what have i done this is terrible

anonymous asked:

you're an abseloute fucking asshole and I hope you know that, you're not just a terrible friend, but a terrible, childish BITCH. I fucking hate your little attitude, walking around and fishing for compliments by saying you're not good enough. Well guess what, I'll tell you so you dont have to. YOU ARE NOT GOOD ENOUGH. how about be a better friend next time. You could have done so much better you prick.

that’s right i deserve to die 

various starters
  • ❛  you’re a weapon and weapons don’t weep.  ❜
  • ❛  hurt me once, I’ll kill you twice.  ❜
  • ❛  never trust a survivor until you learn what they did to stay alive.  ❜
  • ❛  death is the only god that comes when you call.  ❜
  • ❛  I am teeth. I am royal. you are nothing to me.  ❜
  • ❛  the sun will rise and we will try again.  ❜
  • ❛  we’re just kids. we aren’t supposed to be heroes.  ❜
  • ❛  I like my women like I like my Absinthe: bitter and intoxicating.  ❜
  • ❛  what doesn’t kill me better run.  ❜
  • ❛  she wasn’t looking for a knight. she was looking for a sword.  ❜
  • ❛  don’t dehumanize bad people, because it’s their humanity which makes what they’ve done so terrifying.  ❜
  • ❛  she isn’t just pretty. she is otherworldly and vaguely threatening.  ❜
  • ❛  magic is not good or evil. is a knife evil? only if the wielder is.  ❜
  • ❛  I don’t want your crown. see, I’ve come to burn your kingdom down.  ❜
  • ❛  they broke my wings. they forgot I have claws.  ❜
  • ❛  all that blood was never beautiful, it was just red.  ❜
  • ❛  what do you do when there’s no hero in the story? simple. you kill the monster and crown yourself.  ❜
  • ❛  how terrible it is, to love something that death can touch.  ❜
  • ❛  you may not be interested in war, but it is interested in you.  ❜
  • ❛  I feel divinity in my bones like aching. like fire.  ❜
  • ❛  you make me feel and I don’t like it. I want it to stop. now.  ❜
  • ❛  you are losing my interest and that is very dangerous.  ❜
  • ❛  she will burn your kingdoms down, herself with it, if it means your ruin.  ❜
  • ❛  it’s okay to be scared. it means your about to do something brave.  ❜
  • ❛  she looks like divine absolution.  ❜
  • ❛  I will not be another flower, picked for my beauty and left to die. I will be wild, difficult to find and impossible to forget.  ❜
  • ❛  be careful with words. they can be forgive, but never forgotten.  ❜
  • ❛  you not wanting me was the beginning of me wanting myself.  ❜
  • ❛  I’m tired of fighting. for once, I want to be fought for.  ❜
  • ❛  never run back to what broke you.  ❜
  • ❛  I was quite, but not blind.  ❜
  • ❛  your gut knows what’s up. trust that bitch.  ❜
  • ❛  we all eat lies when our hearts are hungry.  ❜
  • ❛  do not judge my story by the chapter you walked in on.  ❜
  • ❛  I’m just a girl, standing in front of a salad, wishing it was a donut.  ❜
  • ❛  you can miss something but not want it back.  ❜
  • ❛  you can’t save people, you can only love them.  ❜
  • ❛  I came, I saw, I made it awkward.  ❜
  • ❛  we buy shite we don’t need, with money we don’t have, to impress people we don’t like.  ❜
  • ❛  you’re always one decision away from a different life.  ❜
  • ❛  my brain has too many tabs open.  ❜
  • ❛  I’m not saying I hate you, just that you’re like the Monday of people.  ❜
  • ❛  there’s no ‘we’ in fries.  ❜
  • ❛  apology accepted, trust denied.  ❜
  • ❛  death and I have been scandalously intimate for some time now.  ❜
  • ❛  life happens. coffee helps.  ❜
  • ❛  I am mine before I am ever anyone else’s.  ❜
  • ❛  I rely a bit too heavily on alcohol and irony.  ❜
  • ❛  very early in my life it was already too late.  ❜
  • ❛  is that a threat or are you flirting with me.  ❜
  • ❛  was the use of force necessary in completing your objectives?  ❜
  • ❛  I’ll let you drag me to hell if it means you’ll hold my hand.  ❜
  • ❛  I do bad things, and I do them very well.  ❜
  • ❛  you drink too much, you cuss too much and you have questionable morals. you’re everything I ever wanted.  ❜
  • ❛  they will kill you, but first they will have to catch you.  ❜
  • ❛  drugs might kill you but they’ll never break your heart.  ❜
  • ❛  good girls are just bad girls that haven’t been caught.  ❜
  • ❛  a pretty face doesn’t guarantee a pretty heart.  ❜
  • ❛  no airbag, we die like men.  ❜
  • ❛  true evil is, above all, seductive.  ❜
  • ❛  it takes more courage to suffer than to die.  ❜
  • ❛  you must be lucky to avoid the wolf every time. but the wolf? he only needs enough luck to catch you once.  ❜
  • ❛  justice is vengeance in prettier packaging.  ❜
youtube

Oscar Isaac reads Richard Feynman letter to his wife, Arline. (Letters Live)

Transcript

October 17, 1946
D’Arline,
I adore you, sweetheart.
I know how much you like to hear that—but I don’t only write it because you like it—I write it because it makes me warm all over inside to write it to you.
It is such a terribly long time since I last wrote to you—almost two years but I know you’ll excuse me because you understand how I am, stubborn and realistic; and I thought there was no sense to writing.
But now I know my darling wife that it is right to do what I have delayed in doing, and that I have done so much in the past. I want to tell you I love you. I want to love you. I always will love you.
I find it hard to understand in my mind what it means to love you after you are dead—but I still want to comfort and take care of you—and I want you to love me and care for me. I want to have problems to discuss with you—I want to do little projects with you. I never thought until just now that we can do that. What should we do. We started to learn to make clothes together—or learn Chinese—or getting a movie projector. Can’t I do something now? No. I am alone without you and you were the “idea-woman” and general instigator of all our wild adventures.
When you were sick you worried because you could not give me something that you wanted to and thought I needed. You needn’t have worried. Just as I told you then there was no real need because I loved you in so many ways so much. And now it is clearly even more true—you can give me nothing now yet I love you so that you stand in my way of loving anyone else—but I want you to stand there. You, dead, are so much better than anyone else alive.
I know you will assure me that I am foolish and that you want me to have full happiness and don’t want to be in my way. I’ll bet you are surprised that I don’t even have a girlfriend (except you, sweetheart) after two years. But you can’t help it, darling, nor can I—I don’t understand it, for I have met many girls and very nice ones and I don’t want to remain alone—but in two or three meetings they all seem ashes. You only are left to me. You are real.
My darling wife, I do adore you.
I love my wife. My wife is dead.

Rich.
PS Please excuse my not mailing this—but I don’t know your new address.

Scarring
  • Harry: Take off your shirt.
  • Draco: I... no. I don't want to.
  • Harry: Why- Oh. Is it... do you still have scars? Draco, I've never forgiven myself for that.
  • Draco: Scars! Yes, I have terrible scars. I simply can't stand for you to see.
  • Harry: I'm so sorry, Draco. But now that we're together, you'll have to show me sometime.
  • Draco: N-No! You can't see! It's really hideous, awful-
  • Harry: Oh God, I thought it wouldn't scar! You have to show me so I can atone for what I've done. I'll never forgive myself if you have to hide for the rest of your life.
  • Draco: I- oh... alright then. *slowly unbuttons and takes off his shirt, looking away from Harry*
  • Harry: *staring* Draco, this is...
  • Draco: Yes, the scarring was truly terrible.
  • Harry: This is... a tattoo of our names together over your heart.
  • Draco: Hideous scarring. I'll never forgive you.
2

“People say, ‘She only got that [role] because of her mom.’ Yeah, yeah I did.” Lourd admits with sincerity, “But what would you have done if you got offered a role in Star Wars? Say ‘no?’ That’s even more pretentious.”

