they often have similar expressions or mannerisms

Patronus Analysis 033 Mink

The mink is a very unusual patronus in that a number of personality types can conjure it. Although those with this patronus do share the same characteristics, they are merely expressed in different manners.

Those with the Mink patronus are very clever. Often humorous, those with this patronus can be very witty and a pleasure to be around. Conversely, those who have the Mink patronus can be a trickster, not to be trusted.

People who conjure this patronus can be solitary on nature, spending lots of time alone. However, those who conjure this patronus can also be popular but quiet in their true feelings.

This patronus is unusual in that it can be found in almost similar numbers in all houses.

ittigerburningbright-deactivate  asked:

I'm curious where you see Delgado in Missy? To me one is sane, a gentleman, even polite to Miss Grant. Missy is batshit crazy, thinks that giving the Doctor a Cyberman army is actually a /good/ idea, and certainly doesn't have the companion rapport with Clara that Delgado did. They're just too different to me.

It really depends on how you look at it.

Michelle Gomez’s mannerisms, expressions, and delivery are often similar to Delgado’s—she can pull the exact same sneer—but it’s more than that. There’s her semi-friendly attitude towards the Doctor, mirroring Delgado and Three’s fairly amiable relationship. There’s her concern for the Doctor, which Delgado frequently displayed. And yes, there’s politeness.

Delgado will always be the best at the whole charm thing—he was capable of murdering people and being impeccably polite about it—but it’s a trait most of the Masters have shared, and Missy is no exception. She invites Clara over for tea while holding the world’s planes hostage and politely asks about her boyfriend, knowing full well he’s dead. That’s exactly the kind of thing Delgado would do (I think an underrated part of Delgado!Master’s character is his sense of humour—the “he sat in this chair and just slipped away” line of in Terror of the Autons kills me every time). Like Delgado, Missy calls everyone “my dear” and generally speaks to people in a civil manner. She just has a tendency to suddenly switch to her “bananas” side, which isn’t my preferred thing, but I’m pretty sure it’s a calculated act on her part to throw people off balance. It’s not something Delgado would do, because he’s very invested in the gentlemanly image he presents, but a lot has happened to the Master since Delgado which has caused them to shed that image to a certain extent.

You’ll notice, though, that Missy does try to present a similar image at times, except she plays the role of the old-fashioned lady rather than the old-fashioned gentleman, and she’s more willing to toss the facade aside when it suits her.

As for the Cyberman army gift, it may seem like a weird thing for a supervillain to do, and if taking over the universe was the Master’s only motive, it would be completely out of character, but there’s more to the Master than that. They want the Doctor to acknowledge that they’re right, and that’s exactly what accepting the army would mean. It would be the Doctor agreeing that yes, the Master was right—conquering the universe is the best way to get what you want, and the Master knew it all along and the Doctor was wrong. When she kneels to him in the graveyard scene, it isn’t a gesture of submission, because if he accepts power over anyone—including her—it proves she was right and puts her in control of the situation, because he’d be doing exactly what she wanted.

The Master has always needed the Doctor’s approval to a certain extent, which is why they felt this scheme was necessary. They need the Doctor to acknowledge that they really are superior, and they need the Doctor to admit he was wrong and should’ve joined them from the start. The whole thing was about forcing the Doctor’s hand. If he accepted the army, the Master won, and if he refused, the Cybermen would kill all the Doctor’s precious humans and the Master would still win.

So how is all that like Delgado? Well, I rewatched Colony in Space yesterday, and I can see a clear parallel there. After the Doctor guides the Master to the Primitive city, the Master has no further use for him, but he keeps him around anyway and then offers him joint rulership of the universe. There is absolutely no reason the Master needs to do this. He isn’t the Doctor’s prisoner, trying to bargain a way out. He’s already in control and could kill the Doctor at any time. But he still tries to convince the Doctor to join him, and simply cannot understand the Doctor’s refusal. He offers the Doctor the exact same thing Missy offers him: the chance to help people. All the Doctor has to do is accept that the Master is right and that using the superweapon to conquer the universe would be in everyone’s best interests. It’s a very similar scenario to Death in Heaven.

