where is the affection

refrigeratorbucky  asked:

sorry if im bothering u but i was wondering if u know any fics that are from derek's pov where he's kinda unaware of stiles' affection and feelings for him bc he doesn't think he deserves that and is super insecure - or anything where stiles is really soft and gentle with him and derek is like confused <33

I honestly haven’t been reading enough fic lately and I can’t think of anything like this, but I’m going to post this and ask for suggestions from my followers because this is a trope I would read the hell out of too.

5 Things that Keep us Stuck in Life

1. Believing negative, unproductive and self-defeating thoughts. These include thoughts like “I could never … I’m not good enough to … I don’t deserve to … I’m useless at …”

2. Blaming others. It’s true that other people can have a huge affect on what happens to us, and where we are in life. But we give them too much power if we let them set our course, and see ourselves as victims, and act like we’ve no power.

3. Taking ourselves too seriously. It’s important to work hard and to have integrity – but we also have to laugh and enjoy ourselves as well. Also, decide to let things go, and put up with some mistakes. You’re not a perfect person and, the truth is - that’s OK!

4. Being afraid to take some risks or to live close to the edge. To have an interesting life you must leave your comfort zone and say “yes” to some new chances and opportunities. It will broaden your perspective, reduce anxiety, and provide you with new options and possibilities.

5. Being afraid of change. It doesn’t take much effort to stick with what you know. The unknown can seem daunting as we don’t know where that leads! But we grow as individuals and lead a richer life if we learn to accept changes, instead of being scared.

Lisa Lawrence’s Archetypes and Symbols List

Archetypes and Symbols

SITUATION ARCHETYPES

1. The Quest – This motif describes the search for someone or some talisman which, when found and brought back, will restore fertility to a wasted land, the desolation of which is mirrored by a leader’s illness and disability.

2. The Task – This refers to a possibly superhuman feat that must be accomplished in order to fulfill the ultimate goal.

3. The Journey – The journey sends the hero in search for some truth of information necessary to restore fertility, justice, and/or harmony to the kingdom. The journey includes the series of trials and tribulations the hero faces along the way. Usually the hero descends into a real or psychological hell and is forced to discover the blackest truths, quite often concerning his faults. Once the hero is at this lowest level, he must accept personal responsibility to return to the world of the living.

4. The Initiation – This situation refers to a moment, usually psychological, in which an individual comes into maturity. He or she gains a new awareness into the nature of circumstances and problems and understands his or her responsibility for trying to resolve the dilemma. Typically, a hero receives a calling, a message or signal that he or she must make sacrifices and become responsible for getting involved in the problem. Often a hero will deny and question the calling and ultimately, in the initiation, will accept responsibility.

5. The Ritual – Not to be confused with the initiation, the ritual refers to an organized ceremony that involves honored members of a given community and an Initiate. This situation officially brings the young man or woman into the realm of the community’s adult world.

6. The Fall – Not to be confused with the awareness in the initiation, this archetype describes a descent in action from a higher to a lower state of being, an experience which might involve defilement, moral imperfection, and/or loss of innocence. This fall is often accompanied by expulsion from a kind of paradise as penalty for disobedience and/or moral transgression.

7. Death and Rebirth – The most common of all situational archetypes, this motif grows out of the parallel between the cycle of nature and the cycle of life. It refers to those situations in which someone or something, concrete and/or metaphysical dies, yet is accompanied by some sign of birth or rebirth.

8. Nature vs. Mechanistic World – Expressed in its simplest form, this refers to situations which suggest that nature is good whereas the forces of technology are bad.

9. Battle Between Good and Evil – These situations pit obvious forces which represent good and evil against one another; typically, good ultimately triumphs over evil despite great odds.

10. The Unhealable Wound – This wound, physical or psychological, cannot be healed fully. This would also indicate a loss of innocence or purity. Often the wounds’ pain drives the sufferer to desperate measures of madness.