Lily + Sirius
  • Of course, Lily hated Sirius’ guts at first. “He’s James Potter’s best friend, of course he’s awful,” she tells her friends back in first year.
  • She has also heard stories of hows his family is so anti-muggle and she does not like it. But then around Halloween she is out of bed at night because she desperately needs a library book and she also likes to explore the castle (but never gets caught like the Marauders do).
  • She runs into Bellatrix, Malfoy and the other Slytherins and she is terrified but she holds her ground and when they are about to hex her Sirius suddenly shows up from around the corner and hisses something like “Back off Bella!”
  • It takes them a few days to warm up to each other, but eventually they become friends much to James Potter’s chagrin.  “How did you become friends with her, Sirius?” (”Maybe I don’t tease her, James”)
  • But he does all the time, and Lily is constantly coming up ways to tease him back, and their prank wars last for several weeks.
  • Once Lily’s entire collection of books of Charms was found hanging from the Quidditch Goalposts.
  • As a result, Lily hexes him to say “Minerva McGonagall is my muse and love” over and over earning him four months of detention
  • Whenever she raises her hand in class, he high fives her, and when he’s not there the other Marauders do. Yes I believe in this headcanon.
  • They are the biggest Quidditch fans in Hogwarts history. During the matches, Lily and Sirius paint their faces gold and scream themselves hoarse
  • They braided each other’s hair, Sirius being more gifted at it than Lily
  • Lily starting to meddle when she realizes Sirius likes Remus
  • She frequently hatches plans with ‘Potter’, albeit reluctantly, until the day she realizes that she looks forwards to these silly plans to hang out with ‘James’.
  • One day Sirius is very upset about Regulus and Lily comforts him. “I have a sister, too, and we’re not very close. I miss her terribly…”
  • When Sirius has the falling out with the Marauders over the Snape Prank, Lily is his only friends. She realizes what he has done (she knew that Remus was a werewolf since first year) and is angry, but she still sticks with him
  • Lily is head girl, and when Sirius’ uncle Alphard dies, she lets him skive off classes and makes excuses for him
  • After graduation, all the Marauders and Lily rent out a flat together, and it feels like Lily and Sirius replaced each other’s siblings. It feels like family.
  • Which is why it is so heartbreaking when they have to go into hiding and leave the little home they made behind
Angst/Fluff Prompt List Part 2

The first one was a big hit, so I hope you’re ready for a second one! These can work with ANY fandom! Reblog if you wish! (Please give credit, to where credit is due <3)!


  1. “I need you.”
  2. “You’re family.”
  3. “I care about you.”
  4. “Can I join you.”
  5. “You made your choice.”
  6. “This isn’t fair!”
  7. “How could you do this?”
  8. “Do you hate me?”
  9. “I could never leave you behind.”
  10. “Come with me.”
  11. “That’s sweet.”
  12. “You look great.”
  13. “Where are you going?”
  14. “That’s new.”
  15. “Let me help you.”
  16. “Drop the attitude.”
  17. “Are you okay?”
  18. “I’ve got you.”
  19. “I’m worried about you.”
  20. “You don’t seem like yourself tonight.”
  21. “Do you like it?”
  22. “You smell nice.”
  23. “They didn’t deserve you.”
  24. “I trust you, do you trust me?”
  25. “Karma is a bitch.”
  26. “What the hell?”
  27. “Son of a bitch.”
  28. “I hope your day gets better.”
  29. “I’m here if you need to talk.”
  30. “Are you listening to me?”
  31. “Sorry.”
  32. “Why are you doing this?”
  33. “Why are you acting like this?”
  34. “How do I look?”
  35. “Damned if I do, damned if I don’t.”
  36. “What is this about?”
  37. “You look like hell.”
  38. “I haven’t seen you in a few days.”
  39. “It’s good to see you.”
  40. “You know, you can stay if you want to.”
  41. “I’m not pissed, I’m hurt.”
  42. “Truth hurts, doesn’t it?”
  43. “I almost feel bad for you.”
  44. “What you did was stupid.”
  45. “No.  You listen to me.”
  46. “It doesn’t matter.”
  47. “I know you’re scared.”
  48. “You’re a terrible liar.”
  49. “You’re not helping.”
  50. “It’s not safe here.”
  51. “You should leave.”
  52. “Everything is fine.”
  53. “I’ll keep you safe.”
  54. “I hope you know what you’re doing.”
  55. “Just go away.”
  56. “You don’t have to act like you’re okay.”
  57. “I’m only here to help.”
  58. “Don’t mind if I do.”
  59. “Don’t you think you’ve done enough?”
  60. “Thanks for nothing.”
  61. “I’m done.”
  62. “You think that this is easy for me?”
  63. “I hate seeing you like this.”
  64. “You make me so mad.”
  65. “I brought you dinner.”
  66. “Say what?”
  67. “You’ll be fine.”
  68. “You’ve got me on your side.”
  69. “I don’t like you…. I love you.”
  70. “I don’t want you… I need you.”
  71. “What are you doing here?”
  72. “It’s okay to cry.”
  73. “I can tell you’re lying.”
  74. “You’re in danger.”
  75. “You deserve better.”
  76. “You’ve changed.”
  77. “I think I’m in trouble.”
  78. “You always find a way to surprise me.”
  79. “You did what you had to do.”
  80. “You have no idea.”
  81. “Why am I not surprised?”
  82. “This is just great.”
  83. “You’re here late.”
  84. “What’s on your mind?”
  85. “I wanted to apologize.”
  86. “It’s just you and me.”
  87. “I’m just looking out for you.”
  88. “I never meant to fall in love with you, I just did.”
  89. “Calm down.”
  90. “Why didn’t you tell me?”
  91. “Oh come on.”
  92. “No one is perfect.”
  93. “You’ve been quiet.”
  94. “What did you just say?”
  95. “I’ll always be there for you.”
  96. “Fair enough.”
  97. “When you fall, I’ll always be right there to catch you.”
  98. “I won’t let anything bad happen to you.”
  99. “You’re not crazy.”
  100. “I’m not leaving.”
  101. “I hope you’re happy.”
  102. “You’re the only person I wanted to be with tonight.”
  103. “Don’t worry about it.”
  104. “I’ll be there in a few minutes.”
  105. “You’re not going anywhere.”
  106. “You believe me, don’t you?”
  107. “Regardless of what they think, I know you’re an amazing person.”
  108. “Shhh…  You need to be quiet.”
  109. “Fuck you!”
  110. “You don’t even know me.”
Don’t Doubt Your Writing

Anonymous asked: “Any advice for the crippling self-doubt with writing? I do short stories and I never think they’re good enough.”

Get ready for probably one of the worst pep-talks ever written. The first time I heard someone say (and not to me actually), “No one asked you to be a writer,” was probably the first time I realized I didn’t actually have to write. 

Keep reading

{PART 24} I Won’t Stop You // Jeon Jungkook, Vampire!AU

Originally posted by jengkook

Pairing: Jungkook x Reader

Genre: Vampire!AU, Fantasy, Angst, Smut

Summary; Despite everything that has gone wrong for you; you feel like life might start to have a better outlook as Jungkook takes all measures to keep you safe. However, a storm is coming; one that grips and pulls at the strongest winter coat…before you find yourself making the biggest mistake of your life to date.

“The lull, or the calm before the storm took it’s place in the atmosphere, in both of their hearts and their minds. ‘Tread carefully’ he warned her, but she slipped from his grasp the moment he blinked”

Not rated M, but be warned there are some scenes of a suggestive sexual nature.

I update this series every Tuesday evening, 9pm-10pm (UK Time) 

{Part 1} // {Part 23} {Part 24} {Part 25}

Keep reading

andallwaswell-ish  asked:

Seamus and Harry are a couple. Draco really doesn't like that. (fanon) Pansy is just the person he needs

“Quick, Pansy, kiss me.”

Pansy stares at Draco, her face screwed up at the absurd suggestion. There are so many things wrong with that statement. First, ew, she is not nearly drunk enough. Second, she doesn’t like to be rushed. And third, most importantly, nobody tells Pansy what to do.