You mention Delgado’s relationship with Jo vs. Missy’s relationship with Clara, but it’s important to note that the Master/Jo relationship is pretty much unique. Most other companions absolutely despise the Master. Jo is the only one who really comes to close to getting along with him, and Clara actually comes closer than others like Tegan and Martha do.

Basically, if you focus on the “batshit crazy” parts of Missy’s personality, then it’s easy to say she isn’t much like Delgado, but she has plenty of calmer moments filled with cold, calculated evil, and she can turn on the politeness when it suits her. I would also argue that Delgado has a lighter, zanier side, which often gets overlooked. There’s his sense of humour, which I already mentioned, plus other things like murdering people with daffodils, having way too much fun as a cult leader/vicar (including reciting Mary had a little lamb backwards to summon a demon), watching The Clangers, using ridiculous aliases, and taking people calling him evil as a compliment. He’s more reserved than later Masters, certainly, but he enjoyed himself immensely in his evil escapades.

Starscream Essay

Context: I wrote an essay on Starscream being a victim of abuse for the final assignment of my college English 101 class. I wish I could have gone into more detail but I did have a page limit. I realized I could not send this to people via tumblr, so I am just going to post it here. The beginning is an introduction to Transformers, which I had to include since my audience for the paper (my professor) was unfamiliar with the topic, so ignore that. Anyway, here it is! 

Side Note: I got a 93% on this garbage! Super happy about that. 

@tyrantofthefirmament @sosstarscream

Starscream: An Unrecognized Abuse Victim

           In 1984, Hasbro created the Transformers brand. Now, thirty-two years later, the brand is internationally recognized and has more than 10 cartoon series under its name. These Transformers series are dominantly known for their alien robot characters who can transform into machines, usually vehicles or aircraft. The Transformers can be divided into stereotypical sides of good and evil: Autobots and Decepticons. Among the most consistent and popular characters across the different cartoons is the Deception second-in-command, Starscream. Known for constantly trying to gain control of the Decepticons under the leader, Megaton’s, olfactory sensors, Starscream can be described as a liar, a coward, a sycophant, cunning, and narcissistic. What he is not frequently recognized for, however, is an abuse victim, despite being one of the strongest models of abuse over the years. In fact, most of his previously-described characteristics result from consistent abuse. In the animated series Transformers: Prime (TFP), Starscream suffered explicit transgressions by Megatron and other characters that need to be addressed. Some people think this treatment is due to his unbecoming behavior and that the resulting aggression from other characters is not abuse, but well-deserved punishment. That way of thinking, however, is a form of victim blaming to justify his suffering. In reality, Starscream is an unrecognized model of physical, psychological, and emotional abuse. 

           Starscream’s enduring of physical trauma is the most recognizable form of abuse presented in TFP. Physical abuse can be defined as the intentional use of force against a person in a way that injures or endangers them (Smith). On many occasions Megatron uses beatings as a way to control Starscream and keep him in line. The most famous example of this is when Megatron, in the episode “Out of His Head,” after emerging from stasis, foregoes his opportunity to destroy the Autobots just to go after Starscream (Kurtzman). Upon his arrival, Megatron states that it would be a miracle if Starscream survives what he has planned, only to drag him away by his head as Starscream pleads and screams in resistance. The following episode starts by showing Starscream in a coma, injuries littering his body and Megatron taking pride in the damage done. In the episode “Darkness Rising, Part 4” Megatron beats Starscream and tries to crush him with his foot for simply disobeying orders. It is also important to mention that during the episode “Rock Bottom” Megatron tries to kill Starscream, claiming he has outlived his usefulness.

