totally missed the point

Sometimes it feels like I’m drowning and I just–suffocate.

Lance starts being afraid of what he loves

(tryna color but obviously failing)

bonus slav:

they bond over mutual fear (shiro is not amused and hunk is low key worried about lance)

anonymous asked:

Jamilton Cuddlessssss

Welcome to the encyclopedia of Jamilton Cuddles; observe how fuckbois can be softbois


  • The don’t you dare get out of bed at this ungodly hour Hamilton cuddle: Alex has a biological clock that wakes him up before dawn. Thomas is not about this shit. He wraps his leg around Alex’s waist and clings. Alex groans, tries to pry him off until Thomas lets out a small whine that literally brings Alex back to the bed (reluctantly) for five more minutes
  • The I’m trying to be mad at you, wtf cuddle: Alexander isn’t the best with words, Thomas gets peeved easily and goes into the silent treatment. Which is childish and So Ham fights back childishly. He wedges himself between the couch and Thomas’s back and hugs him from behind and starts to mock him “I’m Thomas Jefferson, look at me being all cute while I’m bitchy~” Thomas breaks because that was the WORSE Southern accent EVER
  • The No one is looking, my god I think I love you cuddle: There is a cuddle between when both boys are exhausted and particularly alone that they hold each other, Thomas cradles Alex’s face and Alex is face deep into Thomas’s chest. They literally stay like this for hours because they’re fucking hopeless but if anyone walks in they immediately shove each other away
  • The Oh fuck you’re smart cuddle: Thomas is in the middle of reading one of Alex’s favorite books, they start debating/disucssing points. Thomas totally gets into a point Alex missed (which happens because speed read) and Alex listens. Slowly laying his head on Thomas’s lap while Thomas is too deep in his babble (whcih is rare so Alex wants a front row seat) eventually Alex turns and presses his face into Thomas’s stomach because he’s actually blushy and giddy, like woah, you’re probably the smartest person I dated?
instagram

thekevingreene… 555 photos of Waipoo Falls shot from a super easy to access turnout that I almost missed while exploring the rim of Waimea Canyon, Kauai. As I was shooting at the next scenic point down the road, a local asked me if I had hit the waterfall spot. I had not. The cloud cover was too thick to see this comp when we drove by so we totally missed it, but he assured me it was a better vantage point and the clouds would open up for me. It was and they did. He gave me a beer and went on his way! Mahalo my one legged friend! 🤙🍻 Song is “Petite” by N'To.

I don’t think the tone of the DC movies so far has been what’s doomed them. Nonsensical plot points, scenes that start something and proceed to go nowhere, and pacing that allows them to wallow in their own shit for an hour before suddenly ramping the narrative through a building – that’s what’s turned these things from “movies” into “collections of half-formed ideas barely held together by themes that the characters constantly shout at each other.” And when that complaint was put through the I Need To Get This Down To 140 Characters Or Less Translator, it apparently came out as “Needs more jokes!”

The Marvel movies can be pretty funny. Ant Man, Guardians Of The Galaxy, and every line from Peter Parker in Captain America: Civil War are all humorous without feeling like someone went through the scripts with a red-tipped pen to make sure that these costume parades got some ha ha’s. And that feeling is super important, because it at least gives off the illusion that once we enter the theater, we’re being put into the hands of competent filmmakers who know how to manage a mood, and not the wallets of executive overlords screaming “GET ROBERT DOWNEY JR. FOR A CAMEO, YOU FUCK!” at every opportunity.

But adding lightheartedness to a movie is not a tonal Band-Aid. We already saw that applied to Suicide Squad, and that thing ended up seeming like a tug of war between two totally different Suicide Squads. Batman v. Superman would not have benefited from some sprinkling of whimsy. To create a movie that can handle a mess of jokes, you have to rebuild it as such from the ground up.

5 Gripes About DC Movies That Totally Miss The Point

fuffuster  asked:

I think it's a bit of a fool's errand to try and decide what Littlefinger's type is. The fact is that in the earlier seasons, he WAS an INTJ, and that's because his actions were based on his character in the book. In later seasons, his actions were based on what the screenwriters wanted, which is entirely inconsistent with his character throughout the rest of the series. The problem here is inconsistent writing - might as well type him from seasons 1-6 and then leave season 7 as a standalone.