11. The Magic Weapon – Sometimes connected with the task, this refers to a skilled individual hero’s ability to use a piece of technology in order to combat evil, continue a journey, or to prove his or her identity as a chosen individual.

12. Father-Son Conflict – Tension often results from separation during childhood or from an external source when the individuals meet as men and where the mentor often has a higher place in the affections of the hero than the natural parent. Sometimes the conflict is resolved in atonement.

13. Innate Wisdom vs. Educated Stupidity – Some characters exhibit wisdom and understanding intuitively as opposed to those supposedly in charge.

SYMBOLIC ARCHETYPES

1. Light vs. Darkness – Light usually suggests hope, renewal, OR intellectual illumination; darkness implies the unknown, ignorance, or despair.

2. Water vs. Desert – Because water is necessary to life and growth, it commonly appears as a birth or rebirth symbol. Water is used in baptism services, which solemnizes spiritual births. Similarly, the appearance of rain in a work of literature can suggest a character’s spiritual birth.

3. Heaven vs. Hell – Humanity has traditionally associated parts of the universe not accessible to it with the dwelling places of the primordial forces that govern its world. The skies and mountaintops house its gods; the bowels of the earth contain the diabolic forces that inhabit its universe.

4. Haven vs. Wilderness – Places of safety contrast sharply against the dangerous wilderness. Heroes are often sheltered for a time to regain health and resources.

5. Supernatural Intervention – The gods intervene on the side of the hero or sometimes against him.

6. Fire vs. Ice – Fire represents knowledge, light, life, and rebirth while ice like desert represents ignorance, darkness, sterility, and death.

7. Colors

A. Black (darkness) – chaos, mystery, the unknown, before existence, death, the unconscious, evil

B. Red – blood, sacrifice; violent passion, disorder, sunrise, birth, fire, emotion, wounds, death, sentiment, mother, Mars, the note C, anger, excitement, heat, physical stimulation

C. Green – hope, growth, envy, Earth, fertility, sensation, vegetation, death, water, nature, sympathy, adaptability, growth, Jupiter and Venus, the note G, envy

D. White (light) – purity, peace, innocence, goodness, Spirit, morality, creative force, the direction East, spiritual thought

E. Orange – fire, pride, ambition, egoism, Venus, the note D

F. Blue – clear sky, the day, the sea, height, depth, heaven, religious feeling, devotion, innocence, truth, spirituality, Jupiter, the note F, physical soothing and cooling

G. Violet – water, nostalgia, memory, advanced spirituality, Neptune, the note B

H. Gold – Majesty, sun, wealth, corn (life dependency), truth

I. Silver – Moon, wealth

8. Numbers:

A. Three – the Trinity (Father, Son, Holy Ghost); Mind, Body, Spirit, Birth, Life, Death

B. Four – Mankind (four limbs), four elements, four seasons

C. Six – devil, evil

D. Seven – Divinity (3) + Mankind (4) = relationship between man and God, seven deadly sins, seven days of week, seven days to create the world, seven stages of civilization, seven colors of the rainbow, seven gifts of Holy Spirit.

9. Shapes:

A. Oval – woman, passivity

B. Triangle – communication, between heaven and earth, fire, the number 3, trinity, aspiration, movement upward, return to origins, sight, light

C. Square – pluralism, earth, firmness, stability, construction, material solidity, the number four

D. Rectangle – the most rational, most secure

E. Cross – the Tree of life, axis of the world, struggle, martyrdom, orientation in space

F. Circle – Heaven, intellect, thought, sun, the number two, unity, perfection, eternity, oneness, celestial realm, hearing, sound

G. Spiral – the evolution of the universe, orbit, growth, deepening, cosmic motion, relationship between unity and multiplicity, macrocosm, breath, spirit, water

