the symbol thing there i don't know how this is even called

Good Things to Research When You Don't Know What to Research

They don’t exactly teach this stuff in schools. This list is designed for the beginner witch, who keeps hearing the advice “Research!” but wants some better specifics on what exactly that means.

Now, you don’t have to be a complete expert on all of these or even most of these! You don’t even have to incorporate all of them into your practice. They’re just some stuff it’s good to have a basic working knowledge of in the Craft.

🌻Planetary Correspondences- Even if cosmic witchcraft isn’t your thing, a lot (and I mean a LOTTTT) of correspondences in any other category are going to eventually lead back to the planets. Having a basic understanding of what each planet governs is extremely helpful when learning the correspondences of basically anything else.

🌻Herb Correspondences- Herbs and spices are incredibly useful! They’re probably one of the most versatile of the “big categories” since they can be used in herbalism and kitchen witchery, as well as a great add-on to any other variation of witchcraft. It’s good to have a working knowledge of what herbs you can use in a pinch, especially the stuff you already have in your kitchen. When an emergency calls, it’s good to know how that chili powder can help you.

🌻Crystal Correspondences- This is another great add on! Crystals can often be used to enhance and focus the energy of a spell, as well as cleanse any ritual tools you have. Besides, who doesn’t like pretty rocks? Crystals can be particularly great for the witch who has a tactile mind, and likes to have things they can feel and roll around in their hand.

🌻Days of the Week- Knowing the right time to cast a spell can be very important! Casting a love spell on a Friday gives it an added boost, or at the very least creates a path of least resistance. Besides, there’s only seven of them, so it’s easy to learn quickly. You get a lot of bang for your buck!

🌻Phases of the Moon- We have a really big collective crush on the moon, it seems. And for good reason! The moon is a great source of power and mystery even in a completely mundane setting! Understanding the phases of the moon and how it can affect your craft is extremely important. (Hint: you can cast spells even when it isn’t the Full Moon.)

🌻Basic Mythology and Lore- This is an absolute must if you plan on going into any type of spirit work. Even if that isn’t your thing, it’s good to know a little bit. Firstly, because you may draw unwanted attention from spirits, and it’s good to know how to deal with them if it happens. Secondly, because if you draw from a path with any history behind it, it’s good to know how the rules go down on their turf.

🌻Basic Divination- Not everyone has the money or the time to pick up and learn how to read a 78-card Tarot deck, but things like scrying and pendulums are pretty easy to figure out quickly. What’s more, they can be done on little to no budget. Divination’s a useful tool to have on your utility belt, and who wants to pay someone to use a pendulum for them when you can learn it yourself?

🌻Anthropology of different cultures/religions- You don’t have to be a religious witch at all, but witchcraft still has its roots as a religious practice! Lot’s of practices have a cultural context as well, which can be important to know in order to fully understand the action you’re performing. A lot of correspondences, traditions, and rites come from cultural or religious roots. It’s good to know not only what people did, but why they did it! Does X tool have some symbolic meaning or was it just what was available at the time? What was simply a product of the culture around them?

🌻Science- It’s a HUGE category, and I left it that way on purpose. If something interests you, look at the mundane side of it as well! Do you like kitchen witchery? Read up on food chemistry and how different nutrients affect the brain. Into crystals? Learn about how they’re formed! Read about gardening or psychology, anything that can help enhance your path.

Happy researching!

Originally posted by longshankstumblarian

Just my thoughts on what happened with the Supergirl Cast

I ship Supercorp, and I 100% want nothing more than for Jeremy Jordan to get lost. But as I was watching, and rewatching, that entire monstrosity play out I started to pick up on something that I myself have experienced.

Peer-Pressure.

I experienced the receiving end when my entire theatre class joined in on a “No one likes you —-” and even when I was having a good time talking to my friends, one specific girl would always cut into my conversations and throw in a “no one likes you anyways”. Somehow she always got it in there, and people I thought were my friends would join in. Peer-Pressure. Now I would laugh along, act like it was a funny joke, but inside I was dying about it. It really hurt. But I knew that the majority didn’t think the same way that girl did; they just said it to join in on the joke because they saw me laughing and everyone else was doing it so why not?

Now, how this connects to Supergirl. Jeremy Jordan was the one singing it all. And when he brought up Lena and was saying that they (Lena and Kara) were really great friends, Katie began laughing, and Melissa started singing “My Girlfriend!” while Katie began making a praying kind of hand symbol. In this split second before asshat began to scream at the camera, you could see that they were being fun and lighthearted about SuperCorp. They were being pro-SuperCorp, and all was well in the world. Then Jeremy started screaming into the camera, and like almost anyone who is put into an uncomfortable situation, they all started joining in and laughing. It was obvious how uncomfortable the whole thing was for Katie and David, and maybe even others felt uncomfortable. But because of the reason that just stopping all of the “fun” in the middle of an interview to call out Jeremy for his bullshit would have looked SO AWKWARD, and who the hell wants to do that when look everyone else is having fun??? So they joined in and didn’t say anything even though they probably didn’t agree on the inside. All I’m saying is that we shouldn’t be so quick to condemn everyone in the cast (besides Jeremy fucking Jordan) and we should wait it out and see what happens. We probably won’t get an apology, but notice how Katie then went on to not so low-key defend SuperCorp by saying that the audience can take from it what they like, and Melissa joined in with a “Yea!” And the others were nodding awkwardly. They wanted to agree, but probably felt awful about what they had just done. I’m completely open to all sides of this fandom, Karamel, SuperCorp, Sanvers, etc etc… so if you would like to comment on this and let me know how you read into it, I would be so pleased to hear about it! I just felt that I had to express how I felt after that shit storm.

ambitiouswitch17  asked:

Imagine Tony don't liking to be close/being touched by Steve after CW but the guys keeps insisting until Natasha calls him out on it (Protective Natasha, please!)

Oh, I like it! I struggle a lot with Nat’s role in CW (to be fair, I struggle with everyone’s roles in CW), but I’m gonna try :) Here goes nothing: 

It doesn’t start in New York. By the time they finally get back to New York–it takes three months longer than Natasha initially expected–she’s already close to the end of her rope, only the merciless training of her childhood keeping her from completely losing it. Because Wakanda may be a nice place, a pleasant exile even, but she has to spend five months listening to Lang’s whining, Clint’s endless complaints, Steve’s tragically upset stares into nothingness–or at a phone that doesn’t ring, and really, she could’ve told him that from the start–and Wanda’s temper tantrums.

Also the amount of biting replies she swallows down ought to have killed her by now. They were poisonous enough for sure.

So getting back to New York, to their old compound, is a relief. It means Natasha can avoid the others for weeks if she tries–and boy does she try, she’s seen far too much of them lately. It helps. The lack of a golden cage helps all of them, eases some of the tension, but it doesn’t solve any of their problems.

And there are problems, and not just between Tony and the others, or her and the others either. There are a lot of issues that have never been resolved, arguments they couldn’t have when they were all scooped up in Wakanda and unable to stay out of each other’s way for long. Coming back, signing documents that are pointedly not called The Revised Accords, it’s like slapping a bandage on an inflamed wound so you don’t have to look at it anymore, and hope it will heal.