What happens when I retype a character, or suddenly ‘see’ them in a different light is I start re-organization information about them in my head in retrospect. Now that I have seen his Fe, I can’t un-see it. I think he’s been using it longer than this past season, perhaps at least three seasons back – and it makes me suspect he may have been operating on Fe all along. I need to re-watch all his scenes before I pose any arguments as to overall type, but I recall from the first season his threatening of Cersei with “what he knows,” which does not strike me as an aux-Te move (it’s safer if she doesn’t know what you know, which makes me ask: why would he tip his hand like that? If it is ego-based, to impress her, then he’s operating out of a Fe-need for her to affirm his intelligence).

What a writer writes, tells you how an author thinks.

Here are two of my personal theories, relating to Littlefinger:

1) He is such a beloved ‘bad guy’ in the books that people want him to be an INTJ on the series too, because if he’s not, it’s a poor representation of his true character on-screen; it’s a letdown, a disappointment, a missed opportunity, so often we tend to see what we want to see, instead of what is there. The horrible fact is: from the start, Petyr has not been like his book character. Confronting Cersei happened in the show, but not in the books. Giving Sansa to Bolton happened in the show, but not in the books. Begging for his life happened in the show, but not in the books. In fact, there’s a paragraph in the book, when little Petyr was getting the crap beat out of him, where he refused to submit. He refused to beg for mercy. He gave them no emotional response whatsoever.

Book Littlefinger is cool, calculating, and operates behind the scenes; television Littlefinger has tipped his hand from the start (how many times have people pulled knives on him or shoved him into walls?), been emotionally expressive from the start, gotten people’s goats for his own amusement from the start, and been too forthcoming from the start. Part of this is the need for narration, to show the audience something through dialogue; and the second part of it is, a fundamental misunderstanding of the character by the writers, who cannot grasp a genuine Ni/Te-based thinking process.

Which brings me to theory 2:

The writers and their Ti/Fe axis. I have not read much about them other than interviews, I have not watched anything where they spoke, nor listened to more than one of their commentaries, so this is purely speculative – but I would lay good money on one or both being TiFe users and one especially being an ESTP because the changes made to the series from the beginning have strong Se/poor Ni overtones and since they have left the books behind, the writing itself operates from an [imbalanced] Se perspective.

One of the largest indicators is the tendency of these writers to take things at face value, to reinterpret their hidden motives in the most obvious ways, and misunderstand the characters – so they translate their intentions on-screen for “impact” or change them to have direct physical / aggressive overtones, rather than psychology – which is where Martin writes from. His Littlefinger has twisted, complex emotional and psychological components that stem from his need to differentiate himself and abandon his roots, to ‘become’ – his success is that he is the biggest ‘player’ in the game of thrones, and someone few people suspect because they never saw him coming; he has a deliberate scheme going in the book, where he knocked over one domino (Jon Arryn) and intends to climb ‘the ladder of chaos’ all the way to the Iron Throne. (And we don’t yet know how that will turn out, but I suspect what will take book Petyr out of the game will be a supernatural force he cannot anticipate, who never factored into his plans – Lady Stoneheart?). His relationship with Sansa in the novels is also complicated, and more fraternal (so far) than romantic.

Since the writers cannot understand this well enough to write it, they re-interpret it. What do we get from on-screen Littlefinger? A shallow, physically-based Petyr with a Fe axis, who seems to have no specific purpose for his plans other than vague generalities (because the writers never knew where he was going, or what his intentions were) – whose deep affection and idealization of Catelyn Stark and then taking her daughter under his wing turns into a sexual / romantic obsession. Even his death was calculated for immediate (Se) impact, with very little foreshadowing and depth – as if we’re just supposed to embrace the logic behind it (roughshod Ti) and go along with the crowd in cheering on Arya.

The writers even removed a crucial scene of foreshadowing, where we found out Petyr’s plan was working, that Sansa did intend to ‘take out her sister,’ and went to Bran for his thoughts – only to have him spill the beans. (The actor said as much in his last interview.) So, they abandoned proper narrative structure for shock value and impact (Se)… which is what they have done from the start (promoting the sex, violence, rape, and abuse toward female characters over the delicate politics, the social commentaries, and the clever deconstruction of your typical high fantasy story by Martin), and with much greater problems since they ran out of source material.

