the big mistake

  • someone: hi-
  • me: the get down brothers did not break the locks and fight their way up to the top just to be slapped in the face with this blatant Disrespect and get shut down after just one 11-episode season when other shows are being renewed and expanded beyond their original source material despite having already wrapped up their singular plotline, therefore exposing netflix for their lack of promotion and overall unjust treatment of poc-focused shows and stories that serve as important beacons of inspiration and joy and hope and representation and empowering feel-good musical funk for so many viewers out there, poc and non-poc alike.
"copycat” still really bothers me

i’m sure i’m not the first person to notice this but i’m rewatching the show and the episode “copycat” just gets me so annoyed and irritated because of how adrien was written in that episode. this is probably the episode where we have the most blatant, explicit evidence of one of adrien’s flaws (i.e. his jealousy) and he is at no point forced to be held accountable for his actions. 

adrien quite literally causes an akuma because of his jealousy. but he is not forced to apologize to theo for lying about his relationship with ladybug, he’s not forced to apologize to ladybug for lying about said relationship without her consent, and adrien himself is not allowed time in the episode to acknowledge his jealousy, find fault in it, and learn from his mistake. 

adrien as a character already has this annoying habit of being presented as the “perfect boy” who very rarely makes mistakes and is idolized for it. not just by marinette. by pretty much everyone. “jackady” had this really strange scene where gabriel and ladybug were staring at adrien’s modeling shots and gushing about how “flawless” and “perfect” he is. and most of adrien’s arguably negative qualities (e.g. his occassional inability to take things seriously in battle, his naivete, his occasional impulsiveness as chat noir, etc.) are often presented in ways that either make us sympathize with his behavior or find it endearing. 

“copycat” is probably one of the only (if not the only) episodes where adrien is very clearly doing something wrong. he’s angry that theo likes ladybug so much so he lies about his relationship with ladybug and tells theo they’re a thing so that he can back off and chat noir can have ladybug all to himself. 

the problem is that the show doesn’t call out adrien for this jealousy. about the only time it does is when plagg makes a dig at him right when adrien realizes who the akuma is. 

and despite this, adrien merely rolls his eyes at plagg and scoffs at the comment as if it’s a joke. that was the perfect opportunity for adrien to take just a few seconds to say “you’re right. i should’ve never lied and let myself get jealous. that was wrong of me.”

about the best we can get is when chat noir acknowledges that he was the one who caused the akuma so he’s the one who has to go and get himself out of it. but at no point does he tell ladybug why this happened (especially because it involves her) and at no point does he vocalize the mistake he made, i.e. the fact that he let his jealousy take over. 

then this is where the episode really starts to bother me

he calls out ladybug for not showing up to the statue unveiling. they actually make chat noir take time in the middle of his screw up to basically tell ladybug “well maybe you’d know what’s going on if you showed up this morning.” ladybug had done nothing wrong in regards to this akuma. we’re dealing with her phone stealing and her bad time management on the side, but this has nothing to do with the akuma. if anyone’s mistakes should be being highlighted here, it’s adrien’s. 

but the episode continues to just let adrien get away with the fact that he lied. ladybug praises chat noir for his honesty and for the fact that he’s never lied to ladybug about anything (hello, irony) and normally this would be a pretty good moment for chat noir to at least look guilty. but instead he merely thanks her for the compliment and continues fighting anyway. 

and then it gets even worse because the one who apologizes at the end of the episode is ladybug!! she apologizes to theo for not showing up to the unveiling! which, fine ok, but where was adrien’s apology? where was his opportunity to explain to ladybug that he messed up for lying about their relationship, causing this akuma, and putting ladybug in danger?

it’s replaced with chat noir’s angst about his crush not being returned. 

we feel bad for him at the end of this episode because his “crush was crushed.” let alone that he let his jealousy get the better of him and lied to a stranger about ladybug and his relationship behind her back. we end the episode feeling sympathy for chat noir because ladybug doesn’t feel the same way for him. mr. perfect finally has an episode where he screws up and the show does not allow him to take sufficient responsibility for it and own up to his mistake. 

