IDK which CL season pissed me off more- season 2 where the damage was obvious and happening every episode and reaching its peak in the semi-finale. Or season 3 where there's one single episode of acknowledgement of that damage and then it's forgotten in favor for a princess in a tower romance storyline. Oh and of forgiveness that was never deserved.
Listen, I know what you’re saying, but the reason why I’ve gotten into so much trouble over here in fandom is because I’m saying they aren’t telling the beautiful princess in a tower romance story, but instead the imprisoned princess in a tower who falls in love with her captor because of her trauma. Or alternatively, the internal, psychological story of a traumatized woman confronting her demons one by one in a controlled space so that she can learn to forgive herself… and L being her shadow self, the part of her that would commit genocide with no remorse, the Heda to her Wanheda, and move past her own sins.
I think this show has more than one layer. The regular show, and then the one with all the allusions and parallels and symbolism. I’ve been told I’m stretching, but when the showrunners ACTIVELY point out things like The Illiad or Dante’s Inferno, and name characters and episodes after these literary references, then I’m not making it up.
They want us to look at the symbolism and allegories and all of it.
Even if you want to look at Polis as the princess in the tower romance, you forgot the references to Tangled. If Clarke is the princess, the L would be more akin to the witch than the hero.
I just don’t see that the damage was unacknowledged. I see the person who damaged everyone as succumbing to the repercussions of her own actions. People say it was undeserved, but I don’t see that, because it was a direct result of all her betrayals, grounder and skypeople alike. It’s only undeserved if you think all the betrayals are justified.
But I get that they don’t say it out loud. I guess I’m just used to reading literature and film in symbolic ways. I went to school for it, so that’s what I do. I “interpret” what’s happening on the screen. The 100 engages in the “show don’t tell” school of storytelling, so I’m looking for what they are showing, more than what they are telling. Because frankly, sometimes the words that they say are unreliable, lies, misinformation, bad advice. Like “love is a weakness.” or “i bear it so they don’t have to.” Or how about, “just trying to survive.”
I’m getting ready to start season 3 this weekend. Starting with a bang and a double feature of Wanheda parts 1 and 2. It’s the first time I’ve watched the whole season in a while so I’m interested to see how I’ll read it after all the processing that’s happened, personally and in fandom. I’m getting ready for the parts that bothered me, and wondering if I’ll see them the same way after all the analysis. I’m not really looking forward to season 3A, particularly 3.03 and 3.04.
coffeeshop au In Space - set at a coffeeshop in a space station, lots of interesting people coming and going along with the regulars who live/work at the station. OR set on a space ship, providing for the crew as they travel
mr & mrs smith au In Space - spies operating in different star systems didn’t realize they were married!
enclosed in a tight space In Space - after some catastrophe, ur faves have to get off the ship but there’s only one escape pod left! they have to squeeze in together!
huddling together for warmth In Space - environmental controls are failing and we need to share body heat. alternatively, the cooling systems have failed and now the power systems are cooking us, it’s getting so hot in here take off all ur clothes
fake dating/married In Space - this mission is long-term so they only wanted couples and we both want to go, so want to use the buddy system?
When it comes to describing a new setting, many great writers have hearkened it to “painting a picture,” and this is great advice. You want to inspire imagination and give the reader the cues to visualize the world you’re creating accurately. What you don’t want to do is take this advice too literally and over describe your setting in a reader-ready draft.
Bear in mind as you read these tips that these encourage succinct, economical writing. Obviously, everyone’s style is different, and some writers will include more description than others. These are simply suggestions for those who feel they’re overdoing it.
Tip #1: Avoid Overdoing It by Overdoing It
To control how much you describe your setting, you have to know it really well. So in your first draft or in a separate document/notebook, give into your instincts to over describe your setting. Write as much as you can about it. Make a map, or a floor plan, or use design simulators to visualize the space.
One reason we tend to over describe our characters’ surroundings is because we want to be clear of it ourselves. By doing this ahead of time, outside of your draft, you can go into your actual story with a clean slate, and it’s easier to only include setting details that are absolutely necessary.