10. Nature:

A. Air – activity, creativity, breath, light, freedom (liberty), movement

B. Ascent – height, transcendence, inward journey, increasing intensity

C. Center – thought, unity, timelessness, spacelessness, paradise, creator, infinity,

D. Descent – unconscious, potentialities of being, animal nature

E. Duality – Yin-Yang, opposites, complements, positive-negative, male-female, life-death

F. Earth – passive, feminine, receptive, solid

G. Fire – the ability to transform, love, life, health, control, sun, God, passion, spiritual energy, regeneration

H. Lake – mystery, depth, unconscious

I. Crescent moon – change, transition

J. Mountain – height, mass, loftiness, center of the world, ambition, goals

K. Valley – depression, low-points, evil, unknown

L. Sun – Hero, son of Heaven, knowledge, the Divine eye, fire, life force, creative-guiding force, brightness, splendor, active awakening, healing, resurrection, ultimate wholeness

M. Water – passive, feminine

N. Rivers/Streams – life force, life cycle

O. Stars – guidance

P. Wind – Holy Spirit, life, messenger

Q. Ice/Snow – coldness, barrenness

R. Clouds/Mist – mystery, sacred

S. Rain – life giver

T. Steam – transformation to the Holy Spirit

U. Cave – feminine

V. Lightning – intuition, inspiration

W. Tree – where we learn, tree of life, tree of knowledge

X. Forest – evil, lost, fear

11. Objects:

A. Feathers – lightness, speed

B. Shadow – our dark side, evil, devil

C. Masks – concealment

D. Boats/Rafts – safe passage

E. Bridge – change, transformation

F. Right hand – rectitude, correctness

G. Left hand – deviousness

H. Feet – stability, freedom

I. Skeleton – mortality

J. Heart – love, emotions

K. Hourglass – the passage of time

CHARACTER ARCHETYPES

1. The Hero – In its simplest form, this character is the one ultimately who may fulfill a necessary task and who will restore fertility, harmony, and/or justice to a community. The hero character is the one who typically experiences an initiation, who goes the community’s ritual (s), et cetera. Often he or she will embody characteristics of YOUNG PERSON FROM THE PROVINCES, INITIATE, INNATE WISDOM, PUPIL, and SON.

2. Young Person from the Provinces – This hero is taken away as an infant or youth and raised by strangers. He or she later returns home as a stranger and able to recognize new problems and new solutions.

3. The Initiates – These are young heroes who, prior to the quest, must endure some training and ritual. They are usually innocent at this stage.

4. Mentors – These individuals serve as teachers or counselors to the initiates. Sometimes they work as role models and often serve as father or mother figure. They teach by example the skills necessary to survive the journey and quest.

5. Hunting Group of Companions – These loyal companions are willing to face any number of perils in order to be together.

6. Loyal Retainers – These individuals are like the noble sidekicks to the hero. Their duty is to protect the hero. Often the retainer reflects the hero’s nobility.

7. Friendly Beast –These animals assist the hero and reflect that nature is on the hero’s side.

8. The Devil Figure – This character represents evil incarnate. He or she may offer worldly goods, fame, or knowledge to the protagonist in exchange for possession of the soul or integrity. This figure’s main aim is to oppose the hero in his or her quest.

9. The Evil Figure with the Ultimately Good Heart – This redeemable devil figure (or servant to the devil figure) is saved by the hero’s nobility or good heart.

10. The Scapegoat – An animal or more usually a human whose death, often in a public ceremony, excuses some taint or sin that has been visited upon the community. This death often makes theme more powerful force to the hero.

11. The Outcast – This figure is banished from a community for some crime (real or imagined). The outcast is usually destined to become a wanderer.

12. The Earth Mother – This character is symbolic of fulfillment, abundance, and fertility; offers spiritual and emotional nourishment to those who she contacts; often depicted in earth colors, with large breasts and hips.

13. The Temptress – Characterized by sensuous beauty, she is one whose physical attraction may bring about the hero’s downfall.

14. The Platonic Ideal – This source of inspiration often is a physical and spiritual ideal for whom the hero has an intellectual rather than physical attraction.

