this scene speaks for itself

anonymous asked:

Not talking about Caryl here but the show in general, is it just me or is the entire negan story and rising up to go to war just really boring? Boring because it's so predictable, there's no question TF will win, no question that Carol will return, no question that Rick will survive and go on making speeches into oblivion, the whole of 7b is just filler to a few nice fight scenes at the end, nothing deeper than "hey if we work together we can fight evil!" When did TWD get so basic?

Honestly, Caryl is the only thing that makes me stay with this show. The scene effects are terrible, the plots are terrible, and it speaks for itself that the Caryl scenes were the best of the episode, because it’s what Twd should be about, HUMAN CONNECTIONS. Not just negan negan negan, Rick being terrible but everyone praising him and the next cool Walker. Like, really… with all its flaws, I miss season ½/3 so much
The bests episodes of season 4 and 5 were when they dealt with the emotional baggage all of them carry around.

Season 6 and 7 suck so much cause they sidelined that over… some weird guy in a leather jacket who speaks into infinity plus cool walkers.

Also, I think they need to invest the money they have in better effects and start dealing with stuff that will add to the emotional level of the relationships instead of taking the focus away from it. What about the next villain being actually some natural disaster? What about something like people betraying each other and communities working together to rebuild the world and showing this progress. What about dealing with someone imune? They have soooo many options they can explore, but they don’t leave the mediocre field, it’s sad.

10
2

He was supposed to be an angel but they took him
from that light and turned him into something hungry,
something that forgets what his hands are for when they
aren’t shaking.

Emma’s gay panic - Why Regina is under the cloak

In 6x02 Emma goes to Archie to talk about her tremors and her vision.
Watching the scene, the first thing that hit me was her shirt: a white, loose fitting, quite girly shirt. Now, Emma doesn’t wear much white, and when she did in the past it was always with comfy sweaters.

So what does this almost bridal look remind us of?

This scene in 5x02 is well known as the “gay panic” scene (where Emma sees Regina kissing Robin, desperately kisses Hook and then leaves the room with a glance to Regina).

My theory is, these virginal white outifts are a symbol for Emma struggling with her sexuality and feelings. The scene in Camelot quite speaks for itself, so let’s focus on the dialogue between Emma and Archie in the latter episode:

Archie: Emma, this is a safe space. You can trust me.
Emma: The tremors, they come with visions… Or a vision. One vision, actually.
Archie: What do you see in this vision? 
Emma: Uh, all right. I’m on Main Street. Henry and my family, Hook, they’re all there with me. And I’m in a battle.
Archie: Against who? 
Emma: I can’t tell. They’re strong. So strong. I’m giving it my all. I almost start to win. But then my hand starts shaking.
Archie: And what happens then, Emma? 
Emma: I die. That’s the first time I’ve said that out loud.
Archie: Well, I think the more you talk about it, the less it will haunt you.
Emma: You think I should tell my family
Archie: Well, I mean, the question is, why haven’t you? 
Emma: Because I know exactly what they would do. They would tell me to stop doing what I’m doing until they could save the day.
Archie: And what would be so wrong about them trying to protect you? 
Emma: Because I’m the Savior.
Archie: And the Savior can’t take a day off? 
Emma: If I don’t help people, then who am I?
Archie: Well, I don’t know, Emma. I mean, that’s a question you have to ask yourself.
Emma: Okay, I’m not here for some identity crisis. I just want you to help me figure out how to win this fight and protect the people I love.
Archie: I think you’re here for me to help you deal with whatever’s troubling you,  and if that is an identity crisis, then…
Emma: Okay, this was a mistake.

The whole dialogue, and especially the sentences in bold, can easily be the words of someone who is struggling with their sexuality and with coming out to their family. She is fighting her feelings (by being with Hook) and she is almost winning, but in the end they keep catching up to her. She is afraid to talk with her family, afraid they would disapprove (”tell me to stop doing what I’m doing”, that wouldn’t even make sense in the current situation, if it wasn’t symbolic). She thinks that her role as Savior doesn’t allow her happiness, if this means making someone else (Hook, her parents) unhappy (”If I don’t help people, then who am I?”).
Archie immediately understands that this is a deeper problem than Emma admits, but she doesn’t want to talk, she wants him to “figure out how to win this fight”. But going to Archie, and not Regina or Rumple, for help makes sense only if it’s a symbolic/psycological fight.

It’s also worthy noting that both episodes are the second in their season and both features Regina being unusually in life danger.

And that’s why Emma thinks Regina is under the cloak (even is she won’t be, what matters now is how Emma reads her own vision). Her feelings for Regina are what is making her so scared and off lately, and in her vision she is protecting her family from Regina because she is actually protecting them by the hurt that the truth may cause them (Snowing because of the general shock of the relationship, Henry because he may get hurt if things don’t work out, Hook because her duty is to give him his happy ending). It’s not a coincidence that only those four persons are present. The whole vision is a symbol of Emma fighting her love for Regina.

- S.

8

uncharted challenge5 heartbreaking scenes [1/5]

“alright, looks like it’s a straight shot from here.”

yeah.

“i’m gonna… i’m gonna climb to the top, then i’ll help you over.”

all right.

“keep me covered.”

okay.