“I will do no such thing. Why would you – “ her eyes scan the Gryffindor common room, following Draco’s gaze, and fall on Harry Potter sitting on Seamus Finnigan’s lap – “Oh, I see now.” She sighs loudly, accepting her duty as best friend, but also making sure Draco knows just how unappealing she finds the idea. “Fine.”

The kiss is brief and methodical and, all in all, incredibly disagreeable. Pansy only hopes that Potter glances their way to see it so it isn’t all in vain. As soon as her mouth is her own again, Pansy downs the rest of her firewhiskey.  “Never, ever, make me do that to your chapped lips again.”

“Sorry,” Draco says, looking past Pansy – she’ll forgive his inattentiveness this once, “It’s just –

“You needed to make Potter jealous?”

“Yes and –“ Draco pauses, and his eyes finally land on Pansy. About time. “How did you know it was Potter?

Pansy snorts. Draco really is an idiot sometimes. “Well you hardly have a crush on Finnigan do you? And Blaise told me sometimes you say his name while – “

“I’ll have a word with Blaise later,” Draco says quickly, a small blush appearing on his face – that he would certainly deny if Pansy were to mention. “Now hold my hand, make it look like we’re an established couple. I don’t want Potter thinking I’m easy.  If you put your arm – “

Draco’s voice falters, his gaze back on Potter. Pansy turns to witness Potter and Finnigan locking lips in a rather exaggerated fashion. It’s not romantic or erotic. It’s just a kiss. The two must have zero chemistry, much like Pansy and Draco.

“Although, clearly, Potter is very easy.” Draco puts on his cold, taunting voice but his own jealously is obvious.

Pansy rolls her eyes. Sometimes dealing with Draco is like dealing with a small child. She moves beside him and wraps an arm around his waist so they can stare at Potter and his current boy toy together. The two have stopped kissing and are now drawing patterns on each other’s hands. Gryffindors, honestly. “Would you look at that, Draco dear? They’re holding hands. They must be an established couple as well.”

“Do you really think so? Finnigan doesn’t seem like Potter’s type at all. And I’ve never seen them alone together before. I would have noticed it if – “

“How about we go over and find out?” Pansy shoves Draco hard and is pleased when he stumbles forward. She enjoys catching him off guard.

“Wait – Pansy, no.” Draco tries to protest but it’s too late. Potter has spotted them. He extracts himself from Finnigan and stands up to greet them, a hand running through his hair. Pansy has to hold back a smirk – she knows Draco loves when Potter does that. Not that he’s ever said anything. He doesn’t have to.

“Malfoy. Parkinson,” Potter says without even glancing at Pansy. Typical. And predictable.

Finnigan stands up beside Potter. Draco – what a surprise! – ignores this. “Potter.”

“Finnigan,” Pansy adds, only to annoy Draco. He gives her a reproachful side eye before returning his gaze to Potter. She suspects it’s the last time he’ll glance her way tonight.

They all stand there in silence. Potter staring intently at Draco. Draco staring intently at Potter. And Finnigan sharing a knowing look with Pansy. At least he’s not as stupid as he looks then.

Finally, Potter speaks up. “I didn’t know if you’d come tonight.”

“I never miss a party…even if it is hosted by Gryffindors.”

It’s not true. Draco has missed several parties over the years. But at this stage, Pansy doesn’t think Potter or Draco would even notice if she spoke so she keeps her mouth shut.

“Might be time for a Slytherin party next,” Potter says.

Draco is clearly holding back a smile. Pansy bets he is creaming his bloody pants at getting to have an actual conversation with Potter. “We get a little wild in the dungeons.” They don’t. “Are you sure you could handle it, Potter?

“I think I could rise to the challenge.”

“Subtle,” Pansy whispers to Finnigan. Honestly, Potter’s clearly got it as bad as Draco. It’s embarrassing to watch this train wreck unfold.

“So, Finnigan, that’s new.” Draco doesn’t even acknowledge that the person in question is still by Potter’s side. Finnigan shoots Pansy an amused look at being blatantly ignored. Things are clearly not serious with Potter.

“Very. And Parkinson?”

“I’m right here you know?” Pansy interjects, unable to hold back. But it makes no difference anyway. Only Finnigan hears her.

“It’s been a while,” Draco lies. Pansy wants to smack him around the head. Sure, she is happy to help make Potter jealous but there’s no need to exaggerate.

“Really? I always thought you were just friends?”

“Yes, well, there’s a lot you don’t know about me.”’

“Like how he calls out your name every night in bed,” Pansy mutters underneath her breath. Finnigan, at least, catches and appreciates the jab if no one else does.

“Of course. Sorry Malfoy, I didn’t mean to question you. I’m just having a hard time grasping you and Parkinson together. I thought you were…you know.” Potter trails off, a hand rubbing the back of his neck.

Pansy holds back a groan. It’s like listening to children with these two.

“Gay? Like you?”

“Actually, I’m bisexual,” Potter corrects. “But yeah.”

“Finnigan doesn’t seem like your type.”

Finnigan flips a half-hearted bird at Draco. Not that he notices.

“And Parkinson doesn’t seem like yours.”

“Because I’m out of his league,” Pansy points out, flipping her own violent bird at Potter. She doesn’t know why she’s even bothering standing here anymore.

Draco takes a step forward. “So, what’s my type then, Potter?”

Potter mimics Draco’s action so that they’re almost chest to chest – Really? “What’s mine?”

“You need someone who doesn’t hero worship you, someone who will hold you accountable for all your actions, someone who isn’t afraid of your temper. You need someone who challenges you.”

Pansy shares a confused look with Finnigan – did they rehearse this or something? Draco’s not usually this smooth with his words, especially with Potter in such close proximity.

“And you need someone who understands your vulnerability but doesn’t use it against you, someone who treats you gently, someone whose affection is unwavering. You need someone who forgives you.”

They must have rehearsed this. Pansy has never heard Potter say anything remotely intelligent before. And she hasn’t known him to be particularly observant either.

“And I suppose you could never forgive me after all that I’ve done?” Draco hits back, still just as smooth. This is getting ridiculous.

“I already have,” Potter responds immediately as if reading a line from a script. From a terrible cheesy muggle romance movie that Pansy would never be caught dead watching. Yet here she is witnessing this sappy display.

“What about Finnigan?”

“I was using him to make you jealous,” Potter admits. Pansy looks to Finnigan for confirmation – he winks. “Did it work?”

Despite using the exact same trick himself, Pansy can see Draco is outraged at being manipulated. “Fuck you, Potter.”

“You wish.”

And then they’re kissing. Enthusiastically. Way too close to Pansy’s face. She can see every stray strand of saliva, hear every lubricated slide of their mouths. It’s revolting. And worse still, they’ve become the centre of the attention at the party, eyes drawn to Draco and Potter’s embrace with Pansy and Finnigan standing by awkwardly, looking like dejected fools.

Pansy could spoil it by pinching the hairs on the back of Draco’s neck in vengeance for being ignored. Luckily, she’s feeling particularly generous tonight, and she’d never admit it, but seeing Draco with Potter is sweet. In a disgusting, horrible, sappy way of course. But still, sweet. Now she just has to focus on her own happy ending. She spies Hermione Granger’s amongst the watchful eyes around them and takes her moment:

“Quick, Finnigan, kiss me.”

On Supergirl and Homophobia

I am seeing a lot of posts saying how calling out what happened at SDCC as homophobic is ‘ridiculous’. I’d like to address first the scope of what homophobia is, then move onto how the incident was driven by homophobia. 

Definitions:

When you hear the term homophobia, it conjures up images of assault or of slurs being thrown out in the open. This is often not the case. Incidences of homophobia can range from the above to smaller instances that make you question whether of not you’re being ‘hysterical’ or ‘dramatic’ for thinking you’re being discriminated against or not. Merriam-Webster defines homophobia as: irrational fear of, aversion to, or discrimination against homosexuality or homosexuals. 

Keep reading

2

So, guys, let me pull up this scene again and ramble a bit about why and how I think Peter’s immediate reaction of shooting is so amazing, and why I brought Yondu into this mess in the first place.

Peter’s reaction differs a lot from what an average person (from Earth) would do in such a moment.