and it further annoys me that this happened because anytime marinette messes up, she almost always apologizes. when she didn’t listen to chloe and caused her to be akumatized? she apologized to her for not listening to her. when she yelled at lila and caused her to be akumatized because of her own jealousy? she apologized to lila for being so mean to her. marinette is continuously asked to own up to her mistakes and apologize for them (as she should) meanwhile the one time adrien screws up, he gets let off for it. 

idk man, it just gets me upset that adrien got it so easy in this episode. he should’ve apologized to theo. he should’ve told ladybug the truth. he should’ve owned up to the fact that his jealousy was totally unwarranted. 

anonymous asked:

Do you have any kind of process for picking colors for the backgrounds? They all seem to have really nice uniformity, and I would love to read up on how colors like that are picked (or if it's more intuition based). I do remember you mentioning that you also had help from another color lead before, so I was wondering how much of that they help out vs the colors you chose?

hey, thanks so much! this might get a lil long (as it always does!!) so bear with me.

firstly i want to say, there’s no right or wrong way to pick colors. every artist has their own palette they prefer and i think it’s super delightful to spend time developing your own special sense of color. so even though i’m explaining things in a “this is how you do it” sort of way, it’s not the only way! just my way. the best method to develop your own sense of color is to look at a LOT of art, look at a LOT of the world around you, and practice practice pratice.

at this point in my life i pick colors intuitively just because i think it’s something i’m naturally tuned into, and i’ve been doing it for a few years, so i don’t actively plan my palettes. but here are some things that i think about as i pick colors.

firstly, i want to go over hue, value, and saturation. i’m sure everyone knows these intuitively but i want to explain them in words. hue, value and saturation are what make up a color, and decide how colors differ from each other.

hue: what color the color actually is. red, purple, green, yellow, and everything in between.

value: how light or dark a color is. if you’re painting traditionally, adding more white or more black to a color lowers or raises its value.

saturation: how “pure” the color is vs how much neutral tone is in it.

here’s an example of all three:


this comes into play because a big mistake i see beginners make is that they pick a “just” color, and by that i mean they pick “just blue” or “just yellow”. imagine buying a set of oil paints and only using paints straight from the tube without ever mixing. it would be impossible! so i try to avoid picking “just” colors, except as for a complementary color (more on that in a bit). here are some variations of a red, for example.

so, the biggest thing for me when i pick colors is that i want them all to be friends. i want them all to have something in common so that they get along. i usually lose control of a painting when my colors feel to different from one another. so, i will usually start a painting with one color i know for sure i want, and “subordinate” other colors to it, meaning every other color i pick has to look good with that color. as to how you figure out what looks good and what doesn’t, that just takes time and lots of observation to build a personal opinion :) here’s an example from one of my paintings. in this case, the main color is the trees.

and here’s another from rick & morty, the main color is the sky this time.

now that that’s out of the way, i’m going to give you the Actual Cheat Sheet for color palettes. in color theory, there are 8 basic color schemes that are generally pleasing to look at. here they are.

i usually use an analogous palette or monochrome palette out of preference. the two examples above more or less fall into those categories. however, i also like to use split complementary because the complimentary color adds a LOT of contrast and visual interest. it’s great to use if you have a specific thing in a painting you want to draw attention to. here’s an example:

it doesn’t always have to be a perfect split complementary, just one color that differs from the “family” of colors that take up a majority of the piece. 

now! you might be wondering when’s the right time to subordinate a color, or where to put it, or how much of it to use, etc. and the answer is: CONTRAST. there is always visual interest in things that are different. i was rifling through my school notes and found these great types of contrast when working with color.

value: things that are light vs things that are dark.

hue: two colors that look different. I.E. yellow vs blue.

saturation: things that are saturated vs things that are desaturated.

proportion: note the example above. a majority of the painting is orange, so the green stands out because there is proportionally less of it.

temperature: things that are warm vs things that are cool.

complementary: red vs green, blue vs orange, yellow vs purple. when in doubt, these colors always contrast against each other because they have nothing in common (there is no red in green, etc).

simultaneous: this is a little advanced and i’m bad at explaining it, so please read up on it here. 

a super helpful exercise is to look at your favorite illustrations, paintings, photographs, designs, etc and assess which one of the 8 color schemes (linked above) it has, and which types (can be more than one) of contrast it has. we did this in school and it REALLY helped me look at color better. here’s part of the assignment i did, the artist is annette marnat.