Megatron, however, is not the only one who unjustifiably terrorizes Starscream. In “Minus One,” the Decepticon scientist, Shockwave, grabs Starscream and tries to impale him while Megatron watches, waiting to see how things play out. Starscream is so used to being abused that in “Patch” he tells Megatron “a really good trouncing usually straightens me out, doesn’t it” when trying to avoid termination. There are more examples of abuse throughout the show, and it can be insinuated that Starscream is beaten beyond what is animated, by the way he flinches at any sign of anger or agitation Megatron has towards him .

           Starscream is one of the most emotionally expressive characters in TFP. His radical changes in emotion, especially anger and aggression, make him unpredictable and dangerous. While this may seem like this true character, it is likely that these traits were brought on by extended periods of physical abuse. Victims of abuse are often more emotionally expressive, but in an uncontrolled manner, especially when it comes to anger and aggression (Keene). It has also been reported through extensive research that those exposed to childhood physical abuse “reported significantly higher levels of narcissistic vulnerability and shame-proneness” than those who have who have not experienced abuse (Keene). While Starscream may not have had a childhood, he was exposed to something similar: millions of years of physical abuse, long enough to affect the development of his personality into that of one who is very self-centered and hostile. Starscream’s narcissism is so overreaching that in the episode titled “Armada” he makes clones of himself, his idea of the perfect soldiers (Kurtzman). The display of such character traits is likely a subconscious self-protective function to shield himself from painful emotions, as well as a way to keep a positive self-image (Keene).

           Psychological abuse and emotional abuse are closely related, but distinctly different. The former occurs when threats are used to cause fear in a person as a tool for manipulation and gaining control whereas the latter occurs when something is said or done to make a person feel stupid or worthless (“Types of Violence and Abuse”). Megatron psychologically abuses all his subordinates by constantly making threats of termination or physical suffering if they do not do his bidding and in a timely manner. Megatron is a stereotypical abuser, using the fear of others to his advantage. He does not need to kill Starscream or any of the Decepticons, just make them think he will enough to get in their heads and eliminate any thought of rebellion, which is easy to see. This is to be expected, however, given that “clinical reports have indicated that ridicule, verbal harassment, and name-calling (e.g., public humiliation) are present in some physically abusive relationships. The function of this type of verbal abuse appears to be one of control” (Follingstad). The control happens through making the victim feel they are not worthwhile or strong enough to change things, thus leaving the power within the hands of the psychological abuser.

The emotional abuse of Starscream at the hands of Megatron and some of the other characters is more difficult to reveal, despite being one of the most destructive forms of abuse (Follingstad). One example of emotional abuse thrust upon Starscream by Megatron occurs in a TFP episode titled “Thirst.” Starscream goes to inform Megatron of important information involving events that will unfold, only to be blown off by the Decepticon leader. At the time, Megatron was talking via a communication system to Shockwave, who presumably hears Starscream and asks who it was. Megatron answers with “no one important” (Kurtzman). Despite Starscream being second-in-command, Megatron makes him feel worthless to the cause, and even worse, unimportant to him. This is one reason as to why emotional abuse is so destructive to victims, because it “destroys their ability to feel good about themselves. This might, in turn, render them more helpless and worthless in their own eyes” (Follingstad). Another time emotional abuse is evident is during “Darkness Rising, Part 5” in which Megatron states: “Optimus Prime never disappoints. Unlike you, Starscream ” (Kurtzman). Not only is Starscream not good enough for Megatron, but he cannot please him, even in his best efforts.