First of all, he was deep into the vision of Eternity that Ego showed him. As I mentioned in an earlier post, the concept of eternity in itself is not something the human mind is really able to comprehend, it goes way beyond our imagination and understanding. While it’s already a miracle that Peter did not lose his mind under that barrage or fall into an euphoria, it’s even more amazing that he snaps out of it in the blink of an eye after Ego’s words and immediately is that much back to his senses that he is able to grab his blasters and start shooting with the clear intent of killing his opposite.

Then, there is the fact that Peter just got the knowledge that his biological father, which he had just found, was the one who doomed his mother to a slow and painful death, and afterwards talks so calmly about it as if he is talking about the weather.

That’s a shock in itself and hard to process. An average person’s reaction would be to start processing it, unable or not willing to accept this fact. Many would go numb or feel like the world has just slowed down as they struggle to piece the new and old information together to get the full picture. Only after that process would there be anger, because beforehand, they would still try to understand.

Peter, however, says “What?” and then immediately goes into autopilot and starts shooting.

That’s a reaction I would expect from a trained pro, a pro who is able to skip that initial reaction of shock and numbness and immediately go back into fighting-mode – a pro like, an agent, or a soldier…

… or a former battle slave.

What I’m trying to point out here is that this is not only Peter’s love for his mother that is steering his actions here, but also Yondu’s training. Angry and hurt, Peter is able to kickstart what he learned, what he was taught, acts on reflex and goes straight to fighting and killing the jackass in front of him, whereas an average person would have frozen and done nothing, or just started yelling in anger and shock.

If it hadn’t been for the training itself, Peter wouldn’t have been able to go straight back to fighting. And if it weren’t for the love for his mother and the resulting anger, Peter would probably still have been frozen - because we have seen him react slow and hesitant before, like when the Collector’s lab exploded in the first movie. Gamora had to pull him away then because Peter just stood frozen in shock.

This scene shows absolutely beautifully the different parts of Peter’s upbringing and his personality – on one hand, big, kind heart full of love, on the other hand, the reflexes of a fighter that were honed over years.

Both things are what Peter needs to survive in this galaxy, and what make him special.

So big shoutout to Meredith for being such an awesome Mum that even 26 years after her death, Peter still loves her from the bottom of his heart, only thinks the best of her and is freaking ready to kill for her because losing her was probably the most terrible thing one could have done to him.

And big shoutout to Yondu for, while not being the best and most loving father figure, doing his goddamn best to raise Peter in a way that would make sure the boy could survive out there. Yondu didn’t know how to give fatherly, familial love, so he just did what he knew best and taught Peter how to defend himself, and that really saves Peter’s ass here.

(Lots of thanks to @powerovernothing​, since they ramble with me about this kind of tiny things that I can scream about for hours – your inputs are so amazing as always, at least three-fourth of this post are basically yours.)

Thoughts on The Emoji Movie

           It came as no surprise to me, or anyone else, that The Emoji Movie was a disastrous train-wreck of a movie with no redeeming qualities whatsoever. From the moment it was announced, The Emoji Movie was a joke, little more than a punchline of what corporate Hollywood would make just to pander to a younger audience. Yet, by creating the shoddy garbage pile of a “film” (I use this term sparingly) that is The Emoji Movie, Hollywood has done something incredible—they have killed art.

PART ONE

           The “plot” of The Emoji Movie is one that has been presented countless times before: a misfit must leave home to change himself but learns along his adventure that his true value lies in his uniqueness. In this iteration of the “finding yourself” story the hero is Gene, a socially-outcast “meh” emoji who is terrible at what he does—he has all sorts of “non-meh” feelings that he simply can’t contain. On his first day of work, he is called upon from his emoji station to be used, but he freaks out at the last minute and causes a glitch in the sending of the emoji, leading to Alex (the phone’s user) embarrassing himself in front of the girl he likes. Because of this, the smiling emoji, Smiler, who is the “big status quo boss lady” decides to kill him. Gene, however, runs away from the antivirus software and hides in the “loser emoji” section of Textopolis (the city where all the emojis live together). There he meets Hi-5, who was once a famous and well-liked emoji who got to stay in the “favorites” section of Alex’s phone, but hasn’t been used in weeks and now seeks to regain his lost fame.

           In order to reprogram Gene’s malfunction and get Hi-5 back into the favorites section, the pair leave Textopolis and go to a piracy app that Alex, a fifteen-year-old boy, has on his phone for some reason. Gene’s parents then leave after him to try and find him and Smiler sends her antivirus robot soldiers outside Textopolis to apprehend Gene. Meanwhile, in a story beat stolen straight from Wreck-It Ralph and The Lego Movie, they meet Jailbreak, a hacker emoji who serves as the purple-haired punk love interest for the movie. Jailbreak refuses to help them at first, but when she sees Gene’s ability to express multiple faces, she agrees to work together to get to “the source code” in “the cloud.” Then, the antivirus robots appear in the piracy app, (despite the fact that they were given orders to follow Gene’s parents, who are nowhere in sight) and the hero trio escape through a tunnel to Candy Crush where Gene gets trapped and they have to play the game to help him escape. This scene has absolutely no bearing on the rest of the film and is only an overblown advertisement for a phone app, which one will likely notice as a reoccurring theme in this movie.

           After escaping Candy Crush, they take a tunnel to Dance Now (available now in the app store) and they have to play the game because Hi-5 pushed a button for some reason. Here they reveal that Jailbreak can’t dance, and the dramatic stakes are heightened, except they aren’t because Gene teaches her how and then they do the “Emoji Bop” together in what I assume is supposed to be a display of self-love. But oh no! The antivirus robots show up again somehow, so our trio has to escape fast, or risk being deleted. Then, because his phone is playing Dance Now music during class, Alex deletes the app, and Hi-5 fails to escape, sending him to “the trash.”

           Naturally, because of the friendship that the three characters have cultivated together after knowing each other for two hours, Jailbreak and Gene decide to use Spotify to travel to the trash and rescue their companion. Meanwhile, Gene’s “meh” parents have had a falling out because each one blames the other for their son malfunctioning. It’s ok though, because they meet in an Instagram photo and Gene’s dad reveals that he malfunctions too, so naturally they make it all up it each other Alex also decides to delete his entire phone because it sent the wrong emoji one time and made noises on its own. Gene and Jailbreak then save Hi-5 from the trash and they’re chased by a bigger, badder antivirus that follows them until they get to Dropbox, where it can’t get them for some reason.

           They then have to upload themselves to the cloud, and each character uses their own talents to get past the firewall. At this point the movie realizes it makes no sense and in a series of nonsensical rapid-fire events proceed as follows: Gene professes his love to Jailbreak, who it turns out is actually a princess emoji, Jailbreak denies him because of a throwaway line earlier in the movie about her being an empowered woman, the antivirus appears somehow and takes Gene back to Textopolis so he can die in front of the other emojis, Jailbreak and Hi-5 fly back on the Twitter bird to rescue him, Alex begins to delete his phone but chooses not to when Gene sends himself to Addie and she responds with “that was a cool emoji” (verbatim), Smiler is crushed by a giant robot, the emojis have a dance party, and everyone lives happily ever after.

           Watching the shoddy piece of work The Emoji Movie calls a story, I felt my head spinning with questions—not just regarding the plot holes and contrivances, but to the world itself. How do emojis reproduce? If emojis age in years, as is stated in the movie, how could any emoji be older than the amount of time Alex has had his phone? What if an emoji isn’t at the station when it is called upon? How does time flow in the phone as opposed to outside of it? Are all the emojis that marry the same emojis incestuous? Why do some emojis have names like “Gene” while others are simply called by their appearances, like Hi-5? Why is the Christmas tree shown in public in the first scene but then shown in the loser lounge two scenes later? How do the emojis know the history of their app? Why do actions in some apps affect Alex’s phone while actions in other apps do not? How to the antiviruses find Gene and his crew over and over again? Why didn’t Smiler send any antiviruses after Jailbreak when she first left Textopolis? Why does Alex try to delete his phone after sending one incorrect emoji and having it make noise in class twice? How does the illegal antivirus get into Dropbox? How did Smiler get the illegal antivirus? Why did Smiler feel the need to kill Gene in front of the other emoji? Why did Smiler feel a need to kill Gene in the first place? Why does the girl on the Dance Now app ignore jailbreak messing up after the second time? How do all the emojis come back from deletion? If the trash is emptied out daily why is an email from weeks ago still in there? And, most importantly, why did I choose to watch this movie. The Emoji Movie does not answer these question, because it doesn’t care.