But every now and then they accidentally brush against said untreated wound and the pain flares up again, reminding everyone that it’s there and it’s staying.

Like when Clint calls Laura and she lets it go to voicemail. Or when Sam tries to ask about how Rhodey is doing without making it awkward, and fails spectacularly. Or when Tony flinches away from Steve.

It’s only the last one though that really gets Natasha’s blood boiling. It’s there right from the start, when Tony symbolically shakes Steve’s hand, and even though he’s smiling, his body is all tense muscles ready to jump. It doesn’t get better after that.

There are moments where Steve tries to reach out that are almost physically painful to watch. When he rests a hand on Tony’s shoulder and the poor man almost jumps out of his skin for example (they’ve lost a lot off cups to that particular move). Or when Steve always picks the seat closest to Tony, only to have Tony be tense and defensive thorough the whole meeting. The list goes on.

Steve isn’t doing it out of cruelty, that much Natasha is willing to grant him. He’s honestly, desperately trying to fix things between them, bridge the unacknowledged gap in the team. He’s apologised multiple times–and he’s meant every word of it. But the thing is? Regret isn’t going to change the past.

And Steve, Steve is so focused on fixing, he doesn’t even seem to realise that all he really does when using force, is break. Because it’s so clear, written all over Tony’s face and body language, how uncomfortable he is, and yet Steve keeps pushing and pushing, for a resolution that can’t happen by backing Tony into a corner.

The issue comes to a head when Steve tries to hand Tony a plate with a piece of apple pie. It’s an innocent enough action on the surface, but Natasha can see Tony literally freezing in place. And really, it’s anything but innocent in every way that matters.

“Grow up, Stark!” Clint mutters from somewhere behind her, and really, that’s not helping. She’s going to kick his ass for that later. “Just take the damn plate!”

Tony doesn’t though. His wide eyes flicker back and forth between the plate Steve’s holding out with a pleading expression and the door he’s probably thinking of escaping. Being put on the spot like that only makes it worse, makes the slight tremble in his hands more visible and Natasha’s had enough.

“Give me that!” she snaps, rips the plate out of Steve’s hand and throws it onto the ground. The plate shatters. Steve gapes at her but she doesn’t even let him get the question out. “I’m sick of this shit you’re pulling here!” she continues in a righteous fury that’s been building up for six months. 

“You need to back up, Steve! I don’t care how many times you’ve tried to reach out to Tony, you don’t have a right towards his friendship or his trust and you’ve done fucking shit to earn it! You need to learn to respect his feelings instead of bulldozing past them just because they don’t happen to suit you! Because you know what happens when you push? This!” She points at the mess of pie and shards at her feet. “And you know what you do when you make a mess? You apologise and clean it up! And you don’t use force to do it!”

She’s breathing hard by the end of her rant, but when she turns around to face Tony, the hesitant smile on her face is genuine. “Let’s get out of here,” she says, and it’s a question filled with all the things she hasn’t been able to voice.

Tony doesn’t reach for her the way he used to, stays out of her reach, but he smiles, just as hesitantly, and nods. “Lead the way,” he says, and they’ve got a lot to talk about and even more to work through, but it’s a start.

“Aren’t you gonna clean that up?” Clint yells somewhere behind them. Natasha doesn’t even bother to turn around.

“I haven’t seen anyone else taking responsibility for the mess they’ve made,” she throws over her shoulder with all the sugary pleasantness of a Black Widow about to reveal her true face. “Why should I?”

There’s no answer but then she didn’t expect one anyways.

anonymous asked:

I sometimes feel like I'm being, I dunno, rude or spiteful or something, thinking and talking about Hillary's supporters and the problems of this last election. It's over now, right? Except I don't know that many people who were on the Hillary train have taken any effort to learn from what happened, which means we're primed for even more failure in the very near future unless we talk about it, even when it feels rude or spiteful or whatever.

I want to be very clear, we need each other.

So often we look at each other like we are enemies, rather than friends looking to improve the nation together. We don’t need to rehash the past, we need to look for solutions in the future. It is about how the DNC showed some level of favoritism towards a candidate, not that the DNC screwed Bernie. We all want candidates to have a level playing field, that is all we are asking for in the future. 

We would be much better off if everyone just worked on being less confrontational about things we actually agree on. 

But let’s be honest, the last election was hard on all of us, Clinton supporters, Sanders supporters, even supporters of every last Republican nominee. While there are some things that we need to talk out, more importantly, we need each other. 

There are commonalities between most American’s. We are worried about the direction the nation is headed. We feel economically limited due to government policies. We love this country and want to see it sustained. 

And that last commonality is very important, especially at this time. 

Because for the first time in our history people are beginning to wonder if our nation, our government and our way of life are at risk. This is why we must set differences aside and work together. 

American symbols, that many of us hold dear, are being wielded by those that do not believe in American ideals. They call themselves patriots while suppressing the vote, limiting free speech and the right to assembly. They carry the American Flag while limiting our Fourth Amendment Rights. They rave about the Constitution, while actively attempting to destroy it. 

Those symbols are for those that embrace our Constitution and Rights, and the enemy of those ideals have stolen them from us. They have perverted their use for Nationalistic purposes.

I fear the same people are attempting to end our Republic.

We need each other because those people are in power and the only way to defeat them is by standing together. So, I stand with those that really support American Ideals. I stand with all the Real Patriots, not the Nationalists waving our Flag. 

We can hash out our differences later, saving the Republic is more important.

- @theliberaltony

shixpe  asked:

Hello! Don't know me but I know people. So I wanted to ask if you knew of a term for the set props used, say in SPN, that are never addressed (like chekhov's gun or something), but are meaningful and may have subtext. Like the items over Dean's bed, signs, decor/paintings, flowers maybe. I think my brain invented a word that it doesn't even remember, because it doesn't exist.

Hehe, I’ve seen you around a bit. Sorry if any of the below sounds condescending. When I get these asks, I try to be as informative as I can.

There are a few possibilities. Motif maybe? Motifs are usually like.. patterns.. but we usually just lump everything in my experience. We usually just called set dressing or props that conveyed character presence or meaning “associations” or “setup calls”. Since symbolism in movies is associative, and anything in the narrative that calls a payoff, we just called them what they are.

There may be people who have specific names for them, but other than Chekhov’s “X” I haven’t really seen any specific words. That doesn’t mean the words don’t exist. People in film rename and redefine things all the time. It’s one of the reasons we used definitions more than terms when I was in school. You could argue about something, and then learn you were talking about the same thing coined by a different person. Even the terms for sequence structure of a movie are debated. People agree that 3 act movies have sequences, but not on how many, or what they’re called.

 When I was in college, we’d go through scenes (like the opening from Wes Anderson’s The Royal Tenenbaums) and pick out associations for characters (Mostly colors in this case, because Wes Anderson) and then discuss them after. The Royal Tenenbaums uses color saturation to convey meaning for example. How bright the color is transfers to the associative character’s passions and mindsets. 