Hunger Games Simulator: “make your own Shakespearean History Play” edition

Here are the highlights:

Good to see Richard Richard-ing right from the start. He’s a man on a mission. Par for the course for poor Suffolk.

It’s okay, Warwick would scare anybody.

Oh, that’s bad. Oh, that’s bad.

Now there’s a shocking twist…

Poor Henry VI. The Hunger Games just aren’t his thing. (And so Richard III has given out…)

AGAIN.

That exactly sounds like the trippy full-circle end of a condensed history show we did.

That’s the most un-Margaret-like thing I’ve ever heard. I’m suspicious.

But wait! We’re back in character with a literal scene from Henry IV!

I just…It’s okay, Clarence, I’d question my sanity if Richard III was picking flowers, too.

The badass lady squad has let the Dauphin into their ranks! But Margaret works alone.

…….that speaks for itself.

Must be Act V, Scene iii.

Richard’s still got his head in the game, though. And “monkey mutt” rhymes beautifully with “Malmsey butt”. Perhaps Shakespeare misheard.

We’re getting down to the wire now. I have a feeling this is all part of Lord Stanley’s plan. No, Margaret! I believe in you!

Yeah, because Margaret and Stanley both know better than to go to dinner with Richard the motherfucking III after what happened to Hastings. Unfortunately, Lady Percy is from a different play.

Richard III, Act IV, Scene iv through the end of the play. Richard, you were so close! I told you it was all part of Stanley’s plan.

So the wily Lord Stanley comes out on top, but Richard still killed the most people out of everyone. How did the generator know? Still less people than he kills in the actual play.

@schmergo,​ @ anyone else who may potentially laugh as hard as I just did… The best part is that this reads like the summary of an actual Shakespeare play.

I fail to understand how anyone can still see Jellal is being emo... lol

Like honestly, I am not even following the manga at the moment, but with each chapter we see of Jellal, we see that his character made a big progress in terms of his chara-development.

Like, honestly, do those people always hold onto the past and not focus on the present of his character portrayal?. We have scenes like this:

^ Which this clearly shows me that Jellal actually hold onto the hope that they’re be in the light at the end. This scene can be metaphorically speaking that if you understand the context, you’ll see that Jellal is no longer moping, or see himself in the darkness anymore, he sees hope at the end of all this. And Erza is his hope/light.

And when we get this scene:

^ I think it pretty much speaks for itself, which I don’t really need to go into this because those who understand the context here would understand that this “I’m tired of running already…” holds more depth than just what is is shown here. It can be metaphorical as well in terms of showing his recent character portrayal.

Jellal is not emo. I don’t understand people who still think that he is one though. Especially when they’re following the manga but is ignoring his recent character portrayal?. For someone who have hopes that he will be in the light at the end is not emo. What makes Fairy Tail characters great is that characters can be emotional, and not only girls cry but guys do too!. I’m sure that Jellal isn’t the only MALE character who shed tears on his end. Let me remind you that, Gray, Natsu, Zeref has too! (just to name a few). I’m not going to go into each one of them. Personally I don’t see anything wrong with them behaving that way especially Jellal, since if you understand his character story, or even understand the story ‘as a whole’ at all, you won’t be labeling Jellal/or the current Jellal as emo. Go and remind yourself (those who thinks he still is one) when was the last time Jellal was even acting close to being emo? Wasn’t the most recent scene we see of him was JELLAL BEING BADASS?!

If Jellal is emo, he won’t be doing what he’s doing right now, and he also won’t be showing us that he actually holds onto the ray of hope that he (and CS) will be in the light at the end. Someone who holds onto that hope and continue to live is not emo. In the end, I just want to say, no one is expected to like every single character, and that’s fine, I understand that Jellal have haters out there, although why they hate a great character such as Jellal is really beyond my understanding especially when Jellal is someone who actually works for a greater good and help build a better world for everyone to live by. A character that has a lot of depth and someone who actually have conflicts makes them realistic and this is far better than someone with no conflicts because then it will just be a boring 2 dimensional character IMO

About the “Malec” episode

 This episode was everything when it came to character interactions. Not only because of Malec and their kiss. Ok, it was amazing and off the charts, but I just can’t ignore

Alec and Clary laughing

Alec and Jace reunion

Simon and Izzy, they looked so comfortable around each other, such chemistry

Jace saying that Lydia would always have a place in the Institute

Robert trying to be there for Alec, even though he doesn’t really understand

Alec, Magnus, Izzy and Simon. Nothing to add here, the scene speaks for itself <3

Magnus and Ragnor, I felt how important their friendship was for them

Also, I freaking loved Ragnor and how he was played, such an amazing actor!

And Lydia, gosh, she was just amazing!

Anyway, everyone was so conect, you know? And it felt so right, in every scene! This show has everything to get even better, i can feel it :3

P.S.: I JUST REMEMBERED: SIMON BORROWED ONE OF RAPHAEL’S SUITS jskasiasjj this is important ok

Just watched the Yearbook episode and let me tell you Lucas and Farkle surpass every other ship in this show

1- Lucas was worried about him the whole episode

2- I loved when Farkle called Lucas “cowboy” sounded really sexy also when         he said “you don’t know me” and Lucas said “okay”

3- the final scene at the table speaks for itself “Im here next to you” “thanks  I  never want that to change” also was the last scene of the episode