           The Emoji Movie doesn’t care about its story, its congruity, or the specifics of its world, because none of it matters. The story beats, directly stolen from other, better, movies, are still in place, and none of the specifics beyond set up for this formulaic and unoriginal wholesale feel-good message have any relevance to the story. The pink-haired rogue stolen straight from The Lego Movie has no personality beyond what the plot demands, and the same can be said for almost any of the other characters. Gene, or, discount Wreck-It Ralph, has the defining personality trait of “feeling things” and his story arc leads to him “feeling more things” and Hi-5’s slightly more defined emotional journey leads from him wanting fame to wanting friends. All the other characters in the story are even less one-dimensional, somehow, with personality traits that are all literally written into their very names and appearances.

           But ultimately, these characters are simply set pieces. There is no investment in the world of the emojis, no feeling when the entire phone is deleted. Half the scenes in the movie are just cash cow product placement filler, and it becomes clear when one realizes halfway through the movie that none of the adventures they have seem to matter, even within the context of their own story. When the characters themselves seem to realize that their journey is pointless, it becomes impossible for an audience to care about or interact meaningfully with the film that they’re viewing, and the best that any viewer can conjure is a “meh.”

PART TWO

           The story of The Emoji Movie is a clear cash grab, and rivetingly unengaging in its poor execution, but more lies beneath the surface. The morals that The Emoji Movie tries to impart to its audience are well-intentioned (as any moral is), but also inherently flawed, and violently mangled in every scene where they are introduced. Indeed, the heaping dumpster fire of a film that titles itself The Emoji Movie exists on multiple levels of terribleness, not using poor storytelling techniques, but imparting poor morals through these techniques as well. It often contradicts itself, falling flat on its face and hopelessly bumbling between individualistic self-love and a quite utilitarian doctrine—almost impressive.

           The Emoji Movie has all the markings of a summer Hollywood “live your true self” movie at its beginning. The main character has a specific, boring role that he is expected to serve unquestioningly, and is made a pariah for breaking from this role. His sidekick also rebels against the system in his own right, trying to cheat his way back into a position of power. By focusing on these two, the story accentuates the flaws with the emoji system and how it emotionally damages those who are forced to suffer under it. Even the villain, Smiler, is affected in her own right—he constant need to maintain happiness seems to have driven her to a place of near insanity. In the opening monologue (a completely different problem), Gene points this out this flaw to the audience by noting how the laughing and crying emojis can never break their character and the viewers begin to see the thriving city of Textopolis as a flawed dystopia. However, after the first scene, little attention is given to these flaws, instead focusing on Smiler herself as a villain. The plight of the “loser emojis” (emojis that don’t ever get used) is also fantastically mishandled. They are only seen twice in the movie and the second time is in a post credit scene where they remain in their basement, unaffected by the event of the entire movie. After sitting through an entire movie with the message that we should be ourselves instead of acting how society tells us to, we see that by nature, some people will (or must) always be excluded from the metaphorical “emoji dance party” for being themselves. The “self” that The Emoji Movie pushes is not just a best self, but also a “most useful” self.

           This is expanded upon in Gene’s journey, where he goes from being a hyperactive “meh” emoji to (briefly) being a good “meh” emoji to finally learning to use his true power as a multi-faceted expression emoji. In the stages before he discovered his true potential, Gene was outcast by his peers—and any viewer could argue that this was rightfully so. Gene broke the emoji picking device and injured dozens of emojis in the process of his one mistake and possibly endangered the safety of the entire phone. Gene then realizes his mistake and goes off to “fix” himself, only to come back stronger and more useful than ever. As is the case in many stories, Gene is accepted only after his usefulness becomes apparent, and the villain is revealed as a bloodthirsty authoritarian rather than the level-headed leader the denizens of Textopolis cited her as being. All is forgiven for Gene and the emojis are given a world where they can serve their own purpose to society, whatever that purpose might be.

           Utilitarian theory is nothing new, and it has both its merits and its flaws, but the type of utilitarianism presented in The Emoji Movie is inherently flawed, as it places Gene’s happiness above the well-being of the collective for the majority of the movie. The ending in itself is also serves as a perfect propaganda point for the utilitarian theory that it begins to uphold later on. Gene obtains happiness when he is most useful to the group collective—and thus, happiness becomes associated with utility to the group. Instead of positing that happiness can be found through the self, or that the self can and should be used to help others, The Emoji Movie combines the two, raising the idea that true bliss can only be achieved when your “self” is given to others.

           Ultimately, this idea is an idea that I disagree with. Whether or not you choose to side with me is up to you, but, speaking objectively, the romanticizing of self-sacrifice is an idea that has tangible harm on audiences who are fed it without question. Modern Japan, for instance, continued to have problems with high suicide rates due to the presentation of hara-kiri, or suicide by sword as “altruistic” in many historical texts (Suicide in 20th Century Japan, 150). This is not to say that using one’s self to assist others is harmful—good deeds are the basis of a functioning society—it is simply to note that the mixed messages that The Emoji Movie gives point towards both complete discovery and complete subjugation of the self in an unhealthy and shoddy portrayal of a moral that has always been cliched at best.

           The Emoji Movie also makes the mistake of attempting to tackle “women’s issues,” despite not even passing the Bechdel Test. Throughout the movie, Jailbreak’s primary motivator is that she wants to be free to express herself however she wants, which she will obtain by reaching the cloud. The movie attempts to attach this to womanhood by attaching this to Jailbreak wanting to escape the oppressive strictures of heteropatriarchal femininity—except, in the finale, she is framed as being in the wrong for not reciprocating Gene’s feelings for her. Not just this, but the day is saved by her using her femininity and consenting to be with Gene, despite her feelings on the matter never being brought up for discussion. Despite the single throwaway line about “men getting credit for women’s work” The Emoji Movie is not pro-woman, and could easily be interpreted as the opposite of that. It defines traditional femininity as being the most useful aspect of a woman to a society and inherently ties all its female characters to something within that stricture, pushing its heteropatriarchal utilitarianist propaganda points deep into the dirt as it tries the make the point that “sensitive guys are cool too.” This is not to say that women who embrace their traditional femininity are by any means being women incorrectly—The Emoji Movie just happens to portray its women poorly, using them always as tools for the man-driven plot and never fleshing them out as characters.

           Tony Leondis offered his own interpretation of The Emoji Movie’s story, calling it a “coming-out story” which is significant, as Leondis is both the director of the movie and a gay man. If one looks from a distance and squints, the similarities between The Emoji Movie and a coming-out story can become visible. Gene is outcast for his “malfunction” as many gay teens will be. The butchering that follows this plot point is incredibly poorly done, and leads to something to utterly offensive and heterosexual to be called a “coming-out story.” First and foremost, a “coming-out story” needs to reach the very low bar of deviating from traditional heterosexuality in its story’s romantic subplots, somehow. This seems to go without saying, but the team of The Emoji Movie conveniently forgot this, instead tripling down on the action and giving the audience three heterosexual romantic subplots, those being the ones between Alex and Addie, Gene and Jailbreak, and Gene’s Mother and Father. None of these deviate at all from a traditional heterosexual romantic story, and, if anything, Gene and Jailbreak’s story enforces obligatory heterosexuality instead of contradicting it. Not only that, but the farther one goes into the plot, the less a coming out story makes sense. When Gene’s father reveals that he has the same malfunction, is he being implied to be the emoji version of “gay?” In a better movie, this could have been used as a tool to foster an emotional connection between Gene and his father, but The Emoji Movie is not that better movie, so this plot point is essentially forget after it becomes irrelevant. In the finale, Gene actually watches his parents get “erased” and can’t break out any expression except a “meh,” which is telling of how well the emoji movie establishes connections between its characters.