In SPN, the colors, patterns and objects are “associations”. They use association very strongly. Associations are traceable elements with simple connections on their own. They’re sort of like the first introduction of a character in a screenplay. The first time a character’s name appears in a screenplay, it’s always in all caps in the action. This is so that character can be traced back to their introduction easily. How an association is incorporated indicates its symbolism, and its repetition in scenarios is what gives them meaning and allows for more complicated readings. My favorite ones in all of SPN are the items over Dean’s bed you mentioned. They are the easiest type to read. They’re consistently placed, easily legible without being too obvious, change when they should without losing simple explanation and are very traceable.

When I taught film, I showed Hot Fuzz as my movie for “setup and payoff” because everything in that movie is pretty much made of that concept. (It’s actually really neat watching it unfold). I used “setup calls” for the scenarios and props in that movie too. It’s pretty much any element that has to be addressed later (or should). The Pink Unicorn plush in Suicide Squad is an example of failure to respond to your setup calls. It’s also a blatant disregard for the Rule of Threes. 

Setup calls can be objects or dialogue, but when they’re objects, they’re usually given an insert. One of my film teachers joked by calling this “insert attention” but I don’t think it’s an official term. A creepy doll getting an insert in an early scene and turning out to be evil is an example.

There are a lot of “rules” in film, most of them I’ve heard as the definitions rather than the terms though. Their usually a series of “if then statements” like this: 

“If a sharp thing gets an insert, someone’s gonna get stabbed.”

Or

“If it’s purple, someone is going to die”, or “If a gun is shown or mentioned, it must go off eventually.” 

And my personal favorite: 

“If someone states an absolute before the finale, it will be addressed(usually challenged).” 

This is why the end of S8 makes me side eye TPTB a little.

Honestly, it’s perfectly fine to have your own terms for things. You just have to define them and get them out there. I’ve heard all sorts of terms when I was in college that I haven’t been able to find anywhere else, but I see them in movies all the time. 

If you think of the word, let me know. It may very well be a term and I just don’t remember right now. My memory is kind of terrible. If it’s not already a term and can be defined separately from other ones, define and coin it! Maybe it’ll catch on.

anonymous asked:

Are you ready to see Clarke being the commander? because that's totally going to happen. The foreshadowing is there. JRoth's intentions are transparent. Clarke following L footsteps and two endgames. Don't tell me it's not perfect.

I’m tired™

Listen, you can think whatever you want, I can’t control how you feel. I understand why people are worried and I totally get how problematic it would be if Clarke took the flame. (if this happens, the only thing that could keep me watching the show is Bob/Bellamy, and I’m not even sure)

but the point is I don’t see that happening.

Let’s make a list:

Reasons to believe she will.

- She’s a nightblood

Reasons to believe she won’t.

- Their society and the world will be gone in 6 days.

- The flame is kind of in no man’s land.

- They’re moving away from hierarchies.

- Polis and the tower are going to be destroyed in 4x13.

- COL is gone. In my opinion there’s no way to communicate with the commanders.

- The flame was a religious symbol, now it’s just an USB. Some grounders reject it because it’s technology.

- Society+ Religion+Politics = Commander but….. Non society + USB= ???

- Grounders wouldn’t or shouldn’t accept her since she’s not a real nightblood. She’s an experiment and that’s blasphemy (Echo said something like that)

- Before this season, having nightblood was a gift/curse, but now it’s nothing special. If it’s not special, there’s no tradition.

- Raven is connected to Becca’s mind in some way. Clarke doesn’t need to take the flame.

- When Clarke decided to inject herself with nightblood she was rejecting L’s leadership.

- Clarke doesn’t need an upgrade. If they make her take the AI it would be like erasing her character, her leadership, the lessons she learned….

- All the commanders have led alone. Clarke was already isolated in s3 and it was her worst moment. She needs her people and shipper goggles off, this show is about Bellamy and Clarke and their leadership. I mean, Together is their motto.  

- It’s no coincidence this season we’ve seen many characters calling her out. Monty, Murphy, Jasper, Emori, Arkadia!!… They’re pushing Clarke away from God’s rol. “You know, it’s too bad that you weren’t a real Nightblood because then you could’ve been Commander. Imagine how many people you could’ve killed then” The commander’s rol has pretty negative connotations, don’t you think?

Maybe they managed to add a plot where Clarke feels tempted to take it to save her people, but she would ultimately reject it. This is the only ‘Clarke as commander’ plot that I can see. The narrative isn’t going there.

I’m not going to tell people how they are allowed to feel and react to a situation.

The way I see, what’s done is done.

If they haven’t written that. I’m spending weeks worrying over nothing.

If they have written that, my worries are not going to change their story. If that happens I’d drop the show or I’d turn into a casual viewer. It’s as simple as that.

jigglejaggle  asked:

(this is someone else's prompt, i don't remember who made it though but it's a bit different than the original..) could you write something where lance is stuck cleaning the decontamination chamber and he accidentally turns on with him inside so there's water filling up the room rapidly and he's running out of time but someone finally comes by and hears him screaming and freaking out trying to get him out. You can choose if lance dies or not (I'd prefer that he almost does but is revived by CPR)

I hope you like it; I haven’t slept in 30 hours so I’m just chugging along here…

A few aspects of living in a flying castle really bugged Lance.

How is anyone in their right mind supposed to clean the thing, especially while trying to fight a war at the same time?

How is someone supposed to stay out of the frankly ridiculous amount of traps and strange places scattered haphazardly around?

And, most importantly, how is someone supposed to get out of said traps when there are only six other people on the ship with a once again absurd square footage?

More under the cut!

Keep reading

maniacalmole  asked:

I can't wait to see Crowley's eyes, either! Part of me, though, really hopes we DON'T see them until his glasses are knocked off in the burning bookstore. I think this was when they were revealed for the first time in the book, and it's super dramatic and badass. (I'm sending this as an ask bc the post you mentioned his eyes in was already pretty long)

I agree!! That scene is incredibly important and quite a bit of a reveal. I’ve actually been meaning to talk about this. Here’s a sketch to help visualize:

Poor kiddo.

I wouldn’t say he’s exactly badass here; actually I rather feel the exact opposite, but it’s an incredibly powerful scene. I have a lot of Thoughts on this, so more under the cut.

Keep reading

An idea I will never have time to write

Consider this: a miraculous ladybug wizarding world au that takes place at hogwarts in the headmaster snape time period

-Adrien (a Hufflepuff) and Marinette (a Ravenclaw) both independently decide to take a stand against the oppression by the death eaters that have taken over the school

–This is in the very beginning of the school year, before the resurgence of the DA, so they’re very much on their own

–Whenever a death eater is hurting a student they sneak off and cast a charm over themselves that obscure their faces/cloud the mind of those nearby to protect their identities, then rush to aid whoever is in need

–They’re both INSANELY good at magic so they always manage to escape, though sometimes it’s close. It only takes a few weeks for them to catch on to each other, and then they start depending on each other for help despite not knowing who the other is

–The death eaters try to cover this of course (don’t want to look like they’re not in total control) and announce that they’ve been caught and punished severely

–But it doesn’t take long for the stories of the two vigilante students to spread, and they develop a cult following in the student body

–Neville has been doing his own badass thing, meanwhile, and slips away from sight to restart the DA and recruit new members. Adrien and Marinette eventually join up, but as themselves.