This excess of Se and not enough depth of understanding of human motivations, emotions, and motives (poor Fe development) is why the last few seasons the characters’ actions have been inconsistent; and why there’s a direct ‘hatred’ by the writers toward strong Te characters from the books they cannot understand – Littlefinger is not the only casualty; they totally missed the point of Stannis, and turned him into a black and white hypocrite who proclaims his love for his daughter in one episode and then burns her to death a few episodes later. (I suspect how that goes down in the book will make more sense, and not be out of character with Stannis’ personality.) They have turned Dany into a tyrant, they have turned Arya into an emotionless murderess, they have ‘neutered’ Tyrion by removing most of his flaws (he’s clearly their ‘favorite’ because he literally gets away with murder), they made Margaery* an actual manipulator (in the book, Cersei is just paranoid about someone who seems to be a ‘sweet girl’), and their expectation that others will not question their logic leaves gaping holes in the narrative, because mostly what they care about is shock value and impact.

Some of the time, they get away with it, but nowhere has it been more obvious than with Petyr’s arc, which has gone nowhere for two seasons and then winds up with a head-scratching fake trial, where he’s murdered (even Tyrion got a fair trial? could not he have asked for a trial by combat? Basically, they set him up to die and made him think of not a single logical way to save himself that is consistent with former seasons!) on shallow hearsay evidence, which for some reason, all the Lords of the Vale simply believe, even though Bran is little better than an emotionless zombie with no proof. Sansa lied at her aunt’s inquest; at the very least, implicating Petyr makes her an accessory to murder. There are about a dozen arguments anyone could pose to call bullshit on the entire trial and get him off the hook, but he was prevented defending himself. So yes, you are correct that his response in the trial is not a fair assessment of the entire character – but I suspect his emotional response from the trial is part of a larger Fe-based interpretation of Petyr, by the writers.

(Mini rant: it’s supposed to be this great moment of empowerment for the Starks, but it’s really no different than what the Freys did to their mother and brother, and it makes Sansa look stupid since it’s really moronic to kill off a tactical thinking ally with an army and plenty of political experience when you most need to form allies and create strategy to fight off an undead army of White Walkers.)

So. Yeah, there’s my rant for the night. ;)

- ENFP Mod

* You’ll notice book Margaery wins Tommen over with kittens. Show Margaery wins him over with sex, which says everything you need to know about the writers and their shock value / sensory-driven approach. =P And yes, I will be angry about this forever, because I hate nothing worse than a terrible book adaptation that misunderstands the characters and bad / convenient writing.

Why are some ‘feminists’ still hating on Missy because of those two (2) tears she shed in series 10 and saying she didn’t deserve redemption
God forbid a female character showing emotions without being judged and called ‘weak’ or 'annoying’ or worse, a 'sexist stereotype’

Also, you’re totally missing the point of her redemption arc if you really think she changed because she became a woman.
6

I went to Daisy’s funeral service. Her mother came and thanked me for being such a good doctor. I was so much more to her than that.

Fusion Character Arcs

One major complaint I’ve seen about SU is that, while fusions are MEANT to be separate characters, they’re not really developed all that well. This is somewhat understandable, given that they’re made from other characters in the show, but it’d still be interesting to see them as people.

But how do you write a character arc for a fusion? What would their issues be? How do you make them distinct from the people who make them?

Here’s my attempt at guessing that.

Opal - And if it were me, I’d really wanna be a giant woman…

Opal is scared of not being enough. Maybe it’s a it obvious, but both Pearl and Amethyst are so insecure that it makes sense for Opal to share that issue with them. Whenever she forms, it’s because she’s needed for something, and she wants to do that something well - but failure could have terrible consequences. And if Opal fails… will Pearl and Amethyst want to form her again?

After all, go back to her introductory episode. Pearl and Amethyst haven’t formed Opal in a long time because they’ve had a falling out. That’s got to be pretty horrifying for Opal, right? If Pearl and Amethyst aren’t getting along, then the only reason they’d fuse her is because they HAVE to. And if she fails,  then they’ll find an alternative way of dealing with things, right?

Isn’t that a scary thought? If you fail, you stop existing, because you failed the people who determine whether you exist or not.