           The themes explored in The Emoji Movie are explore poorly at best, and offensively at worst, often taking a back seat to the far more important message of the film—the advertisements. Ultimately, the reason that The Emoji Movie does such a terrible job with its ideas is that these ideas are only borrowed plot points, there to mask the movie for what it really is—a massive commercial for phone apps. The true message of The Emoji Movie isn’t “be yourself” or even “make yourself useful” it’s “buy our product,” and everything beyond this is simply pointless fluff.

PART THREE

           It’s no secret that The Emoji Movie was a corporatist cash-grab, but it was astounding to see just how deeply that had sunk into the movie itself. The entire story is product placement after product placement, a journey to Dropbox, through Candy Crush and Dance Now,  so unabashed in its capitalism that it made me question the film industry as a whole. Where do we draw the line between business and art? At what point do we leave all hope of creativity behind and choose to instead sink into shameless cash grabs and commercials like The Emoji Movie? Then I realized, with a sinking feeling in my gut, that The Emoji Movie had indeed killed art.

           On its first day, The Emoji Movie made ten million dollars in box office sales—a fifth of what it cost to produce. Despite withering reviews and constant scorn from the demographics it seemed to be targeting, The Emoji Movie will chuckle through its entire life as a movie, because it played us all. This movie is a Frankenstein’s monster created by Hollywood, a mishmash of everything that makes money crammed into one pandering mess of a film, and I’m sure it knows this. I’m sure it knows that it looks like a dumb, out of touch, unwatchable pile of garbage, but I’m also sure that it doesn’t care about this, because it’s found a way to make money without even trying.

           The Emoji Movie probably paid for itself in the sheer amount of advertisements it crammed into its ninety minute runtime, and the young, impressionable minds watching it will all be immediately entranced by the colorful scenery of lands like Spotify and Candy Crush. Sales will go up for the sponsors, and the Hollywood capitalist fat-cats who decided that a movie should be made out of emojis will laugh all the way to their enormous Beverly Hills mansions. They knew that they could take advantage of the “car crash phenomenon” that makes people stare at things they shouldn’t, so they sent The Emoji Movie out to their theatres and made a quick buck for Sony Animation.

           But beyond this, The Emoji Movie sets a precedent. It showed that idiots like me can be drawn to this shit like moths to a light. It showed that movies do not need to have good quality, or have be art, to be marketable, and that the film industry should prioritize business and profits above all else. The Emoji Movie has proved, statistically, that quality cinema should always come second to quality advertising. The time to organize against the Hollywood capitalist is now. A boycott of terrible Sony films is the least the we can do to stop them, even though such an action would be little more than a thorn in their hide. We Must accept that our idiocy and submission to this trash is at least partially responsible for the state of film as it is in America today, and we must break free of the chains that force us into our roles as submissive cash cows.

           Good cinema does good things for those that watch it. It can be used as a tool to convey important and revolutionary ideas, or to relay important information to those that are systemically spat on by traditional education. Historically great films have caused great controversy, such as the movie adaptation of To Kill a Mockingbird which caused riots in the south upon its release. When we let film fall to business we lose a part of our cultural identity—we submit art, heritage, and storytelling as just another part of a capitalist machine.

           We have the buying power. We choose where we spend our money, and where we place our values. No longer can I sit idly in my movie seat and watch terrible movies for fun—the time for action against the greatest threat to art in the western world is now. Resist capitalism, resist the state, and resist the attack upon the most basic human freedom of expression.

Do not go gentle into that good night.

Until next time, Comrades.

-Sunshine

  • <p> <b>What she says:</b> I'm fine.<p/><b>What she means:</b> I'm so confused why Brendon and Ryan couldn't just literally come out and say Ryden was real. I mean, now, Ryan really misses Brendon and acts like he's his ex that he still loves, and Brendon's dodging his name like old timers in fandom drama. I also don't understand how Brendon could pretend he wasn't writing a hundred songs about Ryan and not make it obvious. Come on, I mean, "How I missed yesterday, how I let it fade away", "Being blue is better than being over it", "There's no sunshine, there's no you and me". Brendon and Ryan were so perfect for each other. And how come he only recently came out as sexually fluid? What happened in capetown so many years ago? Why does Brendon pretend like nothing ever happened, when he has totally kissed him, worn his shirts, his ties, his guitar strap the post-split performance, held up a sign that says "Ryden Exists" in big capital letters. There are pictures proving it! Also why Ryan flew to New York to Seattle just to see him so they could celebrate Ryan's birthday, without telling his girlfriend or anyone else. Ryan said "He's my boy. Always will be." In a tweet and never let him completely go. Does Brendon still love Ryan? Will they ever confront each other again? What did Ryan do? Why did they try to cover up the fact that She Had The World, When The Day Met The Night, and Northern Downpour were about their love? Were they scared what their fans would do? Why is Brendon so avoiding of Ryan's name? What could he have possibly done for it to be so terrible even talk about him for that long? Why can't we know what happened in capetown? Ryan told Brendon so much and almost loved him, while Brendon was obviously head over heels for him? Why are we left in the dark, aimlessly wandering, searching for an answer in this dark continuum that we may never find? Did something that wasn't consented both ways happen romantically? I know Ryden was real. I just know it. There's too much proof to not realize it. If you showed someone who had no idea what Ryden was or who they were a picture of them, they would immediately assume they were dating. Also, their Twitters. Ryan and Brendon were very close on Twitter, and they couldn't have done a better job of acting as gay as possible. Brallon, also. Do people think that this is some kind of replacement? I feel like Brendon just wanted to be all cute with Dallon to try and replace what he had with Ryan. This may or may not be true, but it's what I think. I can tell Brendon still misses Ryan and loves him deep down in his heart, and Ryan has the exact same feelings. I feel that I will always wonder as I lay in my bed late at night... "What happened in capetown... And why?"<p/></p>
A Kryptonian and an Amazonian: Kara and Diana (and the wonders of ice cream)

based on this post from @dealanexmachina and @randomthingsthatilike123 – https://avidreaderffn.tumblr.com/post/161453797376/i-need-diana-kara-fic-stat


Alex grins over from across the diner at her little sister and her new friend, leaning conspiratorially into each other in a booth at Noonan’s. 

Both in glasses – one to conceal her identity, one because why the hell not? – both moaning as they dig into the massive ice cream sundae on the table between them.

“I only had to cross an ocean to encounter this delicious cream,” Diana is telling her. “You had to cross – what did you call it?”

“The Phantom Zone,” Kara nods, closing her eyes as she leaves the spoon upside down in her mouth a little longer than necessary, oblivious to the way Diana stops eating to stare wide-eyed at Kara’s lips.

“Was it lonely? That Phantom Zone?”

Kara shrugs as she opens her eyes, and Diana wonders at the kind of blue.

“I don’t remember it. Being stuck there. Except sometimes in dreams. Alex would wake me up screaming when we were kids. My planet would be burning and I’d be stuck in what felt like an abyss, in my pod, and I couldn’t…”

Diana reaches a hand out for Kara’s, and their eyes lock hard.

“It must have been beautiful. Krypton.”

Kara’s smile returns even as tears prick her eyes. “My father used to take me to the edges of Argo City to watch our sun rise – it was red, not yellow like this one – and so much of our cities were just… awash in silver, in our technology, and it could have been sterile, I guess.”

She adjusts her glasses and swipes her spoon through a river of chocolate fudge and licks it off slow, thoughtful. Accidentally seductive, even as Diana’s heart bleeds along with her words.

“But it wasn’t. The way the rising sun would reflect off of all that metal… it was anything but cold. It was… Anyway. It’s gone, now.”

Diana shakes her head slowly. “Not in your heart, Kara Zor-el. Nothing can ever truly be gone. Not if you keep it alive inside you.”

Kara sighs and creates the ultimate sundae spoonful: wet walnuts, fudge,ice cream, a piece of banana, sprinkles, whipped cream. She offers it out to Diana, who accepts, and her eyes fly wide as she moans so loudly, so joyously, that Alex – now joined by her girlfriend – isn’t the only one in Noonan’s turning to stare. Kara giggles.

