only so far you can go with “shadowy figure”, and the more you do with them, the less that effect works. So it sounds like the creators are zeroing in on details that will provide a bit more character insight without actually telling you too much too fast. We get a lot of body language clues in lips and eyes. Does the character smirk or frown or smile when she says things? When she’s listening, do her eyebrows twitch at certain words, does she narrow her eyes and seem angry, does she look bored and done with whatever’s being said?

If there are none of these details to be seen, then I’d guess they’re establishing how seemingly neutral and unaffected the character is (likely for some later display of emotion that will be all the more striking because of how she normally acts), or they’re basically varying up camera angles to try and keep it from being visually boring.

That’s the best I’ve got for you, from this position of having no idea what I’m even referring to. You probably have much better luck in figuring it out than I do! Just remember that everything is done for a reason. A huge part of watching things in-depth is bearing that fact in mind. Stories, episodes, movies, whatever it is, they don’t just tumble into the world fully formed. Everything is a decision.