Enter Steven, who adores Opal. He’s always happy to see her, and wants to be like her, because she’s a GIANT WOMAN! Or rather, he adores her simply because of who she is. This puts even more stress on Opal, because failing Steven would hurt both of them. 

And if you put a gem under enough pressure… it cracks.

Sugilite - And I know that we can be strong, in the real way…

Sugilite knows she’s cool. Heck, she’s not just cool, she’s awesome! So why the hell don’t Garnet and Amethyst want to be her more often?!

Or, more accurately: Sugilite knows she can be great if the Crystal Gems just give her a chance. And to be fair, she’s pretty awesome at wrecking stuff! It’s just that, well, the Crystal Gems have been in a rough spot ever since Rose died, and no one’s really in the right mindset for fusion… and while Sugilite also misses Rose a lot, it’s kind of hard to miss someone when you don’t exist.

So when Sugilite does show up, she goes all-out in an effort to prove to Garnet and Amethyst that it’s worth being her more often. Not to mention she wants to impress the Ste-man! Eeeeexcept she’s totally missing the point of why Garnet and Amethyst aren’t becoming her any more. So she’s angry at them, because what, is she not good enough?! And they’re not her, but they’re part of her, so she can’t really lash out at them

…I’m sure you can see where this is going.

Ironically, the solution to this problem really is to form Sugilite and let her get her emotions out constructively! She’s got every right to be upset, and she’s never had a real chance to mourn Rose. Give her some space and some time to think, and things will start getting better pretty quickly. 

It’s just… you kind of have to figure out that this is the issue first. And if Sugilite’s not around to talk about it…

Sardonyx - I forgot how great it felt to be us…

Angst? What angst? No time for angst when you’re a STAR, darling! Sardonyx finds herself completely above all the issues facing the Crystal Gems. She’s here to perform and save the day. She has no time to dwell on problems - just smile, be nice to everyone, and put on a heck of a show!

Yeah, Sardonyx? I hate to break it to you, but this isn’t even remotely sustainable. Especially not for Pearl and Garnet, who just find it so easy to leave their troubles behind and be Sardonyx, who is ignoring basically every problem except whatever she’s been called to deal with.

If Sardonyx is herself for too long, she starts to break down and break down badly. All of the stresses facing the world catch up with her, and she can’t take it because she keeps trying to run away. Actually dealing with stress feels like an impossible task. All she can do is act and fake it until she makes it.

Spoiler alert: that won’t happen. She really, really needs to stop running and deal with things.

Don’t fuck this up for her, Pearl.

Stevonnie - I’m here, I’m here, I’m here…

Stevonnie’s facing the unfortunate issue in canon that they’re being absorbed into Steven and Connie’s being ignored. So how do we fix that?

Well… Stevonnie is meant to be a metaphor for growing up, right? How about an arc where they find their place in the universe? They’re a completely unique being - the first fusion involving a human - and this is kind of a strange situation to be in. It doesn’t help that every other fusion around them is either established or a really unhealthy fusion. 

They need to figure themselves out. Work out who they are, both in relation to Steven and Connie, and independently from them. It doesn’t help that they’re a 13-year-old in terms of maturity, and are therefore at an age where nothing makes sense anyway.

Who is Stevonnie Maheswaran-Universe, and what is their place in the world?

(For bonus points: Dysphoria metaphor!)

Malachite - I used to think I was bad, now I know that it’s true!

Malachite is a pretty shitty situation for Lapis and Jasper. But what is it like to be made up of two people who utterly loathe each other? What is it like to be the physical incarnation of a toxic relationship? What is it like to be a poisonous, angry, damaging fusion surrounded by fusions of love, friendship and kindness? What is it like to wish you didn’t exist, but to be forced to by two people who don’t like you, each other, or themselves?

Malachite is a fusion of hatred on every conceivable level: self-hatred, abuse, misanthropy, everything.

What can it possibly be like to be THAT?

anonymous asked:

Hey there, I came across your post on how people take the quote, "but Lyanna was beautiful" at face value and ignore its subtext. Can you elaborate on what you mean? Are you saying people will take the truth of Lyanna being beautiful and ignore how it affects Arya? Or that people believe it implies that Lyanna's beautiful but Arya's ugly? I feel like I totally missed the point lol sorry

Hi Anon,

It was by and large me responding to something that I saw on my dashboard and reacting.  But I’ll happily explain my thoughts on Arya, Lyanna, and beauty since you ask.

