we really have the best creators around :')

anonymous asked:

Hey I was just reminded of talalay's tweet and I know she might not know of a special or the writers' intentions but her words annoyed me... it makes me feel like they dislike us, but if she thinks so i don't understand some of her directing in tst (like sherlock being revealed in the chair and mary=thatcher smashed). How do you interpret this whole thing, if you don't mind me asking? P.s. I loved your the ring meta!

Hi!

Thanks so much for the compliment about my meta! <3 Glad you enjoyed it. 

I only just learned about Rachel Talalay’s comment. I’m guessing you’re referring to this

I would say it’s worth disregarding, as is anything any creator has to say about work they’ve released into the world. 

Before I explain further, I just want to say that this in no way reflects any feelings or thoughts I have about Talalay’s skill as a director. I’m rewatching tst right now, and I think it’s very beautiful in many ways, despite the reservations I have about its reality status / the script / that wife / how we’re supposed to understand the episode. There’s nothing, I think, in the way it’s directed that gets in the way of the story that’s being told, and it has its own gorgeous qualities (that shark transition at the beginning is just…wow, really lovely.)

As for her comment, ugh. It was offered, it seems, spontaneously, in the context of answering a much more straightforward question about how a particular scene was filmed in Doctor Who, so it was unnecessary, to say the least. Now, I don’t know, I have no idea what has been said to her. I don’t know how much she’s had to deal with people coming at her for things over which she has no control, like the overall direction of the show. I don’t much care, tbh. Because I think that if you’re going to engage in social media interactions with people, you need to be cool about it. You should try to be gracious. Understand that people are excited about what you’ve made, which is, like, the point of making it? Isn’t it? 

The main thing for me is, I’ve been on both sides of the creator / critic spectrum, professionally as a writer (on a really small scale), and academically as a literary scholar (at the highest level one can go). So I’ve thought about literary interpretation a lot, and thought a lot about its role, relative to literature itself. Here’s what I know: 

When people make a thing, a creative thing, they pull on all kinds of stuff of which they may or may not be aware. It’s an art. There’s planning, and there’s purpose, and there’s the story they know they want to tell, and then there’s serendipity, and the intuitive ways in which symbolism builds, and there’s the mass of art and literature that came before yours, there’s the direct source material (acd canon) and there’s indirect source material (the tons and tons of Holmesian pastiche); there’s tradition (like the Gothic); there are brands (Hammer horror, Bond, and, weirdly, the Muppets). It all goes into the mix, and out comes a thing that works, or doesn’t. 

This is why authorial intention is garbage as a concept: because literary texts are made from a combination of conscious and unconscious content.

And this is why all creator commentary about what they meant to do, or didn’t, is rubbishy bullshit at best. Ideally, I think, a creator should ask, “What did you think of it?” Rather than, proclaiming, “Oh, that’s not what I meant.” 

(I know, I know. We want there to be a plan. We want johnlock to be part of the consciously crafted content of the show. I obviously do. I want mofftiss to be good. I want them to be clever. I want the clearly inferior quality of s4 to be part of a meta-level Reichenbach arg. I hope it is. But even if it isn’t, even if they meant tfp to be a totally straightforward end to s4 and possibly the series as a whole, there is still much we can do in terms of reading it, interpreting it, enjoying it. This is not reaching. The subtext is practically hanging off the text like ripe fruit, begging to be picked.)

It is up to the critic, the literary analyst, the audience, to decide what the thing they’re consuming means to them. The symbols, tropes, character arcs, plots, etc., etc., which the creator has put together–all of this interacts with you, your personal experience, the other texts you’ve enjoyed, the symbols, tropes, plots, etc., that are part of your cultural experience, and there, in you, is where they make meaning. 

You can emerge from the experience of a text and say, this is what it means, and interpret it in light of what you know, and what you’ve felt, and back it up using the textual evidence that made you think what you did, and no one–that is to say NO ONE–can tell you you’re wrong. They can tell you they think there’s a better reading. They can tell you they think yours has holes in it. You can, if you wish, engage in discussion about it. But you don’t have to. Above all, you should do what makes you happy. This is supposed to be fun–which, it seems, is something that Talalay, with her snarky comment about “rationality,” seems to have forgotten. 

Nonetheless, for those of us who do choose to craft arguments out of our favourite readings of this, or any literary text:

There are good interpretations–ones that really hold water when you interrogate them and subject them to argumentation. There are less valid interpretations–ones that fall apart if you so much as breathe on them. 

Johnlock is a valid interpretation. It is as solid as granite. It has a metric fuckton of evidence backing it up. The only thing it doesn’t have, right now, is an explicit confirmation from the text that satisfies much of the audience who supports that interpretation. (Right now, there’s sort of a johnlock light reading we can glean from the most superficial level of the text. In my opinion, there’s a much more intense johnlock reading possible via the subtext.) 

There are, of course, other readings. Of course there are! But let me tell you, having had a run-in or two with the dude who made that anti-tjlc blog, WELL, he is far from rational. He transforms into a squalling infant if you so much as push on one of his ideas. And then tells you you’re bullying him. Methinks he enjoys being fighty. 