–Of COURSE the love square is a thing in this au. I imagine the pureblood Agreste family is a huge name in the wizarding world, as big as the Malfoys. Draco tried to stick his flag on Adrien the second they had finished crossing the lake, leading the Marinette instantly hating Adrien (she had run into Draco at Diagonal Alley and he so kindly gifted her her very first experience of being called a mudblood. So Marinette instantly disliked Adrien by association (not noticing that Adrien was incredibly uncomfortable as Draco tried to butter him up). Only later that week does she change her mind. When she is late running to herbology and it’s pouring rain, he happens to be outside on his free period. He comes over and casts a water repulsion charm on her, drying her off instantly. BAM. INSTANT LOVE

–Oh my god I’m going soooo overboard here haha

–So anyway of course Adrien is oblivious to her feelings but they stay friends all throughout school, even becoming prefects together later, and were on track to becoming head boy and girl if the world hadn’t gone to shit their last year of school and led them to become vigilantes

–They end up becoming very close as vigilantes, and call each other by the code names the DA has been referring to them as for lack of knowing their names. Ladybug and Chat Noir.

–They start hanging out together after fleeing battles sometimes, though they decide not to reveal identities to each other, in case one of them was ever caught and tortured for information

–And… Of course Adrien fell in love with Ladybug the VERY first time she showed up and saved a student from being tormented.

–Dont look at me I’m not crying you’re crying

–Just IMAGINE death eater Hogwarts but with Adrien and Marinette risking their lives to protect their friends and the younger students

–Mari joining the DA and making a rousing inspirational speech about doing what’s right that moves them all the tears

–Mari convincing the other members to invite Adrien, because it doesn’t MATTER that he’s a pureblood or that his father is a known death eater, he’s not one of them, he’s a wonderful person and he’s incredibly talented and he would be invaluable to the cause. Because despite how scared she is at the prospect of putting him on danger, she knows he would want to be a part of it

–Adrien being so impressed by her bravery and strength when Mari comes to explain the DA to him and ask him to join the DA, and moved to tears that she trusts him that much despite his family name

–Them becoming closer friends than ever as Adrien and Mari because of the DA, and struggling to keep their identities a secret as they spend more and more time fighting the death eaters as Chat and Lady

–Fighting together at the battle of hogwarts.

–FIGHTING TOGETHER AT THE BATTLE OF HOGWARTS.

–They battle in the guises of Ladybug and Chat Noir, purely because the sight of the two vigilantes is so inspirational to the student body and professors alike at this point, they’re an immovable symbol of the rebellion, they’re like mythical, and some of the death eaters even sort of fear them, having heard stories through the grapevine

–The reveal would be. So. Heavy

–Maybe someone is about to kill Chat Noir and injures him badly enough so that his ‘identity’ spell drops. Ladybug doesn’t see it’s Adrien yet but she flies into a rage of curses to protect her partner

–The death eater recognizes Adrien as the son of Gabriel Agreste, a death eater himself

–“Why bother fighting us?” The death eater cackles. “You’re a pureblood, you fool. You only stand to BENEFIT from this new world the dark lord is giving you, free of muggles, free of mudbloods–”

– “I DARE YOU TO SAY MUDBLOOD ONE MORE F U C K I N G TIME.” Mari curses him so hard he does not get back up. “That’s right, you just got wrecked by a MUDBLOOD you little shitbitch”

– Adrien looks up in total awe, “Marinette??” he realizes

–She finally sees that it’s him and breaks down into a TOTAL MESS because holy shit the two boys she loves are one and he almost just died

–Cue the ‘I love you’ reveal right then and there, shouted over the sound of rubble falling and curses glancing off marble walls as they continue to fight, because dammit they’re not gonna die with that unsaid

–After the war they both become aurors, and their code names from when they were vigilantes at wartorn Hogwarts just sort of stick because they’re freaking legends

–P.S. Adrien’s patronus is a cat. 🐈(And Mari’s is a swarm of ladybugs?? 🐞🐞🐞 Idk lmfao)

–I’m literally never ever ever going to write this. But that won’t stop me from thinking about it and sobbing

American Gods (Novel) Starters
  • “All your questions can be answered, if that is what you want. But once you learn your answers, you can never unlearn them.”
  • “Every hour wounds. The last one kills.”
  • “What I say is, a town isn’t a town without a bookstore. It may call itself a town, but unless it’s got a bookstore, it knows it’s not foolin’ a soul.”
  • “There's none so blind as those who will not listen.”
  • “Gods die. And when they truly die they are unmourned and unremembered. Ideas are more difficult to kill than people, but they can be killed, in the end.”
  • “I believe that all men are just overgrown boys with deep problems communicating.”
  • “Too much talking these days. Talk talk talk. This country would get along much better if people learned how to suffer in silence.”
  • “I think I would rather be a man than a god. We don’t need anyone to believe in us. We just keep going anyhow. It’s what we do.”
  • “Don't start anything you're not prepared to finish.”
  • “You are an analog girl, living in a digital world.”
  • “Goodbyes are overrated.”
  • “It's easy, there's a trick to it, you do it or you die.”
  • “I believe in absolute honesty and sensible social lies.”
  • “I could be blindfolded and dropped into the deepest ocean and I would know where to find you. I could be buried a hundred miles underground and I would know where you are.”
  • “When you love something you just don't want to stop talking about it.”
  • “Information and knowledge: two currencies that have never gone out of style.”
  • “In this sorry world, the symbol is the thing.”
  • “Angry gets shit done.”
  • “If you can fake sincerity, you’ve got it made.”
  • “Family is who you survive with when you need to survive - even if you do not like them.”
  • “You are an immaterial girl living in a material world.”
  • “You shine like a beacon in a dark world.”
  • “We're going to San Francisco. The flowers in your hair are optional.”
  • “All is well, and all is well, and all shall be well.”
  • “And what’s a stranger but a friend you haven’t met yet?”
  • “I can dance like an angel, fight like a cornered bear, plan better than a fox, sing like a nightingale…”

A thing that needs to stop: lumping the abuse Marisha gets as a player with the criticism Vax'ildan gets as a character. They are not the same thing. At all.