“The first time I tried it, I got so excited I started flying without even trying to. Alex tried to hold me down but wound up just coming along for the ride.”

Diana laughs, and it’s light and it’s happy and it’s so damn full. 

“Your sister’s a brave warrior, it seems. Angry. Frightening, perhaps. But loyal. And that police woman seems to make her smile more easily.”

Kara nods and they both glance over at Alex and Maggie, who catch their eyes and wave. 

“She’s the only reason I ever felt at home on this planet. Alex. I don’t know what I’d do without her.”

Diana thinks of Steve, of gas and of planes. She thinks of her aunt, of generals and of last breaths.

Kara doesn’t have J’onn’s telepathy, but she knows anyway. She knows that look.

She sees it in the mirror far too often.

Nearly every time she looks.

“My aunt died, too. Was killed. She survived – she survived, I got her back, a piece of my home, and then she – “ Kara shudders, and tries not to think of Alex. 

Alex, protecting her space father.

Alex, loyal to a fault.

Alex, her sister, her world, who somehow became a hardened soldier without her noticing.

“She died. In battle. A renowned General.” Kara smiles softly, and it’s Diana, this time, who tries her hand at creating the perfect spoonful of sundae and offers it to Kara.

“I thought the world would never be able to go on when I lost my general. My mother’s sister. It felt like… you know what it felt like, Kara Zor-el.”

Kara nods, and remembers holding Astra, dying. Remembers holding Alex, weeping. Remembers holding her hand out for J’onn, breathing, breathing. Breathing.

“I have a projection of my mother. Maybe we could try to make one of your aunt. At the DEO. It… it’s not the same, and sometimes… sometimes I don’t know if she left me with the burden of caring for Earth or the burden of righting the wrongs I didn’t even know she’d done, but it… it’s comforting, anyway. Being able to see her. Talk to her. Even if it’s not really her.”

Diana’s eyes sparkle at this girl’s generosity. The way this woman bears the weight of multiple planets on shoulders that somehow still manage to look carefree. 

This warrior who doesn’t at all think herself a warrior.

But perhaps that’s what makes her such a powerful one.

“How have you done it, Kara? Seen all you’ve seen, and still… Ares told me that this world doesn’t deserve me, that I should rule it, enslave it, rather than… they kill and they torture and they… how have you done it?”

Kara pokes at their slowly disappearing, slowly melting sundae with her spoon.

“Ice cream helps,” she smiles softly, and Diana looks at her like she’s the sun. Because maybe she is.

“Love,” she amends more seriously. “If I let go of it, I… Alex does terrible things. The person I love most in the world. She hurts people, and she thinks… she thinks it’s alright, because it’s always in defense of someone she loves. She doesn’t think about the people who love the person she’s beating. Or, she does, but… after. Maggie’s helping her with it. J’onn too. And I’m trying. Sometimes I feel like it’s my fault, like I turned her into someone this ruthless, but I… I guess what I’m saying is… I love her. I love her more than my own life. All of her. And she helps me understand. Humans. This planet. The things people do out of fear. Out of love. Out of terror of losing love. The people you’ve found, Diana. They have to be your anchor. Otherwise it… otherwise it consumes you. The things Ares said to you. And you can’t let it. You’re too good.”

“As are you, Kara. As are you.”

Kara licks her lips and lets her eyes lock hard into Diana’s. 

“You know what also helps?”

Diana shakes her head, her eyes starting to sparkle, her lips starting to quirk up into an excited smile.

“Pool,” Kara grins.

“We have pools on Themyscira! Mystical pools, with water that – what?” she trails off, smiling in slight confusion, because Kara is laughing and touching her hand and god, she can feel the undercurrent of Kara’s power even in her gentle, affectionate gesture, and it makes her gulp.

“No, I mean a game. Come on. Alex and Maggie will show you.”

Kara is up and offering her hand, and Diana is taking it but her eyes are wide and her lips are playful.

“Can we get more ice cream there?” she asks, and Kara beams.

“Great thing about this city? We can get ice cream almost anywhere.”


You asked for it, @cassiebones @avidreaderffn @mrriggerworld @tiffanytheweirdo @misadventurous-meridian @supertworld 

What Went Wrong?

I had an immense amount of hope for season 4 of Skam. And even though from the beginning, I didn’t like some stuff or was suspicious of some plotlines, I decided to trust the people who had previously made three amazing seasons of Skam to make sense of everything and to give us a beautiful and meaningful season for Sana as well.

Now that Sana’s season is basically over, however, I am more resigned to bitterness and accepting the fact that they simply couldn’t deliver. I don’t blame Julie. Not really. I did for a while, but now I just…feel nothing. The rage has worn off and what’s left is this deep sadness that comes from knowing something good has gone bad.

I’m being dramatic though! At the end of the day, it’s just a show and it doesn’t really matter. But for a second there, I thought I was watching something monumental occur; like when I watched season 3. To get a show from the perspective of a poc muslim girl in a European country seemed both risqué and innovative. But the problem with such a never-seen-before/never-explored-before concept is that, you won’t know just how wrong it can go.

For example, they could easily figure out what not to do in season three, by simply watching all the wrong moves other shows had made through the years. While Sana’s season needed delicate and thorough research to first: capture the essence of the culture and background she came from and then secondly: to use it in the fabric of the show in a natural and organic way. They also needed to have space to deal with the daily problems of muslim girls in modern Norway’s society and on top of that all, they had to make no mistakes and create interesting drama through it all.

Looking at it like that, I feel bad for Julie and the pressure she must have been under. I think considering how bad things could have gone…. they went moderately bad. And yet, ironically we can claim it’s the best of its kind because no one else has done anything remotely close to it before, either.

However, I’m not resigned to just accept this as an excuse and forget just how badly things went. Because this looks like a terrible accident to me, and no matter what I do, I find myself thinking things like “if only this part had been different”, “if only they hadn’t done that.”, if, if, if. So I’m gonna rewatch all nine episodes of Sana’s season and attempt to write a piece explaining just what I thought went wrong.

1.The pacing: Perhaps one of the most obvious things that went wrong with this season and that everyone noticed, was the pacing. This piece will be full of bitter nostalgia so let the first one be a callback to the amazing trailer. I will never forget the day we got season four’s trailer after four months of waiting. Everything about it seemed just perfect. Every detail seemed like a symbol, a throwback, a small wink to the viewer: “look! We put that there for you to find!”. And the ultimate message seemed to be that “it’s about to go down” and it will go down in a very complex way, too! A chain reaction! Millions of meta pieces were written. A thousand different takes on the chain of reaction and what each dilemma could be was written. So when the season started, we were all waiting for something to happen. We waited….and waited… and waited… and waited…. We waited for weeks! But what happened was that a tension, thick as butter, just kept on building for five weeks. And then BOOM! All hell broke loose! And yet…and yet nothing had happened yet. We actually had to wait two more weeks for something to really happen and suddenly by the eighth week, everything was resolved again! In short, the plot was one giant anticlimax! The conflict that kept on building to seem like an unavoidable fall out, a tsunami of dramatic interactions, ended up being resolved off screen. The real problem seemed to be the pacing. If the show had built the conflict in three episodes, presented us with the supposed dilemma in episode 3, tried to fix that in episode 4 and had the deeper, real conflict happen in episode 5, then had the after math in episode 6, and started to fix it in episode 7, have the characters figure it out in episode 8 and the resolve it in episode nine, then it would have made sense! Writing it down like that, it almost feels like that’s what happened! But clearly something prevented the cycle from feeling like a natural arc. Which brings us to the second problem:

2.Crowded narrative: So what was Sana’s season about? The imbalance of her Muslim/Norwegian identity? Being a muslim in an atheist country? Falling for a non-muslim boy? Falling out of touch with friends? Jealousy? Anger issues? Making up with family? Getting a Russ buss? What was this season about?

Ignoring the subplots (because there was so many of those I shiver just thinking about them!), there was three main plots for Sana in this season:

1.Finding a balance between her Norwegian identity and the people in that part of her life with the muslim/Moroccan side of her identity and the people in that part of her life.