Acknowledgement of Starscream’s abuse is not widely recognized for two major reasons: there is this perception that he deserves the treatment, and because of the fact that it takes place on a child’s television show. In regards to the first reason, while Starscream’s actions are not favorable, they are not without reason. Starscream’s actions are not the cause for his punishment, more, his punishment is the cause of his actions.  Starscream is constantly seeking to get revenge on Megatron by killing him, because anger is at the core of revenge fantasies, along with other emotions that include “fear that no rescuer can be trusted, despair over the harshness of the world, and a general disgust with the injustices of the world” (Horowitz). This concept of revenge is very persistent as well, which explains why, even after beatings, Starscream continues to peruse such endeavors. “The victim can feel good about gaining a sense of power and control by planning vengeance and may experience pleasure at imagining the suffering of the target…self-righteous indignation feels like energy or fuel for the self. The burning of this fuel helps people feel solid and coherent rather than frail or empty” (Horowitz). By Megatron constantly making Starscream feel worthless by diminishing and belittling him, as well as physically abusing him, Megatron is actually creating this need for revenge inside of Starscream that results in his constant treachery. Although this does not justify his actions, it does explain why they occur, and how they could be stopped beyond physical means.

As mentioned before, many of the show’s viewers like to claim that Starscream is deserving of his treatment, but the abuse actually is more damaging than beneficial. “People have a need to Believe in a Just World (BJW) in which people get what they deserve. When people are confronted with an event which threatens this BJW, people try to maintain their existing beliefs, for example, by blaming the innocent victim ” (Loseman). Thus, when Starscream is beaten or ridiculed by Megatron, he is often stigmatized as “deserving-it” in order to protect this idea that the world, especially that of fiction, is perfect. As one who is always trying to seek revenge, Starscream is an easy scapegoat, even if his colleague, Knock Out, it just as ambitious and deceitful as he is. Similarly, humans like to connect two events of coincidence to each other with no evidence that they are related (Callan). This includes a “a person’s immoral action and his/her subsequent, unrelated misfortunes” (Callan). Whenever something bad happens to Starscream the belief is that it is his own fault, even if that is not the case.

The other argument is that such complex and adulterous situations, such as abuse of any form, are not likely to be truly presented in a child’s television show. Many see cartoons as a comedic outlet rather than one capable of presenting meaningful insight into deep socials issues (Abraham). However, “it is in the ability to engage in analytical communication about social events that cartoons can be said to provide discourses, as ways of knowing, that reflect deep social commentary rather than simply offering a simple passing glance at society and its issues” (Abraham). Cartoons can use conventional symbolism to create and build upon abstract ideas and make complex puzzles, thus showing the role of power and imagination in social and political life.  Transformers: Prime is not above doing such things. Even though it is a child’s show, death, disease, and destruction were all still shown, and the ideas of grief, loss, disability, and, as explained, abuse, are also present in the series. Cliffjumper, partner to Autobot Arcee, was brutally murdered in the very first episode, with Arcee struggling to accept and deal with this death throughout the series. Ratchet is clearly traumatized by the demise of his planet, and endlessly searches for a way to revive it. Bumblebee deals with the disability of not being able to speak. There is much more, but Starscream being an abuse victim is not so farfetched when looking at other concepts on the program.

           There is no doubt, Starscream suffers from constant physical, psychological, and emotional abuse. Making him an identifiable and public example of a victim might change how he is presented and give him a happy ending, thus providing hope to those who identify with him and his story. He has suffered beatings, ridicule, and belittlement, evident through his revenge fantasies, shame, and narcissistic personality. Any blame directed upon him usually results from people’s own insecurities that the world might not be a perfect and just place. Transformers: Prime is not a show that shies away from broadcasting big issues and as a cartoon can do so with much complexity, yet in a way that can resonate with children.  Identifying abuse in this cartoon, and others, is important. It is the job of those who watch the show to contact the writers and let them know that glorifying this behavior is not acceptable. It should be presented in a way that children can learn from. Hopefully Starscream can get his happy ending, showing hope for views who share a similar background that they can rise above their struggles and begin anew. Until then, his sacrifice for the development of the show shall be remembered.

Works Cited

Abraham, L. “Effectiveness of Cartoons as a Uniquely Visual Medium for Orienting Social Issues." Journalism & Communication Monographs 11.2 (2009): 117-65. Web. 24 Nov. 2016.