so! that’s pretty much how i think about color and how i pick my colors! i hope it was somewhat helpful! there’s so so so so much about color theory i can’t even begin to cover, i highly urge you to watch some videos and read some books and articles to further your study. a great starting place would be this series of videos. these are made by my teacher Richard Keyes, i think he had a dvd or something. everything i’ve talked about so far i learned from him and he is an absolute expert in color. these videos are invaluable. if you take anything away from this post, let it be to watch these videos hahaha.

to answer your question about my color leads, every painting was a collaborative effort between the three of us, and sometimes other painters too. it was a very hands-on crew, so i can’t say any of the r&m bgs i did are 100% “mine”. however, i think my personal color sense is waaaay different than jason or phil’s, which made the process very interesting because we usually had 3 very different opinions hahaa. you can check out their work here and here to see what things they brought to the table in relation to my own contributions.

thank you for the ask! again, i hope this was helpful :)

The whole “Lucius was abusive with Draco” thing has always been so funny to me. Really, I don’t get how people are able to believe something so silly. 

Seriously, guys, wake the fuck up, if Lucius had been abusive with his son, he wouldn’t have been a part of the series. You know why? Because Narcissa “If you attack my son again I shall ensure that is the last thing you ever do” Malfoy would have killed him ten times in a row. 

I want to tell a quick story about how important representation in television is, and how Sense8 is really making a tangible difference. You can repost if you like, I thought your followers might enjoy it.

My dad is a wealthy, white, conservative male who voted for Trump. He’s not a hateful person…in fact he’s one of the kindest people you’ll meet and he can talk to a random stranger for hours. But he’s extremely fiscally conservative and tends to have a narrow world view. 

He and I argue a lot. He calls me a naive liberal who has no idea how the real world works. I call him a decrepit old man who wouldn’t know innovation if it kicked him in the teeth. It’s our way of keeping each other on our toes. 

But we love to watch TV together. Game of Thrones, House of Cards, and Vikings are a few of our favorites. I always held off on showing him Sense8…I honestly didn’t think he’d like it. But one day he asked me “What should we watch next?” and I though…why not?

He absolutely loved it. Yeah he thought the sex scenes were a little gratuitous, but he couldn’t stop watching. He even started talking about it to all his brothers and friends during our BBQ. I was so pumped he enjoyed it. 

But it was one scene in particular that really changed things for him: Nomi’s speech during her sister’s rehearsal dinner in episode 2x8. 

You see, my dad thought Nomi’s relationship with her Mom was unrealistic. He said “Parents love their kids unconditionally. No real mother would ever say those types of things. I mean…she’s not abusive. She’s not a drug addict or an alcoholic. And clearly no money problems at home. A real mom wouldn’t hate their kids just because.”

I was floored and didn’t know what to say at first. He had called me sheltered and naive so many times…and then he says something like that. I realize that it’s because he loves me so much (and would still love me so much even if I were trans) that he found a character like Nomi’s mom not just unrelatable, but completely unrealistic. 

But eventually I say this. 

“Dad…about half of homeless youth are LGBT. Believe it or not, this is one of the most realistic parts of the show.”

To which he replies: “Oh. Really? I…didn’t know that.”

And then a few minutes later Nomi’s says her speech and I look over and my dad is tearing up, just a little. 

“You doing alright over there?”

“Yeah…yeah I just….I’m fine. But I think I get it a little more now.”

So that’s my story. Even old white guy who voted for Trump is heartbroken about Sense8’s cancellation. That says a lot about how big a mistake Netflix is making. 