“Lyanna might have carried a sword, if my lord father had allowed it. You remind me of her sometimes. You even look like her.”

“Lyanna was beautiful,” Arya said, startled. Everybody said so. It was not a thing that was ever said of Arya. (Arya II, AGOT)

Ned’s quote is about Lyanna; Arya’s response is about Arya.  Ned is remembering his sister and seeing her in his younger daughter; Arya doesn’t think she’s beautiful, or that, even, she is capable of being beautiful.  

This is directly linked to a few things: Sansa being beautiful–and being praised for her beauty–is the first one; Jeyne’s jealousy which induces her to start calling Arya “Horseface” (and Sansa’s participation in that) is another.  It’s only one plane in which Arya feels inadequate, but it’s an important one.  

It wasn’t fair. Sansa had everything. Sansa was two years older; maybe by the time Arya had been born, there had been nothing left. Often it felt that way. Sansa could sew and dance and sing. She wrote poetry. She knew how to dress. She played the high harp and the bells. Worse, she was beautiful. Sansa had gotten their mother’s fine high cheekbones and the thick auburn hair of the Tullys. Arya took after their lord father. Her hair was a lusterless brown, and her face was long and solemn. Jeyne used to call her Arya Horseface, and neigh whenever she came near. It hurt that the one thing Arya could do better than her sister was ride a horse.  (Arya I, AGOT)

So, having her father tell her, 1) that she acts like Lyanna and 2) that she looks like Lyanna is a major deal for her.  If Arya is used to being put down by Sansa, Jeyne, and Septa Mordane, having someone who people consider to be beautiful as someone her father associates her with is major.  Indeed–they look so much alike (and I’d say act alike as well) that Bran confuses Lyanna for Arya during his visions initially:

Eddard Stark dissolved, like mist in a morning sun. Now two children danced across the godswood, hooting at one another as they dueled with broken branches. The girl was the older and taller of the two. Arya! Bran thought eagerly, as he watched her leap up onto a rock and cut at the boy. But that couldn’t be right. If the girl was Arya, the boy was Bran himself, and he had never worn his hair so long. And Arya never beat me playing swords, the way that girl is beating him. She slashed the boy across his thigh, so hard that his leg went out from under him and he fell into the pool and began to splash and shout. “You be quiet, stupid,” the girl said, tossing her own branch aside. “It’s just water. Do you want Old Nan to hear and run tell Father?” She knelt and pulled her brother from the pool, but before she got him out again, the two of them were gone. (Bran III, ADWD)

Ned’s obviously biased, but his memories are that Lyanna was very pretty: 

Lyanna had only been sixteen, a child-woman of surpassing loveliness.  (Eddard I, AGOT)

You also have a biased testimony (of a different sort) in Kevan Lannister before he dies:

Cersei could have given the prince the sons he wanted, lions with purple eyes and silver manes … and with such a wife, Rhaegar might never have looked twice at Lyanna Stark. The northern girl had a wild beauty, as he recalled, though however bright a torch might burn it could never match the rising sun. (Epilogue, ADWD)

Arya looking like Lyanna is something that says that this girl, who has been told she’s ugly for a great deal of her life (a major theme in her arc), is not ugly at all, but rather has been made to believe that she’s ugly.

I’ve seen people call Arya ugly, taking Sansa’s and Jeyne’s testimonies at face value.  It doesn’t happen frequently, but I’ve seen it.  I tend to think that’s a sign that people are missing some major points about Arya’s looks when they come from people who aren’t related to her, and don’t know what Sansa or Lyanna look like:

“I look like an oak tree, with all these stupid acorns.”

Nice, though. A nice oak tree.” He stepped closer, and sniffed at her. “You even smell nice for a change.” ([Gendry] Arya IV, ASOS)

“I’m sorry I tore the acorn dress too. It was pretty.”