Callan, Mitchell J., Robbie M. Sutton, and Cristina Dovale. "When Deserving Translates into Causing: The Effect of Cognitive Load on Immanent Justice Reasoning." Journal of Experimental Social Psychology 46.6 (2010): 1097-100. ScienceDirect. Web. 24 Nov. 2016.

Follingstad, Diane R., Larry L. Rutledge, Barbara J. Berg, Elizabeth S. Hause, and Darlene S. Polek. "The Role of Emotional Abuse in Physically Abusive Relationships." Journal of Family Violence 5.2 (1990): 107-20. Web. 18 Nov. 2016.

Horowitz, Mardi J. "Understanding and Ameliorating Revenge Fantasies in Psychotherapy." American Journal of Psychiatry 164.1 (2007): 24-27. Web. 24 Nov. 2016.

Keene, Amanda C., and James Epps. "Childhood Physical Abuse and Aggression: Shame and Narcissistic Vulnerability." Child Abuse & Neglect 51 (2016): 276-83. Web. 18 Nov. 2016.

Kurtzman, Alex, Roberto Orci, and Jeff Kline, prods. Transformers: Prime. Hub Network. Television.

Loseman, Annemarie, and Kees Van Den Bos. "A Self-Regulation Hypothesis of Coping with an Unjust World: Ego-Depletion and Self-Affirmation as Underlying Aspects of Blaming of Innocent Victims." Social Justice Research 25.1 (2012): 1-13. Web. 24 Nov. 2016.

Smith, Melinda, M.A., and Jeanne Segal, Ph.D. "Domestic Violence and Abuse: Are You or Someone You Care About in an Abusive Relationship?" Helpguide.org Domestic Violence and Abuse. Nov. 2016. Web. 24 Nov. 2016.

"Types of Violence and Abuse | Violence Prevention Initiative." Gov.nl.ca Types. Government of Newfoundland and Labrador, 23 Oct. 2016. Web. 24 Nov. 2016.

Old Souls:

At the end of a full life comes the time of old age. Much that can be said about an Old soul is what would be said about an old person. Usually old people have traveled to many places and done many things. They are a storehouse of wisdom and understanding because of this range of experience. But in spite of their competence they do not usually accomplish very much. Because of the age of the body, there is often a tiredness about them that prevents much expenditure of effort. They are quieter than younger people, have a more relaxed lifestyle, and are more subdued in their manner of expression. They have mellowed out considerably compared to their younger days. The energy and excitement of youth is mostly gone.

It is very similar with Old souls. They have access through the subconscious to a great wealth of experience. Often they become teachers to pass this knowledge and wisdom on, but to a limited number of students — there is little desire or effort to release their understanding into the world in general. In fact, in the last Levels, some Old souls can be so world-weary that they are ready to just lay down and die. Like a person in the last decade of life, the Old soul is “winding down” so to speak, or “in retirement”, preparing for death, settling the estate, and tying up loose ends. In terms of the theory of reincarnation, the Old soul is clearing the way for the final break with the physical plane.

The Laws of Attraction: Ezria Style

I’m a geek and watch this show called Brain Games on the National Geographic Channel. Recently, I watched an episode on attraction. One part of the episode was about recognizing couples in long-term relationships. After asking people to identify the actual married couple among actors who have just met each other, they explained how you can identify long-term relationships from two people pretending to be in a relationship.

1) They have a tendency to lean towards each other as a sign of empathy.

2) They began to copy each other’s facial expressions and mannerisms.

3) In order to guarantee the survival of their offspring, their brain subconsciously looks for a mate who looks similar to themselves. 

Okay, so WHY am I mentioning this?

Not only do Ezria and Lucian have similar features, they also have a tendency to lean towards each other and often mimic each other’s facial expressions (as well as phrases in their vocabularies). After watching this episode of Brain Games, I’ve identified this behavior between them more and more often, which is basically what makes them seem so much like an old married couple. 