2.the problem of being a muslim girl falling for a non-muslim boy and trying to keep true to her faith while still trying to not the love go to waste.

3.Finally making the last move in her friendship with girl squad and really being honest with them about her feelings and problems.  

However soon these problems morphed into different things entirely:

1.Getting a bus and proving to everyone that she can be a part of this Norwegian tradition like any other Norwegian girl.

2. Trying to let go of the boy who was both unsuitable for her and who her best friend had feelings for.

3.Dealing with the collision of her Moroccan and Norwegian on terms that were not her own.

Each of these plots kept on getting more complicated and more tangled to a point that they were not exactly resolvable. They were instead just forced into a state of equilibrium. Which was anti climactic to say the least!

*sigh* now let’s face the subplots! There were so many subplots! And at one point, it felt like these plots will wrap up in that infamous trailer “chain reaction”. But with the season already over, it’s become abundantly clear that that was never the case!

The subplots as seen from the very first clip on are:

1. Vilde and Magnus’s relationship (initially taken as a way to introduce lesbian Vilde but ending up being about trust and cheating. Resolved in episode eight’s sixth clip)

2.Noorhelm (the most unnecessary unearthing of a clearly failed relationship that somehow got revived again…*whispers*why?! Resolved in Episode nine’s third clip)

3.Balloon squad (Sana’s brother’s group of friends and the most adorable addition to Skam this season. I’m not sure what their conflict was supposed to be but last time we saw them they were pretty happy and content so I guess resolved in the last hei briskeby video) (actually they were there to destroy stigma surrounding poc/muslim boys and trying to create empathy towards them)

4.Getting a bus (resolved in the fifth clip of episode 8)

5.Hvem er Mikael?!(Still a mystery tbh but generally accepted to be the last guy Even tried to kiss…unsuccessfully I might add. Resolved in the last clip of episode 4?!then again in last clip of episode 5 and again in the last clip of episode 7…)

6.Sana and her mother (not really a conflict point but still she started from hiding things from her to telling her stuff. Resolved in the fourth clip of episode 9)

7.Even’s past (I honestly don’t know why this had to be mentioned but whatever. Resolved in the sixth clip of episode 8)

8.Yousana (resolved with an open ending in the fifth clip of episode nine aka Sana’s last clip)

9.Elias (Sana’s brother has issues! He’s drinking, he’s fighting with his mom, he’s rebelling and maybe even questioning his faith. This wasn’t resolved! This was just mentioned and to this day I’m haunted. What is happening with Elias?)

10.PM girls (The true let down of this season. There was no need to make 50% of the 99 girls evil, but nothing we can do about that. Resolved in the fifth clip of episode 8)

11.Vilde (Vilde was acting super weird all season long! From Islamophobic behavior to spreading stuff about Sana behind her back and such. Vilde deserved better because we never saw her acknowledge her wrong behavior but somehow this was already resolved by the end of the fifth clip of episode 8)

12.The syng fight (supposedly a climax for the other plots and subplots but it’s an even bigger mystery than all the plots combined. I don’t know anything about it! Nothing made sense but apparently already resolved by the sixth clip of episode 8)

13.Jamilla and Sana’s friendship (resolved in the fifth clip of episode 7)

14.Hacking and cyber-bulling (resolved by the fifth clip of episode 8)

15.Sana finishing her prayer (resolved in the last clip of episode 9)

I…I just think there was too much happening! 

All this aside, this season had one giant problem. Like a zit on the nose. Big, red, angry and full of gross pus. And that is the third problem…

3.Noora: To think I started watching the show for Noora! Oh Noora, Noora, Noora! I am so sick of Noora! The woman, the mirror, the foil, the ever-present heroin of Skam! It was so easy for Eva and Isak to fade into the backgrounds of the seasons that were not theirs but for some unfathomable reason, this is just not going to work out for Noora!

While Noora’s mirror presence in season 3 was dignified and reasonable, the ever-changing mirror/foil/symbol/metaphor/object of hate or jealousy-take your pick-  presence that she had this season was stifling! Present in almost all clips or at least the long clips, with a very tangible presence and a very lingering subplot, Noora mirror-foilingly(!) stole the show from Sana. Here’s how she did that.

In the very first clip of season 4, it’s mentioned that Noora is still not over William while he has apparently moved on to dating a new person. This sets the main plot into action, by girl squad trying to find someone for her to move on with. Which leads to a cute tête-à-tête between her and Yousef. But this is quickly side-tracked by Sana wittingly telling Noora to avoid muslim boys.

So basically, Noora and her boy trouble were the spark that started the season. This later affected other plots such as the Vilde+Magnus one, the Even backstory, Yousana and balloon squad.

Soon after this, we get a long clip in which Noora explained-with a painstakingly slow pace- why she really left William in London. An explanation that nobody needed and that just created the opportunity to restart an old storyline despite it being over for months. Long story short, from trying to help Noora move on to Noora kissing Yousef, from Sana being jealous of Noora to hacking and a lot of tears, basically this whole season was a chain of Sana’s reactions to Noora’s actions. The only plot that was there from the very first clip to the second to last one. The only story that evolved and developed, right beneath our noses while we were busy wondering about more important things like: “whether Sana will ever talk to her friends or not?” (she won’t) or “what the syng fight was about?” (nothing important!) or “what really happened in Bakka?” (What’s Bakka?!) or “Is Vilde lesbian?” (no!) or “will Yousana make it?” (eh…). And while we were busying ourselves with these silly small plots around the season, Noora and her epic romantic adventures were developing steadfastly towards a big climax that was delivered in the last clip of episode 8. A clip that was formerly reserved for a very important and dramatic plot twist in the main’s life.

So while all those never-explored-before plots were all just dismissed, the same old story of Noora got to be the main plot of the season. And that’s fine! But when they said we were getting a Sana season, it just led us to believe Sana would be a bigger part of her own main plotline.

I always thought Sana was the ultimate main for Skam, because in the past three seasons, she was the single character that held a real sway over the plot. She delivered important speeches and pushed the plot in a whole new direction with each of these talks. I thought she was ultimately the character we were meant to get to know. But I was wrong. Because Skam was always about Noora.

4.Bad research: While we all know that the authenticity and uniqueness that is provided in Skam’s plots is curtsey of the interviews they did with actual teenagers and the inspirations they took from their real life experiences; it is undeniable that the main reason season three became such a success was because they sought out the counsel of a professional. While we don’t know if they didn’t really do this for this season, it at least feels like they went in blind to write it. We know they spoke with muslim teenagers, but perhaps it would have been better to try to familiarize themselves with Sana’s situation on a sociological and psychological level as well. Maybe have a religion expert on the show? Or a sociologist who had studied the social disorders that second generation immigrants have to deal with? Someone who could guide them into writing a story that was perhaps a bit more respectful to these children’s experiences rather than a dramatic roller coaster of unexplainable events that led to nothing but drama.

5.Scattered storytelling: The most respectful way to put this is to say that (as mentioned before) since there were too many subplots happening in the season, none of these stories got to be told in a linear way. The stories got told in snippets, set too far apart that plots got lost or complicated simply because they had to wait in line for weeks, to take up where they left off last time we heard about them!

Take Yousana for instance, one week we see them talk, then for a whole week we hear nothing then we see Yousef kiss Noora. Then again we get a clip about Sana moving on but two weeks later, she talks about him again and decides to give it a chance.

For another, Sana’s faith. While initially it seemed as though we might see her practice her faith in some way, to actually normalize Islam, that plot was forgotten half way through the season and only got mentioned again in the very last clip.

Consistency was not the strong suit of this season for sure. Perhaps because this was the last season. Maybe they just ran out of a good way to see things through or to connect the things they wanted to connect.

But no matter how you will try to tell yourself that there was a good reason for the things that happened this season, you can’t deny how unfair this season was to Sana.

Before the season started, there were so many people talking about how a Sana-centered season was “needed” at times like these. But political climate and social anomalies aside, this season not only didn’t help any of those noble causes it was supposed to serve, but also pushed its narrator aside in favor of a more sought after story that only had dramatic value.