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anonymous asked:

(1) this is a bit of a stretch but i think that the 10% of weed symbolizes islam. sana makes a deal with isak that involves her keeping 10% of the drugs. in the next episode, sana is trying to give him the weed but is stopped by the teacher who doesn't even know what the hijab is called. isak responds with "so you don't even know the garment that 10% of your students wear?". at the end of the season, sana gives isak the 10%. this could symbolize her telling him some of the core concepts of islam

2) which he even quotes when he comes out to his mom. then even takes the weed from isak which can symbolize him learning more about islam and reading the Qur'an. isak takes it away from him because it’s bad for him due to his bipolar depression. the same thing could’ve happened with sonja. she could have stopped even from learning about islam by saying that he was manic. he listened to her and stopped trying just like he did with isak and the weed. this is probably all wrong but ¯\_(ツ)_/¯

anon!! i’m so so glad you brought the 10% back up. it’s another one of those little details from s3 that only applies to isak, even, and sana, like you said - it’s mentioned by sana after she finds the weed, when isak calls out the racist teacher, and at the end of the season in the kitchen. but it’s also mentioned between isak and even at even’s apartment in 2:10.

we all know julie likes to be extra when it comes to symbolism so i looked up some symbolism for the number 10 and i was really struck by a couple concepts and how they relate to sana/isak/even: 10 is the number of wholeness, but it’s also the first number that requires a second part. from what we learn of isak and sana’s relationship in s3, sana is the person who really gives isak the freedom to come out on his own terms and in his own time. she educates him on religion, and becomes someone he trusts, respects, and values extremely highly by the end of the season. isak and even’s relationship is, at it’s core, about being that one person that can make you a better version of yourself - “I’ll save you right back.” so both of these relationships that are linked to the number 10 demonstrate wholeness by adding a second part.

one other concept i found really, really fascinated me: 10 represents the two opposite current directions of the conscience: involution and evolution. i think this points to your reading of the 10% having to do with religion, both islam and christianity. while isak’s philosophy centers around the idea of evolution, things constantly changing, sana’s philosophy (as well as the christian philosophy) is the opposite. religious philosophy is about consistency, staying steady while everything around it changes. isak goes through a lot of changing in s3, but sana is there to remind him that islam, that religion, says what it has always said and will always say - that everyone is equal.

i think it’s important that 10% as a concept exists individually between isak and sana, and isak and even. so maybe, as the trend points to, there’s a significant 10% between sana and even that we haven’t learned yet, and maybe that 10% has to do with the study of religion - specifically islam, since we know that’s something they share. and maybe that 10% is how we’ll see their friendship develop this season.

isnotaband-isanidea  asked:

Hi! Don't mind if you don't answer this but I'm a newbie writer and I was wondering how do you do the start of writing like do you Outline or make a timeline or you just sit and write? Also how do you 'plot' , I keep reading this word everywhere in writers blog and still don't know what it means 'to plot. Sorry to bother. Love your writing

I do the grab bag method of plotting because above all else I love the act of writing and building things out of obscure shit. When I was making Eggs Over Easy aka the Denny’s/cheerleader/laser tag klance fic that’ll never get finished in a timely fashion because my backers don’t ship klance, I was like:

“Okay, how do we build a good au? Someone’s at a Denny’s, there’s a cheerleader, and uh, Lance wants to get into pro laser tag.”

I took tropes and things I like that are just fucking ridiculous, and then decided I was going to climb the hill that’s giving it emotional depth. So how do all of these things interconnect?

Keith is an ex-cheerleader who dropped out of college and now works at a Denny’s after his hero (the cheer captain) went missing. Lance is aways at this Denny’s at 3 AM because he closes the laser tag/skating rink. His dream is to find the final people for his pro laser tag team, and when some dudes who knew Keith in college come into the Denny’s and try to start shit, Lance falls for Keith’s dexterity and ability to vault a table.

He asks Keith if he wants to join his team.

They exchange numbers.

Okay, so now we have something to work with. Why did Keith drop the cheerleading team and resort to working at a Denny’s? Who will the other team members be? I mean, we know since it’s VLD fic, but it’s still fun to build that up. What challenges will the team face while improving their skills at the Voltron laser tag park and why is Lance so caught up in this pseudo-sport? Then we can ask who becomes team captain and what that means?

Basic ideas, right?

Right, so here’s some more depth.

When is this happening? How are the characters dressing and presenting themselves? Is it based in a modern au or is it modern and kitschy? Does it even have to be on Earth? Can there be a Denny’s on the moon? Who fucking knows? Start thinking about the atmosphere. 

Keith plays Galaga in the Denny’s arcade, but there are cell phones, and for some reason, people still like disco night at the rink. I’m painting it so that you can wear a pastel windbreaker, wear tight glitter boy shorts, but also, you can call an Uber. I love the mix-up. I do whatever I fucking want.

For outlines? I tend to do it by chapter. If I go too far ahead, then I just end up ignoring my own notes anyway because shit will write itself. I get my point A and point B and then harass my friends for brainstorming sessions and dialogue. I literally write down my friends’ jokes. I have pages of candid shit.

It usually goes:

MAIN POINTS

What has to happen this chapter? Who’s doing what? Make this into a to-do list.

SUB POINTS

Also make this a to-do list. But like, bullet out why the main points matter. What is this adding and does it make any fucking sense? I tend to forget to pay close attention to this, but I’m learning. Consistency is hard in multi-chapters. It requires tons of rereading and I write so much I don’t have time.

THEMES

What are you trying to say? Don’t like, bullet out symbolism because symbolism tends to come at the end, and the symbolism never belongs to you, but what is driving you to write this story and what do you want your readers to kind of get from it? Some don’t do this in fic, but yeah. I do. I care way too much and funnel tons of energy and consideration into my shit.

FREEWRITING (because my eyes are fucked all to shit and if I stare at the screen too long it just hurts now)

Just write. Mark it out. Rewrite it. Get the tone down.

I get about a page of freewriting done and some thematic prose under my belt and then start the Word engine. 

Anyway! I hope this helps you! Thank you for the sweet words, and I’m so sorry if I’ve missed your previous messages. I get a lot of them and tend to have to pick and chose when I’m slammed. Fingers crossed this makes up for it.

SHAMELESS PROMOTION

$5 TIER ON PATREON for more unsolicited advice.

skippinginclouds  asked:

when you have time, would you ever be willing to talk about how you think ronan and renee each view religion? like what it means for them/what they get out of it/why they choose to follow it when so many other people (esp their age) don't seem to?

you betcha babe, I’m gonna give a little of my experience for ref, if that’s okay?

There are only three things that lodge in my mind about the ten years of my life I spent going to church every Sunday:

1. I got to dress up, Sunday best, pinched cheeks as my accessory. If I was lucky they’d let me and one of my brothers carry the candle and bible to the front, and I’d have a staring contest with the flame while we trailed after the choir procession. Everyone watched, endeared by the children symbolically carrying protestantism in their chubby hands. I liked that church was gaudy. I liked that there was a script, and that I got to sing and shake hands with strangers.

2. If there’s a God, I thought he belonged to me. He was the helpline that was always open. Religion was offered up to me like a wish-granting factory. Believing in something is hard work, and it kept me entertained, for a while. If I was in trouble, or if I really, really wanted something, I dialled God’s number. I had private fights with God. I wished on him and hated him and forgot him.

3. My brother and I used to sneak off and explore the church before service started. I vividly remember sneaking through the supply cupboard down what we thought were “secret” stairs. My brother is older, and I would’ve followed him even if he lead me straight past the floorboards of the musty church to hell. We found something new every week. It’s amazing what can feel like an endless gothic castle when you’re seven. Sometimes I think of my brother as he was then, clever and funny and absolutely everything I wanted to be, and I ache to be in the quiet of the church basement, asking him about the dusty props in the corner, spinning in my pretty red dress for the wall to wall mirrors, happily lied to about the secrets and magic and God all around us.