15. The Unfaithful Wife – This woman, married to a man she sees as dull or distant, is attracted to a more virile or interesting man.

16. The Damsel in Distress – This vulnerable woman must be rescued by the hero. She also may be used as a trap, by an evil figure, to ensnare the hero.

17. The Star-Crossed Lovers – These two characters are engaged in a love affair that is fated to end in tragedy for one or both due to the disapproval of society, friends, family, or the gods.

18. The Creature of Nightmare – This monster, physical or abstract, is summoned from the deepest, darkest parts of the human psyche to threaten the lives of the hero/heroine. Often it is a perversion or desecration of the human body.

RECOGNIZING PATTERNS

The following list of patterns comes from the book How to Read Literature Like a Professor by Thomas C. Foster who teaches at the University of Michigan. If you are serious about literary analysis, then it is highly recommended that you buy this book. It goes into detail what is just briefly mentioned and is written in such a lively, witty voice that it does not read like a textbook at all! It will be well worth your time and effort to read it.

Ø  Trips tend to become quests to discover self.

Ø  Meals together tend to be acts of communion/community or isolation.

Ø  Ghosts, vampires, monsters, and nasty people and sometimes simply the antagonists are not about supernatural brew-ha-ha; they tend to depict some sort of exploitation.

Ø  There’s only one story. Look for allusions and archetypes.

Ø  Weather matters.

Ø  Violence and be both literal and figurative.

Ø  Symbols can be objects, images, events, and actions.

Ø  Sometimes a story is meant to change us, the readers, and through us change society.

Ø  Keep an eye out for Christ-figures.

Ø  Flying tends to represent freedom. What do you think falling represents?

Ø  Getting dunked or just sprinkled in something wet tends to be a baptism.

Ø  Geography tends to be a metaphor for the psyche.

Ø  Seasons tend to be traditional symbols.

Ø  Disabilities, Scars, and Deformities show character and theme.

Ø  Heart disease tends to represent problems with character and society.

Ø  So do illness and disease.

Ø  Read with your imagination.

Ø  Irony trumps everything!

Ø  Remember the difference between public and private symbols.

MLA Citation (7th Edition)

Lawrence, Lisa. “Archetypes and Symbols.” West Morris Central High School. West Morris Regional High School District, n.d. Web. 23 Jan. 2013. <http://central.wmrhsd.org/FACULTY…/Archetypesandsymbols.pdf>.

The way Isak sees himself in the morning (if he can open his eyes long enough):

  • a mess
  • his shirt is crumbled
  • his hair is in wild disarray, strands sticking up in awkward angles
  • his eyes are small and almost always sticky from sleep
  • his skin is a mixture of paleness and red blotches
  • his face slightly puffy 

The way Even sees Isak in the morning

  • a miracle 
  • his crumbled shirt makes Isak look so cozy and he is just so warm 
  • his soft blond curls endearingly ruffled 
  • his usually bright green eyes beady and still a little dazed 
  • his face sporting a cute blush on those high cheekbones
  • his mouth always drawn into a pout (and anyway, the way his boy glares at the world or who ever invented mornings makes him look like a disgruntled kitten and makes Even go weak in the knees and his stomach flip and his heart swell and press a thousand kisses all over Isak’s face, where a slow smile spreads at the received affection)
Things I liked about the new Beauty and the Beast

(an almost certainly incomplete list, in no particular order, because there will almost certainly be lots of nickpicky complaining posts from me in the days to come, so I wanted to get some positivity out there first)

Belle being a tinkerer like her dad was cute

Honestly, for the most part the changes to LeFou’s character/arc worked for me, and Josh Gad did a great job with the part

Luke Evans also gave a great performance as Gaston. And the new take on the song “Gaston” really worked for me. 