Obviously Lucian aren’t in a relationship, but they’ve been good friends for so long, they have started to pick up on some of the mannerisms that long-term couples have. And I’m not sure if Ezria do this because of Lucian or because they’re acting, but I feel like it’s more of a subconscious thing that Lucian do, which, frankly, is even more adorable. 

If you want to watch the segment on identifying long-term couples, go to about 10:00 here!

Moral Absolutes: Brotherhood 4x07 Review

So… life at the moment is reaching Defcon Crazy. Between illness, family drama, work projects, packing (and shopping) for San Jose (YAHOOOO!!!!!!!), and the 750 texts discussing nearly all of the above, my blogging time took a nose dive. So sorry!!! I’m alive. I haven’t forgotten you. To all those who’ve sent me messages… I am going to answer you! I’m not ignoring you.

That said, I’m on a time crunch so we’re gonna do this quick and dirty fandom. In other words… I’m going to attempt brevity. 

Pause. Checks for the apocalypse. Nope. The world still turning. We’re good to go. 

 I’ll probably fail, but I’m gonna give it a go. This also means I may be light on the gifs.

Yeah… that’s one of the seven signs. Prepare your souls.

And… we’re back to another Arrow episode. Not just any Arrow episode. A DAVID FREAKING RAMSEY episode! God bless The Year of Diggle.

Let’s dig in….

Keep reading

anonymous asked:

Firstly, I just wanted to adore your lovely, complex, evocative writing. Secondly, I know a while back you said you studied acting/theatre at college. I was wondering if you could share your thoughts on Eliza Taylor's and Alycia Debnam-Carey's acting skills. In general and also if there are any specific scenes/moments that they particularly shine in, acting wise. Thank you kindly!

Thank you for the very kind words. :) I think Eliza and Alycia are both very talented, but I don’t really find them incredibly comparable to one another as actors; at least, not specifically on The 100. The characters they are playing, while they have similarities, are very different and demand different types of portrayal. Alycia’s character on The 100 is very reserved, so she has to portray the range of Lexa’s emotions and experiences in a much more subdued, subtle manner, which is often a very difficult thing to do as an actor, because you aren’t getting to express your character’s emotions through outward, immensely visible actions/displays. Eliza’s character, on the other hand, is a very visible, heart-on-her-sleeve, outward expression type of character. Clarke holds a lot of things in, but she emotes outwardly a lot too–very physical shows of affection/need/desperation/anger/grief. Her character also has a very fluid (and really constantly shifting) flow of characteristics and roles (grieving daughter, panicked kid, pseudo doctor, flirty teen, driven individual, pseudo leader, level-headed peace talker, passionate lover, motivational speaker/friend, war lord, commander/in-charge, desperate escapee, untrusting captive, etc.) She gets to shift a lot, and they are all very visible, noticeable changes, whereas Alycia’s character remains rather fixed in her role and her changes are more internal, which are more difficult to express/communicate to an audience.

So, it’s hard to compare their acting in this show, so I won’t. I will just say that they are both very talented. Eliza’s outward emoting (especially the scenes when she really pulls forth Clarke’s grief) is lovely to watch, especially when we can watch her then quickly shift into that very cocky, in-charge persona. She makes the transition very seamless and engaging, believable.

Alycia really impressed me with Lexa. Her ability to communicate SO MUCH with so little outward expression is incredible. She emotes in the most subtle ways, but even those little ticks (like the slight clenching of her jaw or a thick swallow or the sheen of tears filling her eyes but none actually falling) are enough to evoke very strong emotions and reactions from those watching. She engages the audience fully even with only minute outward action/reaction/expression. The ‘Not everyone. Not you.’ scene always comes to mind, because she does such an incredible job of toeing the line between breaking and holding on. It is obvious that Lexa is overwhelmed in that scene but Alycia creates such a delicate balance between visibly expressing that and maintaining control. It’s beautiful to watch. Also, the scene where she and Clarke are seeking out the sniper, and she turns to look over her burning village. Beautiful. It’s very impressive. I can tell she has a lot of natural talent.