I think Renee sits somewhere around a more dedicated number two, and Ronan is a 1-2-3 — heavy on the three.

Renee wants to keep her hands busy. She tried carving herself a new future and it turned out to be a double-sided knife, slicing her hands in the process. God is more than a second chance for her, he is something to constantly, relentlessly pursue. When Renee says she’s trying very hard to be a good person, she means it. Believing in God is a struggle for her. The world is cruel (or like. the people in it, Neil, okay, same diff), and scrubbing the blood away so she can look God in the face is almost impossible when it keeps welling up (taking her friends, throwing her prayers away).

Renee needs that prayerful helpline on speed-dial. She needs the hard work or she might fade away. Religion is her new talisman, the handle of a new, sturdy weapon, and she keeps it as her defence, something to learn and use and put away when she needs to.

She’s not casually religious, she’s putting all her money on God. Christianity is really and truly all she had before she met the foxes.

It’s gruelling, being a “bad person” and believing in God, trying to understand A) what you are, B) why you’ve been made only to be treated so poorly, C) How you’re supposed to lever your burden up and keep believing, how to make amends

—which is where Ronan comes in. 

please God what am I, tell me what I am

Sometimes I think Renee and Ronan would respect each other too much to be friends.

Ronan is in a self-loathing depression a mile wide when we meet him, and he sees himself as a bad person trying to be a bad person (until the day that he fights some demons, gets some help, digs himself free, and actively tries to be good)

His life is a shitshow of loss and longing, and he’s absolutely ravenous for answers. He doesn’t even doubt God, he just wants to brawl with him for a while there, call the bastard down and piss in his cornflakes, you know

Religion isn’t hard for Ronan. It’s the number 1 I mentioned before, something he can perfect and impress with. I bet he even liked how good he looked in his crisp shirt before everything went down, unbuttoned at the collar like his father’s. He likes an honest, unrepentant performance.

I bet he was determined to believe in God that little bit more than everyone else, memorize the bible verses (he likes learning niall’s languages, and those were largely latin, holy, or slurred and drunk)

He also called passages out like his father did for being “rubbish” whenever things got too close to condemning their magic, their Otherness. He’s a selective Catholic in a lot of ways, hand-picking the good stuff because he knows that religion belongs to him, that it’s exactly what he makes it.

His dad taught him that what was in his head was the only real thing other than God. Ronan negotiates the two. When he’s brave enough, and okay enough, he pins his sexuality to God’s forehead and dares him to have a problem with it.

Renee goes to church to think, and so does Ronan. When everything gets a bit much, and gore fills their heads up, the church is their sanctuary.

Where it’s a puzzle for Renee though, it’s easy for Ronan. Old hat. He walks into the church and he feels the incense and dust fold around him like his mother’s dreamy embrace. He asks questions to the empty pews like he’s talking to his dead father. Renee walks in feeling unworthy, feeling too big for the vaulted ceilings, and she gropes for God’s hand in the dark. (The first time she prays and she feels like she’s being heard, she cries. She goes home to her new mother and cries some more, her past in tatters, her future tasting of sacramental wine.)

More than anything though, Ronan is lost in number 3′s nostalgia

As you may have gathered, Catholicism IS Ronan’s father, wow, nifty,

He goes to church for the comfort and the sting, just like visiting Niall’s grave. His religion is a relic from his childhood, when they were so arrogant about how their lives would play out.

I’ll bet you anything that Ronan walks into church, breathes in, and tastes his first swig of alcohol under his father’s watchful eye, not flinching because he wouldn’t. He sees Declan-Ronan-Matthew, heads bowed over abridged Sunday school bibles, Matthew pleasantly not following along, Declan pointing out the bad illustrations so that Ronan snorts. His mother smiling placidly and combing her hand through his hair until he focuses enough to sing hymns with the rest of the crowd. His father boasted the largest voice in the room. Declan was embarrassed. Matthew and Aurora delighted. Ronan’s mouth curled like dead leaves because his father could make a scene like no one else.

Ronan’s relationship with God can’t be snipped because it was cast in iron, welded in place by Niall Lynch when he burnt his way out of Ronan’s atmosphere. 

Renee’s faith can’t be stomped out because she’s shielding it with absolutely everything she has. (Andrew understands her faith because he gets what it’s like to protect your hope even if parts of you have to die.)

End of the day, foxes or ravens, their friends aren’t religious for a lot of reasons — not raised with it, hurts too much, they need proof, etc, etc

but they all understand the way it sits with Renee/Ronan

they know that religion is a pattern that holds them together, a someone when there’s absolutely no one, a lil flickering reminder of the things they’ve lost & hurt for

I think I lost my religious inclinations because I wasn’t willing to fight for it tbh

but man Ronan and Renee are nothing if not fighters

anonymous asked:

I just saw your last anon and the tags and it's like, there's Alec hate on my dash right now and it's making me sick. Someone is accusing that Alec didn't "do enough" to try to help Magnus in the last episode when he thought they switched bodies and we need to stop "excusing" him for it and that the episode was shitty writing, etc. Meanwhile I'm just sitting here thinking how incredible that episode was and I don't even care lmfao.

yeah i saw that post lol like people are…..….let me just quote myself from here (lol so pretentious and self congratulatory im sorry): 

“people don’t even try to even think for a second why - it’s all just, he was wrong, he didn’t know, he didn’t notice, he listened to jace instead of his gut, he should be sorry, why didn’t he know, etc. etc. but the point of it is that it was basically an impossible situation - the point was that we knew, but knowing alec’s position – not knowing, being cautious and logical by nature, and having seen valentine’s reprehensibility and manipulations up close and personal – we would understand why it was such a difficult judgment and situation to be in without pointing fingers in blame like little tiny children 

but like…..tbh they overestimated the fandom lol“

first of all….obviously, if we’re talking about the writing, then the gaping hole is the fact that alec could have “tested” fake magnus in some way and then gotten confirmation of the switch and all would have been a-okay. but….this is television….that’s the same reason clary and jace would never do a DNA test to figure out their true identities instead of the 4 dramatic reveals we’ve had…drama on tv doesn’t always make sense. so first of all, i’ll give you this - he could have checked, the episode couldve ended in 15 minutes and magnus would be shaken up but overall  fine and we probably wouldn’t be seeing as drastic of repercussions as we’re likely going to see in his arc in episodes to come. this is absolutely 100% fair enough. i agree that he could have and should have checked in some way, but i also posit that this is TV and sometimes that means heightening tension and suspending a bit of disbelief, but to each their own, not everyone has to agree with that being a necessary evil in tv writing. it’s also true that it likely could have been avoided in some way, but until we know the implications of what happened in this episode, im not going to judge whether it was a good or a bad call

but let’s think about it just in terms of the actual narrative here, not thinking about TV writing and drama and all that. 

[under the cut]

Keep reading

cupcakes-vs-muffins  asked:

I LIVEEEE for people calling Danny out on her bullshit. I'm always afraid to criticize her in my inner circle because I think people will think it's sexist and that I don't like her because she is a woman on a position of power so... thanks for that post

Here’s the thing… I often say I hate Daenerys, but if truth must be told, I think that I don’t exactly hate HER, because she is (book-Dany, that is), in all fairness, a wonderfully crafted and complex character. One of GRRM’s finest.