Submitted by @fourforyouglencoco

3

literally just a 3-page continuation of the previous 3 pages, aka, how it should have ended

#buymelodramaonitunes

  • the reason melodrama is so complex is that it simultaneously celebrates and criticises parties as a place where the rules no longer apply 
  • parties give us an illusion of control? confined in the world of the party it’s all ‘our rules, our dreams’ and we are ‘kings and queens’
  • homemade dynamite is such a call to arms for our generation okay it feels like a metaphor for the potential we all have to create change 
  • but equally could be a metaphor for our self-destructive tendencies??? 
  • the louvre is beautiful because it glorifies the tiny beautiful moments, relationships that don’t last forever but are still beautiful and priceless and are still works of art - masterpieces and still good enough for the louvre
  • also this is a song about writing a love song? ‘broadcast the boom boom boom and make ‘em all dance to it’ that is literally the conventional role of pop music? 
  • okay but hear me out i think liability/hard feelings are two versions of the same story, liability immediately after the split and hard feelings in retrospect!!!!! there are so many parallels!!!
  • let go of this endless summer afternoon vs. every endless summer’s eating me alive 
  • well i guess i should go vs. well i guess i’ll go home 
  • big mistake of dancing in my storm vs.  how you’d dance for me 
  • i am obsessed with how sober ii explores the performance of being a young adult like ‘oh how fast the evening passes’ and the references to ‘champagne’ suggests some form of performed sophistication 
  • ‘we told you this was melodrama’ could play on this idea of performing a role, or alternatively could play on the way society views the lives of millennials - melodramatic and ridiculous!!!
  • ‘they’ll talk about us, all the lovers, how we kissed and killed each other’  reminds us that this is our legacy, this is how we live forever - it’s super self-reflective and seems to call on us to consider the mark we are leaving on the world BUT also ‘romanticises us making us the stuff of myth and legend, we are immortalised forever in our scandal 
  • writer in the dark!!!!! so like to begin with that double meaning - kissing her literally in the dark / kissing her while he kept her in the dark about how he really felt 
  • this is lorde’s ‘blank space’ revenge song okay fight me on this 
  • her secret power is being able to keep him forever bc she ‘locks him in her heart’ he’ll rue the day he kissed her because in doing so he sealed his fate!!!
  • this is actually REALLY CREEPY I WANT A CREEPY MUSIC VIDEO!!!!
  • okay so love of my life supercut: every chorus is like the actual supercut playing back all the good parts back - that sunny pre-chorus with the repetition, mirroring the idea of a highlights reel playing over and over again
  • but it’s also a metaphor for seeing a past relationship through rose-tinted glasses/the way nostalgia makes things beautiful - she is only remembering the beautiful parts
  • okay but the ultimate storyline of the album seems to be from green light, sober, homemade dynamite we get the impression that ‘all there is, is the party’, whereas liability reprise suggests that ‘maybe all this is the party’ which is such a beautiful and hopeful discovery for the album to make - leading straight into perfect places, which celebrates life with all it’s imperfections and flaws!!!
Important Quotes from GRRM

“Some people I met thought we have to find the story’s through line. Who’s the important character? Somebody thought that Dany’s the important character – cut away everybody else, tell the story of Dany. Or Jon Snow. Those were the two most popular characters to build everything around, except you’re losing 90 percent of the story. “ - Rollingstone 2014

“[T]hey couldn’t get a handle on the size of the material, the very thing that I set out to do. I had all these meetings saying, “There’s too many characters, it’s too big — Jon Snow is the central character. We’ll eliminate all the other characters and we’ll make it about Jon Snow.” Or “Daenerys is the central character. We’ll eliminate everyone else and make the movie about Daenerys.” And I turned down all those deals.” -Time Magazine 2017

These two quotes are probably the most important quotes from George because he plainly states that the story is not just about Jon/Dæny. George narrows them down to being only 10% of the story. Are they important? Yes. But so are a host of other characters.


“So all that time I thought Gandalf was dead, and now he’s back and now he’s Gandalf the White. And, ehh, he’s more or less the same as always, except he’s more powerful. It always felt a little bit like a cheat to me. And as I got older and considered it more, it also seemed to me that death doesn’t make you more powerful. That’s, in some ways, me talking to Tolkien in the dialogue, saying, “Yeah, if someone comes back from being dead, especially if they suffer a violent, traumatic death, they’re not going to come back as nice as ever.“ That’s what I was trying to do, and am still trying to do, with the Lady Stoneheart character.” - Time Magazine, 2017

Death does not make you stronger or nicer. Applying this to Jon, he is not the same and never will be.


