unanswered question in igyts #114: noah sweetwine and brian connelly having phones was literally never mentioned in the whole book but they probably had them but can you imagine what kind of texters they were ?? things for your consideration
when they were 13 and 14 they probably mostly kept conversations in person
but 1 night brians mom is stressing him out and hes lonely n he texts noah just somethin generic n brianish
noah smiling in the dark w his lil face all washed out in the glow of his shitty cell phone bye
O R EVEN BETTER BRIAN CALLS HIM
AND NOAH WHISPERS SOO OO O O O QUIETLY EVEN THO HIS VOICE FEELS LIKE ITS GONNA RAISE 34890294 OCTAVES
WITH THE SHEETS PULLED OVER HIM WITH HIS KNEES TUCKE D UP TO HIS CHEST
trying 2 speak quietly convinced jude cant hear from the next room over (she totally can hear)
and brians on his back
WITH HIS EYES CLOSED
listening to noahs lil whispery voice made a little fuzzy by the phone
thats all they barely use their phones when they’re younger but tht one time
they never even discuss it in person but its always there neither of them are even sure it happened
OKA Y AND THEN WHEN THEY’RE 16 AND STAR T DATING + OLDER
ok but like imagine your otp having kids and always arguing about what films their children are allowed to watch because whilst person A loves scary stuff and wants them to experience the thrill of horror, person B gets frightened easily and is really overprotective even though they know the kids can’t handle it and then they finally agree to watch a scary film and the kids are loving it but person B is hiding behind a pillow and so person A feels the need to protect them whilst the kids are giggling at their parent and i just ugh domesticity
does anyone have any letters from john laurens to alexander hamilton? i need them for research but no matter what i look up i get letters to john, one from john to his uncle, and a whole bunch of essays about the homoerotic undertones of his relationship with alexander
“The demographics within our business don’t reflect society, and they certainly don’t reflect the audience. There should be many, many more faces of color, many more women, many more gay people.” -Kathleen Kennedy, president of Lucasfilm; USA Today, June 6, 2013
In mid-December of 2015, audiences around the world flocked in droves to the latest installment of the culturally iconic Star Wars series. As of this writing, Star Wars: The Force Awakens has grossed a record-breaking $57 million on the strength of Thursday night previews alone. Industry analysts speculate that The Force Awakens could become the highest-grossing film of all time.
All this despite conventional Hollywood wisdom that women and people of colour are not marketable enough to play leading roles.
In every element of the production process for The Force Awakens, Kathleen Kennedy and Lucasfilm have vocally and intentionally prioritized diversity. J.J. Abrams, the film’s director, spoke of The Force Awakens as a movie that he hoped mothers could bring their daughters to. Kennedy has praised her predominantly female story staff, and Lucasfilm has held meetings with female screenwriters and directors while making staffing decisions for future Star Wars projects. Those involved with the casting of The Force Awakens have said that new lead characters Finn and Rey were written without any specific race in mind, so as to open up new opportunities for actors of colour.
If the bevy of women and people of colour flooding every corner of the screen during The Force Awakens is anything to go by, Kennedy has followed through on her 2013 promise to include “many, many more faces of colour” and “many more women” in Lucasfilm’s projects. Promotional photos for the upcoming Rogue One: A Star Wars Story anthology film are similarly encouraging.
However, the last portion of Kennedy’s promise - “many more gay people” - has yet to be fulfilled. A handful of LGBT characters have been introduced in canonical Star Wars novels and games; author Chuck Wendig told Entertainment Weekly that Lucasfilm had been “very gracious and accommodating” of his decision to include a gay protagonist in his novel, Star Wars: Aftermath. Nonetheless, the film series has yet to incorporate a single LGBT character.
Little girls can attend screenings of Star Wars and see themselves in the heroic, fearless Rey. Little children of colour can dream of growing up to be Finn or Poe Dameron. But young LGBT people going through the incredibly painful and isolating process of accepting and loving themselves will find no mirrors in The Force Awakens.
Thanks to Kennedy’s leadership on the issue of diversity, the Star Warsstory is marching forward with nuanced, fully human women and people of colour at the helm. The commercial and critical success of The Force Awakens will no doubt have a tremendous impact on the film industry, and inspire more thoughtful and diverse storytelling about women and people of colour. In turn, young girls and children of colour will see a world of expanded possibilities and opportunities. The social good caused by prioritizing diversity is tremendous.
For these reasons, we, the LGBT community and our allies, believe that it is important and necessary to affirmatively include LGBT characters in Star Wars films. We call upon Kathleen Kennedy, Lucasfilm, and the Walt Disney Company to immediately prioritize the inclusion of complex, dimensional LGBT characters in upcoming Star Wars films.
Which one of these pictures looks more expressive to you, where the characters are actually seeing a grotesquely wounded person limp into the room out of nowhere? If you ask me, it’s the second. And if we take a closer look at the differences, we can learn a lot about expressions–and why the original panel emits more laughter than horror.