What I DO hate, is when people are blind to her flaws, or even outright deny their existence. Daenerys is put on a pedestal, presented as the absolute symbol of feminism and worshipped as if she can do no wrong. People really, really love Daenerys Targaryen, for things she simply is not.
Anyone who knows a fig about feminism knows that only people who hate feminism think Daenerys is a feminist- yet, I cannot tell you how often I have been accused of sexism, simple for openly criticizing Dany’s attitude, decisions and ‘tactics’.
I don’t like the hypocrisy of Dany the character, the way she believes she’s superior. I can’t stand it that she achieves everything she sets her mind to, not because she works hard, is cunning and brilliant, makes the right decisions and sacrifices… but because she has sheer luck, the support of people she doesn’t deserve and these dragons she accidentally hatched and cannot control.
Daenerys has this übermensch attitude that most Targaryens had, that got her brother AND her father killed, yet, she seems to have learned nothing from their mistakes.
Daenerys is not as loved as she seems, though, especially among the book readers you’ll find few people who genuinely root for her.
People have a hard time liking hypocrites, and even fewer like to see said hypocrites receive praise they absolutely do not deserve.
THAT is what I hate. The ignorance of Dany’s fanbase.


And Emilia Clarke’s three facial expressions and hideous wig.

anonymous asked:

I know this might be kind of a random question, but do you think there was a reason that Cas took his trench coat off when he was hanging with Crowley? Like, he ALWAYS wears his same outfit. Why did he suddenly decide to look more casual? Idk if there was a point to it. But it seemed weird when I saw it.

I assumed it was because that’s how Sam and Dean would’ve dressed in their FBI personas, in just their suit jackets and not overcoats (unless the weather was downright chilly, which LA in autumn… isn’t… and even Cleveland in early autumn isn’t).

All through 12.03, Cas was trying to do things the way Sam and Dean would. He picked his FBI alias (Agent Beyonce) because Sam and Dean pick music-related false identities. He interviews Tommy, who we see again in 12.07, who despite thinking Cas might be a little strange, actually trusts him enough to call him with info on Vincifer. After having a door slammed in his face he turns to Crowley and asks if that sort of thing happens to Sam and Dean.

Cas REALLY wanted a win. And he hadn’t succeeded using “angel” methods, and he spent a lot of s12 trying to succeed using HUMAN hunter methods. The most horribly painful thing was that until he got “invited” back to heaven in 12.15, he was actually doing a pretty good job on his own (and likely could’ve done a heck of a lot better sticking with the Winchesters rather than going behind their backs to make a deal with Heaven).

I think that was the whole point here.

That coat, the one so many fans love because it feels like such an essential part of Cas’s character, is a symbol of his duty and service to heaven, his angelic identity. Think about the times he’s taken it off–

When he fell and became human in 9.01, he didn’t get a new trench coat until AFTER he stole another angel’s grace.

He took that trench coat off quite a number of times through the rest of s9, but wore it pretty much throughout s10.

It came off during his ptsd/depression Netflix binge in early s11, when he was huddled in Sam’s room and too traumatized to even go outside the bunker.

LUCIFER removed not only the trench coat but also his suit jacket while digging through the bunker archives in 11.11, but mostly kept the coat on because even HE understood that it was a highly recognizable symbol. Metatron back in s9 recognized the same fact, and had considered wearing a trench similar to Cas’s when planning out his “Marv” costume.

What I most want to see is Cas ditching the coat permanently. I know this is a terribly unpopular opinion, but heck. Let him have nice things. Let him have something of his own choosing that’s not a symbol of his perceived duty to heaven.

So yeah, I LOVE the fact he wasn’t wearing the coat in early s12.

Next I’d like to have him lose that tie.

I know it’s been stated on the podcasts that sunless skies is gonna focus more on new stories and lore in the HW rather than keep focusing on FL/SSea/Bazaar lore. And that the SMEN quest is considered neatly closed but ah, will we ever get clear answers to these questions ;n;

HEAVY GENERAL SPOILER WARNING

- who is salt? I think it was p clear until the SMEN ending now I’m really confused and idk if it was supposed to be revealing
- is salt even a judgement? Or was?
- are the humanoid shapes in frostfound actual judgements or is it the player characters mind trying to make sense of them into a familiar shape?
- why are there Mr candles memories in frostfound?
- why all the salt/candles parallels?
- was Mr candles a judgement? If not why all the fuss, especially in the hate ending? Would killing Mr wines in Paris or pages in the LotN ending cause yet another Hell Quest? If so, how are revolutionaries going to bypass this?
- if Mr candles isn’t a judgement then what’s the deal with “bringing light to the lower links”, what’s all the attachment to the shapelings, what’s with the golden blood and the “flesh of the judgements” and all the candle similes when describing judgement stuff. What’s up with “brothers and aye sisters” when the masters are mostly referred as genderless or w masculine gendered terms?
- what are the descents EXACTLY?
- who is the Raven? Who is the swan?
- are the owls the masters? If so, who is the hunter? Is it not the vake? Is it storm? But storm is already called as such in the order ovate fragments.
- what is UP (ha) with storm? Is it a dragon? Is it dead?
- what’s the deal with the devils? We got some lore on one of the latest ES but i feel like it just made things more complex? They still feel so divorced from the lore. What’s up with their usage of souls being so similar to the judgements or to the usage of red honey?
- what are the treacheries?
- what’s the bell and the candle ballet about?
- what do the fragments in winking isle mean? Why was Veils betrayal and wines/spices stealing of the domain a big deal in old seeking but not so much in new?
- why do the fingerkings hate seekers?
- Is there a reason Fires is not in the Chill of the Void destiny?
- how come the huntsman isn’t mentioned anywhere else if it’s supposed to always exist/have existed?
- and most importantly: if you eat honey in a moving vehicle do you reappear in the exact point where you disappeared or back inside the vehicle?
- what is up with fires’ voice, with it referring to itself in singular, with the red eyes?

Like, if these are gonna be answered in SSkies or in future ES then cool! Can’t wait for it! And maybe this is an issue of me being slow to catch on symbolism but
(If any of these is /explicitly/ explained in FL or SSea please correct me, I’d love to know, also feel free to add)

anonymous asked:

You're sort of an E-Celebrity. The meta that you and Alabama miles created was once mentioned in a tweet by T.V something. Do you sometimes worry about the influence you have on people's minds, given today's social climate, and the laziness of others? Do you get scared that people can bend, if they don't use their minds? Or do you not worry about that sort of thing because you feel like people should be responsible for their perception? How do you do this? How does shady do what she does?