THE BOTTOM LINE IS: Once a creator has released something into the world, their role is done. It’s then up to the audience to take the thing and run with it. I am so glad–SO GLAD–to be part of a fandom that voraciously consumes, analyzes, critiques, and otherwise shakes the thing we love until all the best bits and pieces fall out. That’s the fun of it! For a creator to turn around and say, NO! You’re loving the thing I made in the wrong way–well, that is really small.

So: thanks for this ask, sorry to go on for so long but I have LOTS of feelings about this, clearly. 

The LionSwap Theory

I’m really wondering about the paladins’ original lions. You know, about how Keith should have black, Lance red & Allura/Shiro blue if we’re to follow the classics.


(No this theory isn’t about how the hell did they fit in at the time)

I heard they made it so their lions match their colors as paladins, but they could have switched their outfits, like they did in the sequels (#NeverForget). So my best guess is the creators of the show might be planning to swap their lions around, so we finally have an explanation as to why their armors don’t match their lions (though I’d like to see them with their armor swapped, too, but that’s just me).


(Did ya missed it ?)

Under a Read More because long. Especially Lance’s part.

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I took a break from my other project to work on this thing I’ve had in my folder for a wee bit. 

Idk if most of you know, but I’m a huge fan of @robotspacejelly and especially her Band Leader Noodle AU. Miss Noodle is an old, beautiful bird. And I actually think about that AU a lot. Like what would Miss Noodle wear in the videos (my mind is always on fashion). Obviously, since her’s and Murdoc’s roles are flipped, her Dirty Harry outfit draws a lot from him (though I did keep the yellow bandana that’s around her neck in the original one and put it on her arm). 

I had messaged the creator of the AU and asked if I could draw Miss Noodle, so here we have a phase 2 Miss Noodle. 

Not my best but meh. I like it.

Also a big congrats to @robotspacejelly and @mcvveigel for their engagement! I’ve been following them both for a while and they’re always a delight to have on the dash! Both incredible artists and I’m just really happy for you guys! 

Y’all

I’m fucking tired. I’m tired of the rivalry between Bumbleby shippers and Blacksun. Rwby has never really been inherently romantic. Does this mean I no longer ship Bumbleby/Whiterose/etc? No but does this mean I am going to hate on any character? Again hell no. Sun is doing his best okay? We know this from season 1. He’s a helpful monkey boy, he believes that Blake is a cool beautiful person. He doesn’t dig around in her feelings and let’s things go as they may. At the moment that’s probably why Blake feels safe with him right now. Blacksun does have the strongest possibility of being canon, why? Because of inherently straight RT creators. However this does not mean that Sun needs hate or that Bumbleby is an irrelevant ship. But at this point. I DON’T CARE. 

Blake is going to spend yet another season as our Angsty kitty that runs away..

With possibly her family? and Sun? I have hopes that Blake is going to get some character deveopement and possibly growing a backbone before her meeting up with Adam.

….OR Not. Please help out our Kitty please. And y’all please chill. Blacksun bros and my fellow Bumbleby baes. Can we not just band together to protect our faunus daughter?

ew.com
Lea Michele looks back on 'Glee': 'It's by far the greatest experience I’ve had in my life so far'

ENTERTAINMENT WEEKLY: Do you remember your audition?

LEA MICHELE:  Of course. It might have been six years ago, but it wasn’t 100 years ago. You can’t forget the thing that was the start, and the moments that began the most important thing of my life so far. I had a very memorable audition—as everyone knows I got into a car accident heading to Fox to meet with the network. I reading [the script] for the first time, thinking about how amazing it was and how funny and smart and touching. We were all reminiscing last week, during the last week of the show, of what the first week of rehearsals was like. It was just me, Kevin [McHale], Jenna [Ushkowitz], and Amber [Riley] before other people came. There’s so many memories. It’s pretty unbelievable. It was honestly such an incredible journey.

What are your memories of shooting that pilot?

I remember my first day. I remember feeling really nervous. I’d never done television before. I know that on my first day, Ryan [Murphy] said that it came really naturally for me, so that gave me the confidence to shoot the rest of the pilot and all of that. I remember shooting “Don’t Stop” with all of the kids. It was sort of the first time that we really connected as a group, and we all were fooling around so much. We were like, misbehaving. We were all hysterical laughing, kind of messing around, and then Ryan came up to us and he was like, “Matt Morrison has to cry in this scene and you guys are misbehaving.” It was the first scolding that we got, but it was also the most amazing moment, because everyone knew it—Ryan knew it, we all knew it, Matt knew it—that we were like best friends. That relationship that we created amongst that original group, and then continued on to everyone else who came after, is what made the show great. We all were really friends. We all ready had emotional investments with everyone.

Did getting slushied get any easier?

I had to have it done I think three times in this season, in our final season. It definitely doesn’t get better. You become less afraid leading up to it. I remember the anticipation the first and second time. That got a little bit better, but I definitely don’t think anyone should—it’s like being bitchslapped by an iceberg.

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