“At some points, when [Game of Thrones showrunners David Benioff and Dan Weiss] and I had discussions about what way we should go in, I would always favor sticking with the books, while they would favor making changes,” he said. “I think one of the biggest ones would probably be when they made the decision not to bring Catelyn Stark back as Lady Stoneheart. That was probably the first major diversion of the show from the books and, you know, I argued against that, and David and Dan made that decision.” - Time Magazine, 2017

Leaving Lady Stoneheart out was something George feels is a big mistake, we can assume that Lady Stoneheart is integral to the storyline in the unreleased books.


"It was the summer of 1991. I was still involved in Hollywood. My agent was trying to get me meetings to pitch my ideas, but I didn’t have anything to do in May and June. It had been years since I wrote a novel. I had an idea for a science-fiction novel called ”Avalon. I started work on it and it was going pretty good, when suddenly it just came to me, this scene, from what would ultimately be the first chapter of A Game of Thrones. It’s from Bran’s viewpoint; they see a man beheaded and they find some direwolf pups in the snow. It just came to me so strongly and vividly that I knew I had to write it. I sat down to write, and in, like, three days it just came right out of me, almost in the form you’ve read.”- Rollingstone, 2014

The Starks sparked the idea, and are at the very root of the story, but not the entire story. This also emphasizes that this book is not just about a bastard and dragon. +Bran is important, though the show fails to portray this.


“You have to remember that I started writing this story in 1991 and I first met David and Dan in 2007. I was living with these characters and this world for 16 years before we even started working on the show. They’re pretty fixed in my mind and I’m not going to change anything because of the show, or reaction to the show, or what fans think. I’m just still writing the story that I set out to write in the early 1990s.- Time Magazine, 2017

Self-explanatory.


I think there are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they’re going to have, where the wires are going to run, what kind of plumbing there’s going to be. They have the whole thing designed and blueprinted out before they even nail the first board up.”

The gardeners dig a hole, drop in a seed and water it,“ he told the Guardian. "They kind of know what seed it is, they know if [they] planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don’t know how many branches it’s going to have, they find out as it grows.-2011, The Guardian

“In the case of any of my novels, I know where I’m starting from, I know where I want to end up, more or less,” he said. “I know some of the big turning points along the way, the stuff I’m building for, but you discover an awful lot along the way. Characters rise up and seem more important, and you get to what you’d thought was going to be a big turning point and… the thing you’d thought about two years ago doesn’t really work as well, so you have a better idea! There’s always that process of discovery for me. I know not all writers work that way, but it’s always been the way I work.” -Time Magazine, 2017

Putting these quotes together because they’re implying similar things. 

George has a view of where he’s going but that doesn’t mean things can’t be reimagined. For an example, George’s original outline is almost completely different from the books we have now, but a few parts of the outline are still there, but taking shape in different characters.


I did consider in the very early stages not having the dragons in there. I wanted the Targaryen’s symbol to be the dragons, but I did play with the notion that maybe it was like a psionic power, that it was pyrokinesis — that they could conjure up flames with their minds. I went back and forth. My friend and fellow fantasy writer Phyllis Eisenstein actually was the one who convinced me to put the dragons in, and I dedicated the third book to her. And I think it was the right call.” -2017 Meduza


“In some senses, Theon is struggling all the way through to be a hero. They both come out of the same situation: they’re both raised in Winterfell by Eddard Stark, but they’re not part of the real, core family. Theon is a ward, and Jon Snow is a bastard son. So they’re both a little outside, but Jon handles this successfully, and Theon fails to handle this. He is poisoned by his own envy and his sense of not belonging.” -2017 Meduza

This quote brings the Season 7 scene with Jon and Theon to mind. Theon tells Jon that he always made the right decision, while Theon made the wrong decisions (choosing the Greyjoys over the Stark family that raised him). Jon will make the right decision.


“So many readers were reading the books with so much attention that they were throwing up some theories, and while some of those theories were amusing bulls— and creative, some of the theories are right. At least one or two readers had put together the extremely subtle and obscure clues that I’d planted in the books and came to the right solution." -The Telegraph, 2014

Extremely Subtle and obscure hints; George’s bittersweet ending will not be predictable. Only a few people have figured out the ending. If your predicted ending involves ultimate good (humans) vs ultimate evil (others), you already lost.