Hey Anon,

I both think that people are responsible for their own perception and that I have a responsibility to present myself in a truthful way. Everything you ever read is colored by the perspective and the worldview of the author. Even something like Wikipedia with multiple authors will simply give you a truth based on the most prevalent worldview - or the publicly accepted worldview - at that point in time. Truth shifts with perspective. Critical thinking is something that develops. If you’re lucky you have people guiding you, if not, maybe you get burned before you get smart. That’s how we learn and it’s an evolving process for the rest of our lives. As a writer you cannot write for everyone. You can’t meet everyone at their level and you cannot choose your audience or what it uses your writing for. You can try to reach a specific audience, but that doesn’t mean you’ll be successful. If you publish anything on some level you have to accept that your words will be misunderstood, taken out of context and used to prove the opposite of what you’re trying to say. The alternative is silence.

I have a few things that I do that are ethical decisions connected to this. As I mentioned before, everything anyone ever writes is colored. What I try to do is to show you my goggles. Our goggles are made out of our social class, culture, gender, sexual orientation, ethnicity… and just generally all of our life experiences. Imagine it as if I am wearing green goggles and I am describing you the world in green, because that’s how I see everything. What I try to do in order for people to read me critically is to pull back and also describe the frame of these green goggles from time to time on top of the reality I see. 

In practice, that means I will often use “I”-messages. “I think this…”, “I feel…”, “…at least that’s how I see it.”. It’s an invitation for people to be aware of subjectivity. It’s encouragement to ‘do as I do’ and not ‘as I say’. Analyze, think, feel for yourself. Sometimes I’ll include anecdotes and personal experiences, which serves to inform, but it also shows emotional involvement that again, might color my perspective. It’s something I consciously include. 

Dumb positivity is another way to be more objective. They are another description of the goggles. It means ‘in this post I am specifically looking at the queer subtext and the queer reading’. In every other case where the subtext in a tv show doesn’t specifically relate to homosexuality we could be sure that foreshadowing is really foreshadowing and that symbolism will become meaningful in text. The only reason we can’t be sure in the case of Once Upon a Time is because at some point in history queer subtext was divorced from main text to tell secret stories, cause it was the only thing we were allowed. Every story has subtext, it’s a general storytelling tool. We live in a strange time where it could be either. We’re starting to see more queer stories told openly and at the same time this historical storytelling device lives on and is still being used. Dumb positivity is about not having to repeat this awareness of history in every post. It’s about not reminding or focusing on the reason why we got here in the first place - discrimination and homophobia - but on the validity of our stories regardless of how they are told.

The other choice I make is to try and never shame people or be disrespectful toward people who have different opinions. Making people feel ashamed - for example by calling them stupid or naive - causes people to stop focusing on what is being said. Instead they will be digging in their personal history to defend who they are. Or they will stop talking to you or to anyone, but they won’t change their minds. I know when I am personally under attack the first reflex is emotional, it’s about self protection, so why would that be different for others? It seems counter-productive if what you’re after is a meaningful exchange of perspective.

Similarly, even if I get very negative messages I will still try and look at what they are saying and wonder if there is truth there, wonder if they have a point. I seek out other parts of the fandom and try to understand their point of view. I won’t always publicly address this, but it’s something I use to check myself. I try to face my shadow. Of course it is nice to be read, to get feedback, to have people ask you questions. To be po-pu-la-a-ar. Of course there is ego involved. I think the only thing you can do is to be aware of this and to try and correct yourself if you find out if it interferes with your being truthful.

Last but not least, I do take into account the context of where I am writing. Say I would have arrived in this fandom and I hadn’t seen anyone mentioning the possibility of queer baiting or criticize the problematic aspects of the show… I probably would have. Right now there is plenty of criticism and everyone is aware of the possibility of queer baiting. The information is there and I can’t imagine people who have been around for a while haven’t been exposed to all the different views and they are choosing what resonates with them. So it’s also a matter of this blog not happening in a vacuum.

The part that seems to confuse people most about my blog - or where some seem to think I’m lying for popularity or attention - is that I genuinely believe it is more likely than not that they’ll make the romantic subtext between Emma & Regina text eventually. I think anyone who has read, engaged with and understood OperationOUT completely, understands where I am coming from. However, many people are angry about the show - for good reason - so I am not actively going to invite people to invest their time and energy in reading about a show they hate just so they can understand me. What I can’t do is lie about my perceptions of the show just because it’s somehow perceived less shameful to be wrong when you were being cynical. I think I’d rather be fearless, truthful and wrong then.

Does that answer your questions?

PS: I have no knowledge of our meta ever being tweeted by… someone at TV something. Do you have a link? 

kiwithewitch-blog  asked:

I am so excited to have found your blog! I don't know why, but since I was a kid I've had a special fondness for gargoyles! It's a special term for me and now I'm elated that there's magic to them! Where do I start?!

Well that depends on what you want to do.

There are plenty of ideas out there for spells that are gargoyle-themed, and ways to give your craft a gargoyle “flavor” of sorts. This is good for people who like the imagery and symbolism of a gargoyle but aren’t interested in hosting spirits/entities/etc. The book Gargoyles by Susan Moonwriter Pesznecker is a good source for gargoyle magic. The book details all sorts of history, types, and theories on gargoyles, and also provides meditations, spells, and ways to incorporate them into many aspects of witchcraft. For instance, there are examples of how gargoyles of certain looks can be used to represent the elements. I would love to get a small gargoyle statue to represent fire, and another for air, and so on for my altar instead of my simple jars I have now.

Protection magic is well suited to gargoyle imagery and/or spirits – warding areas, looking after people/pets (look at some of these adorable pet-based gargoyle statues and imagine them being placed on an altar or being used in a spell for protecting pets!), protecting your assets/money, etc. I have a gargoyle spirits that keeps my car from attracting attention, and reminds the driver to keep an eye on the gas tank, and deters accidents. According to my roommate, he also has gotten possessive of the coins that get left in the car, though. I’ve also found them to be rather good at warding off fae acticity.

Aside from protection, they (as spirits or as imagery in a spell) can be useful eyes to have around the place. They may be used in a spell to discover the truth about a shady person or to keep mischievous children behaving, maybe (hadn’t thought of that until just now and now I need to try it!).

Then there is the path of actually hiring them.

If you do any kind of spirit work already I would ask around to see if your spirits 1) know any trustworthy gargoyles for hire or are willing to help you sort through applicants or 2) wouldn’t mind taking on the form and function of a gargoyle. Of course, always be extra careful and skeptical when working with spirits, especially if you are inviting new ones in. It’s not to be done lightly.

Here in my gargoyles 101 tag I have a few posts about what life is like with mine, as well as other gargoyle-themed asks (this conversation will appear in there too for safe keeping!). I work with them as hired bodyguards and task-doers, basically. I don’t worship them, and I generally don’t go to them for life advice. Not much of my magic yet is done with their help (hell, not even all of my protection magic is) and I tend to only call them out for the big things so far. I’m working to include them more often so that I learn how to communicate with them better and to keep them from getting bored and finding trouble.

Whatever you associate gargoyles with can be your inspiration for gargoyle magic, so start there. What is a gargoyle to you, and what is a gargoyle not? Then be creative as you want to be! Let me know what ideas you come up with!

Hiring or creating actual spirits is a bit more complicated, but information can be found in my gargoyle tag, I think. Or look into the terms “egregore,” “fetch,” and “construct.”

Thanks for the question and I hope this helps!

edit: whoops! forgot to link the book at first. There is is.