Tip #2: Put On Your Character’s Shoes
Define the characters that will be present in the scene that introduces your setting for the first time. Regardless of point of view, think about what aspects of the setting these characters actually see. Imagine your are standing where your character is standing. Do they see what’s on the other side of the mountain? Do they see how messy the kitchen is when they’re in the garage? Do they see their office when they’re sitting in traffic? More than likely, no. So resist the urge to describe a setting the character can’t currently see.
There are exceptions, particularly if you’re using setting to foreshadow or present dramatic irony, but as a general rule, try to limit the settings you’re describing to the space your character is currently occupying. This doesn’t allow for exposition, so let’s move on to…
Tip #3: Start Small and Build
When it comes to complex settings like fictional countries, planets, or even complicated political structures, well-placed exposition is key. Help your reader out by feeding them details small enough for them to swallow. Before explaining Panem as a whole, Suzanne Collins worked on establishing District 12.
What you’re doing is giving your reader some time to make themselves at home. When you move to a new city, it’s common to start by navigating the areas surrounding your new home, especially areas that you will frequent often, and then branching out to the rest of the city. We remember things easiest when we build on existing knowledge. A reader will understand the governmental structure of your country easiest if they already have a city they’re familiar with to factor into that structure.
The scale of this will vary depending on your story. Sometimes you can cover small to large within a few pages and other times, you need a few chapters. Allow yourself some flexibility, but do your best to start small with your setting and add to it as a reader begins to get comfortable.
Tip #4: Be Economical
When a sentence will work, don’t use a paragraph. Use comparisons and character judgements to help with the description. “Her apartment looked just as he imagined an artist’s studio would look: small, dimly lit, and overflowing with unfinished paintings.” That sentence creates an image in your mind without describing the color of the walls, the number of windows, the state of the furniture, or where the kitchen is (and how the kitchen is maintained - save that description for when they eat or make food).
Even if you disagree with that description of an artist’s apartment, you can add your own adjectives to paint a different picture. “Her apartment looked just as he imagined an artist’s studio would look: open, industrial, and lit by waves of sunlight through every large window.” Same comparison, different picture. Using an artist’s studio in your description takes advantage of a reader’s existing knowledge and it helps you paint the picture with less words.
Tip #5: Don’t Waste a Reader’s Time
A setting is only as great as the action that occurs within it. Don’t spend time describing a setting that doesn’t house a scene where something important will eventually happen. This could be a huge, epic fight scene or a turning point for a character relationship. If you’re taking time to describe it, and a reader is taking time to read it, it better be significant.
For example, if you’ve got a character who is about to leave town on some great adventure, don’t spend an exorbitant amount of time describing her living space at the beginning of the novel. A character’s home can reveal a lot about their personality, but setting is not the only way to show character. Give the reader any details they need to understand the scene and then move on.
Playlists: The Signs as Marina and the Diamonds Songs
Aries: Power and Control: “Power and control, I’m gonna make you fall...Eternal game of tug and war…Think you’re funny, think you’re smart, Yeah, you may be good looking, but you’re not a piece of art”
Taurus: Space and the Woods: “But space and the woods still know who I am, and I know they don’t owe me anything not after what I’ve done….Put on my radiation suit and slip away, I’m on the run from what I’ve become”
Gemini: How to be a Heartbreaker: “Rule number one, is that you gotta have fun, but baby when you’re done, you gotta be the first to run…Rule number two, just don’t get attached to, somebody you could lose”
Cancer: Teen Idle: “The wasted years, the wasted youth The pretty lies, the ugly truth, and the day has come where I have died…Only to find I’ve come alive...A little loss of innocence..The ugly years of being a fool, ain’t youth meant to be beautiful?”