“Yes, child. And so are you. Be brave.” ([Lady Smallwood] Arya IV, ASOS)

Lord Smallwood, she knew, remembering Acorn Hall so far away, and the lady who’d said she was pretty. (Arya X, ASOS)

”Or would you sooner be a courtesan, and have songs sung of your beauty?“ ([Kindly Man] Arya II, AFFC)

“Wear this when you are here,” the priest said, “but know that you shall have little need of it for the present. On the morrow you will go to Izembaro to begin your first apprenticeship. Take what clothes you will from the vaults below. The city watch is looking for a certain ugly girl, known to frequent the Purple Harbor, so best you have a new face as well.” He cupped her chin, turned her head this way and that, nodded. “A pretty one this time, I think. As pretty as your own. Who are you, child?” 

“No one,” she replied. (The Ugly Little Girl, AFFC)

People routinely call Arya pretty.  So I don’t particularly like it when people who actively belittled her looks are the ones whose testimony is taken more as evidence.

So there is a post going around saying ‘when will bisexual girls be allowed to love men’ and I see a lot of comments that totally miss the point of the post.

Bisexuals are considered cute and adorable when we are dating someone of the same sex. Once we actually date someone of the opposite sex, we suddenly have to prove we’re queer. I’ve had people question my bisexuality because I have never slept or dated a woman and I am engaged to a man. So apparently, I’m less valid.

Yeah, that isn’t how this works. Like at all.

So what I’m getting at is that there are tons of people, including those within the LGBT+ community, who not only see us as less queer but also don’t want to admit we find the opposite sex attractive. It’s like we’re dirty for it and that’s just disgusting.

Guess What? All your heroes started fighting evil as kids!

I don’t really care about ship wars I’m so used to it since the online fandoms of the late 90s and early 2000s BUT I swear to god this “PETER IS TOO YOUNG!!!!1 HE’S BEING ABUSED AND FORCED TO FIGHT″ discourse is the most annoying thing ever in this fandom.

The Robins, The Teen Titans, Young Avengers, Peter Parker, the X-Men etc. ALL THESE SUPERHEROES STARTED YOUNG. ALL. OF. THEM.

AND SO ARE ALL THE KIDS IN ANIME. The Voltron kids are young and they fight to save the universe, THE KIDS FROM INCREDIBLES. A BAJILLION characters in TV and Movies are YOUNG!!! It’s called FANTASY. THESE ARE CREATIVE STORIES THAT MAKE US DREAM AND HOPE AND ENJOY.

Kids are portrayed as fighting heroes in popular culture because they make us aspire to grow up to be better people. Peter Parker is meant to be a relatable role model for kids, a fantastical figure that inspires us and gives us hope for the future.

If you think that “PETER PARKER IS TOO YOUNG HE SHOULDN’T BE IN INFINITY WARS” and are bullying other people about it then please stay away from the internet and maybe 99.9999% of creative media because you’re using serious terms with zero context and saying grave accusations like “child abuse” when these are VERY SERIOUS ISSUES. 

(also you totally missed the point of his character and why he exists: with great power comes great responsibility.)

I work on research and policy work on human rights for marginalized women and children and I am disgusted that these terms are casually bandied about and used to harass other creators, particularly bullying fellow fans from non-Western countries.

Please I beg you educate yourself, go out with your friends and have discussions, DO SOME RESEARCH, open your mind, and stop harassing your fellow friends in fandom. 

If people are gonna shit on Rachel as opposed to giving her character valid criticisms, you need to keep your comments to yourself because some people in this fandom actually like her. So far the only people i see who hate her are shipping purists, and people who’ve fallen for every Rachel rumor that Max heard from the grapevine. As opposed to people who simply dont care for the girl.


Example of a valid criticism: Rachel overreacted to her dad allegedly cheating on his wife and needs to calm her tits. Rachel is suspicious.


Example of a comment people should keep to themselves or discuss with people who share their opinion: Rachel is a slutty drug addict who slept with all her teachers and used everyone to get something out of them and fuck her shes gonna die anyway so haha


Just enjoy some gay shit since we wouldn’t get it out of any other game dev. Or don’t and let the rest of us enjoy our gay shit. I think people are aware she doesn’t make it by the events of LiS, but in case you totally missed the point of the Life is Strange games thus far, its about enjoying the time you have with people while it lasts. And in case you missed the other thing, wlw is still not commonplace, and some of us are trying to make lemonade here, and its really sad for us to think about someone who means this much to Chloe being taken from her.