Leo: Primadonna Girl: “Primadonna girl, yeah. All I ever wanted was the world. I can’t help that I need it all…The primadonna life, the rise and fall…Got you wrapped around my finger, babe, You can count on me to misbehave”
Virgo: Numb: “I can’t open up and cry, ‘Cause I’ve been silent all my life…Looking for the golden light, Oh it’s a reasonable sacrifice Burn, burn, burn bright…Burn, burn, burn bright”
Libra: Homewrecker: “You’ll find me in the lonely hearts Under 'I’m after a brand new start’…They call me Homewrecker, Homewrecker (I’m only happy when I’m on the run)...They call me Homewrecker, Homewrecker (I broke a million hearts just for fun)”
Scorpio: Obsessions: “We’ve got obsessions, I want to wipe out all the sad ideas that come to me when I am holding you. We’ve got obsessions, all you ever think about are sick ideas involving me, involving you”
Sagittarius: Oh No: “Don’t do love, don’t do friends,I’m only after success… know exactly what I want and who I want to be..I know exactly why I walk and talk like a machine, I’m now becoming my own self-fulfilled prophecy”
Capricorn: Starring Role: “You don’t love me, big fucking deal I’ll never tell, you how I feel…It almost feels like a joke to play out the part…When you are not the starring role in someone else’s heart You know I’d rather work alone, than play a supporting role, If I can’t get the starring role”
Aquarius: I Am Not a Robot: “It’s okay to say you’ve got a weak spot…You’re vulnerable, you’re vulnerable. You are not a robot You’re lovable, so lovable, but you’re just troubled”
Pisces: The State of Dreaming: “I live my life inside a dream Only waking when I sleep; I would sell my sorry soul, if I could have it all…Yeah I’ve been living in the state of dreaming, living in a make-believe land”
This attitude — “who would even want to touch her butt?” or “she’s so ugly” — reflects the fact that women who speak out about being assaulted are often not taken seriously. If we can’t take Swift, a powerful woman, seriously about her assault, think about what happens to all the women who aren’t in the same position of fame and power.
It is never — for any reason, under any circumstances — acceptable to touch someone like this without their explicit consent. Being a celebrity, or having a certain body type, does not make actions like being groped okay. Fame does not negate the right to personal space and control over one’s own body.
Ultimately, it’s for the courts to decide what really happened. But no one should be blaming Taylor Swift for her own assault. That was the fault of the assailant alone.
i. poet - bastille // ii.meet me in the woods - lord huron // iii. kings - the pierces // iv. conquest of spaces - woodkid // v. the scientist - coldplay // vi. afraid - the neighborhood // vii. gold - imagine dragons // viii. goner - twenty one pilots // ix. black eyes - radical face // x. soil to the sun - cage the elephant // xi. icarus - bastille // xii. control - halsey // xiii. bonus track
SIDE B:congratulations, you are all alone | [listen]
i. home - american authors // ii. start a fire - passenger // iii. last of days - a fine frenzy // iv. innocent son - fleet foxes // v. the boxer (cover) - mumford & sons // vi. tranquilize - the killers ft. lou reed // vii. amsterdam - imagine dragons // viii. cough syrup - young the giant // ix. ghost towns - radical face // x. disloyal order of the water buffaloes - fall out boy // xi. luck - american authors // xii. pretend - lights // xiii. bonus track
Rats usually fear strange open spaces, but having a companion by their side makes the rodents more intrepid, scientists report in the current issue of Animal Cognition. Researchers tracked rats’ exploration of a large, unfamiliar room, first alone, then again 2 days later either alone or paired with a familiar cagemate. On their own, rats made short, hesitant forays into the open space before darting back to huddle by the door. Solitary rats’ anxiety in the room didn’t improve on their second visit. But adding a friend, even one who’d never seen the room before, gave the pair the confidence to actively explore, covering 50% more ground and running significantly faster than the control rats. And exploring with company seemed to boost the rats’ sense of security permanently. Placed in the room a third time, once more alone, the socialized rats boldly explored more new places than ever, while solo rats continued to cower. This illustrates that for communal animals like rats—and perhaps humans—friendship can be the best antidote to fear.
CAPALDI: I came into work one day on my day off …
COLEMAN: He does that a lot.
CAPALDI: … and she was in a space suit standing on a spaceship with a bunch of confused-looking Vikings. I had no idea what was going on.
COLEMAN: I had it under control.
ok but my personal headcanon is Spock gets hellllla more flustered around Kirk than Kirk around Spock, it’s just not as noticeable cause of his ~vulcan control~
like the one time we sorta do see Spock’s feelings for Kirk - the overly angst ridden ‘when i feel friendship for you i feel ashamed’ scene in The Naked Time its like WOW
Spock getting slightly greenish tinged ears when Kirk looks at him a bit too long, Spock having to control his breathing, Spock having to lower his heart rate around the captain, Spock restraining himself from reaching out, Spock still slipping up by gazing into Kirk’s eyes with a slight smile, Spock calling him ‘Jim’
Spock being insecure and wondering if jim likes him (ʘ‿ʘ✿)
( i need 293829 fics of this please and thank)
all neat lil indicators of a wealth of hidden emotion tbh
Double Hitler is a ridiculous QWOP-Style game that sees you controlling Hitler during key points of his life - or to be more precise you play as two children stacked up on-top of each other, who were pretending to be a grown adult in order to get into art school, but ended up becoming one of the most hated dictators in history.
What ensues is a tricky balancing act, as you attempt to move, draw and map out battle plans without falling over. In typical QWOP fashion, the main enjoyment comes from mastering the rather unintuitive controls, with A &D moving you left and right, Left & Right mouse clicks making you lean left and right, while the space bar and mouse movement is used for drawing. With these controls, even something as simple as drawing a circle is a herculean task, especially with the ever present danger of falling over and exposing the Führer to be a child sitting on-top of another’s shoulders.
Needless to say it’s a very silly game, and also extremely fun. With a playful sense of humor, charming animation and ridiculous premise, Double Hitlers control system may be a little odd, but the game worksjust Reich.
First Female Cosmonaut Arrives on Station as Part of Expedition 41/42
The ISS saw the arrival of three new crew members this week. Russian cosmonauts Elena Serova and Alexander Samojutyaev, along with NASA astronaut Bruce Wilmore joined NASA astronaut Reid Wiseman, ESA astronaut Alexander Gerst, and Russian cosmonaut Maxim Suraev on station.
Serova is only the fourth female cosmonaut to fly inspace and one of only 18 females to be selected as cosmonauts since 1961. These numbers are in stark contrast to the United States, who has had over 40 women selected as astronauts, and even had two female commanders of the space station – Peggy Whitson (2007-2008) and Sunny Williams (2012).
Elena tried to make light of her historic mission, by saying she thought of this as just work, her job is space. However, she did recognize its significance and what it means for Russian women.
Elena is an accomplished engineer and even worked in Russian Mission Control prior to being selected for the cosmonaut corps in 2006. She is a graduate of the esteemed Moscow Aviation Institute and was selected as part of the Expedition 41/42 crew back in 2011.
Serova is described as being the first female cosmonaut selected based on her skills and merits, and boy is she qualified. Hopefully, she will have a long history with the space program.
Despite being highly qualified, Elena had to suffer through countless questions at pre-launch briefings about what her hair and make-up regime would be on station. She was quick to fire back at reporters, asking them why don’t ask her male comrades what they were going to do with their hair.
Serova joins a small club of high-flying Russian women. This groups includes the first woman in space Valentina Tereshkova (1963); the first woman to perform a space walk, Sveltlana Savitskaya (1992, 1994); and the first woman to fly a long-duration mission and the only female cosmonaut to fly on shuttle, Yelena Kondakova (1994-1995).
In November, Serova will be joined by another female astronaut, Italian astronaut Samantha Cristoferetti. Samantha is Europe’s third female astronaut behind Helen Sharman in 1991, and Claudie Haignere in 2001.
“Stop messing me around, creep! Failure to provide correct information; parking an unregistered vehicle in a Justice Dept. restricted area; possession of some form of electronic device - possibly a weapon; and being evasive to a Judge - you’re looking at pulling some serious cube time, Doctor..?”
“Right, that’s it, punk, you just added another year to your sentence! Control we got one for the cubes, five years plus an extra one for lip! Mandatory psych eval - possible Kook cube candidate.
Welcome to Mega-City One, ‘Doctor’!”
The Twelth Doctor Who [Peter Capaldi] meets Judge Dredd - from regular art droid, Kev Hopgood (Ministry Of Space).
Spock: I am as conflicted as I once was as a child. Sarek: You will always be a child of two worlds. I am grateful for this, and for you. Spock: I feel anger for the one who took Mother’s life an anger I cannot control. Sarek: I believe… that she would say, “Do not try to.” You asked me once why I married your mother. I married her because I loved her.