While I have more to say about the larger choices in general and how they could have been improved, the moment where Maurice sees the talking cup and then just… calmly… runs the fuck away was hilarious

Belle planning to escape from the very beginning was a great character choice

The addition of the Harpsichord character was one I was really worried about before the move, and actually 1) he was a great character and 2) the added subplot of him and the Wardrobe being married and not having seen each other in years because they’re both large furniture trapped on different floors was fucking great added color and fleshing out of the world and the nature of the curse. It was done basically exactly right and only added to the story.

The addition to the curse that everyone in the castle was erased from everyone’s memories was a great fucking addition (more on this later. more on a lot of these points later, lolol)

That part where Babette is holding up the serving dish to create the spotlight to shine on Lumiere, but she couldn’t hold it steady, so he kept having to move into the spotlight, was so fucking cute??? What a cute gag?? I love it???

While I still roll my eyes hard at the inclusion of Romeo and Juliet in the film, and have thoughts about how the Beast’s literacy and other changes to the character affected the story, the part where he rolls his eyes at Belle and sticks out his tongue at the yucky idea of romance was fucking adorable

Mrs. Potts explaining that “They did nothing” while the Beast grew up to be who he was is exactly why they’re part of the curse was a good addition

As was Belle’s righteous indignation on their behalf, and general curiosity about the curse and desire to to something about it

(And I appreciate that, despite that, they didn’t tell her the nature of the curse, because to me that would feel really emotionally… coercive? manipulative? unfair? It’s unfair to put that kind of burden on someone. I appreciate them avoiding it)

Adding the “slowly becoming more inanimate” plot into the story from the musicals was a good call. It’s a good addition. It adds stakes. I liked that each small change was timed with a falling petal and the whole castle felt it. It really was a great way to flesh out the curse and increase the stakes of the ticking clock.

Belle’s dress at the final dance was rlllly pretty

Maybe all we need is some space. Maybe you need to figure out what you really want, and if I’m enough. For me, you’re enough; you’ve always been enough. Maybe distance will help you put things into perspective. Maybe you’ll miss me. Maybe you’ll realize what we have has been what you’ve needed all along.
— 

-Maybe you should stop looking, I am here

-m.t.t.

Today, after the murderer of Philando Castile is free and clear, the county released this horrendous dash cam video of the execution of Philando.

This video, combined with the video taken from inside of the car, was more than enough to convict this man for murder. But this is America - where officers can murder people at will. And yet so many people will view this video and think or say nothing more. Where the concern? Oh I get it, this doesn’t affect your race, class, or religious systems the way it impacts others. How is this country great when you kill minorities so indiscriminately? This is just another one of the many lies they tell themselves to feel more important and bigger than they actually are.

Legal lynching. 2017.

8

I’m not sure I can shout any louder or more regularly that THIS IS CLASSIC ROMANTIC STORYTELLING.

Act 1.

~ Dean doesn’t believe in Angels.

~ Cas is a soldier and Angel of the Lord.

Classic antagonistic meet-cute. They get to know each other through season 4 as reluctant allies. Debate is rife between them as to the right thing to do. Denial is a running theme for Dean re: Cas, let’s be honest, not even romantically but the ever old “It’s Cas, he’ll be fine” etc. Denial is central.

Season 4 finale: THE NEW RELATIONSHIP. Cas rebelled. He did it, all of it, for Dean. They are now compatriots working together against Heaven and Hell.

~ Dean starts to have faith in Cas, he prays to Cas.

~ Cas starts to see Dean as his leader and ally, not the Angels.

Act 2.

Season 5 - 8. Getting to know you. Well its SPN, so not exactly Fun and Games but yeah, this is it. They do get to know each other, and we get to know them better too. Cas even occasionally takes part in some MOTW ‘fun and games’ episodes and we see the development of both the romantic Destiel and the very kindly clearly written as a mirror obviously platonic Sastiel for comparison.

Point of no return / deeper commitment: somewhere around season 8 / Purgatory. “I’m not leaving here without you” etc. This is also the point where Dean believes that emotions will break Cas. This is literally heartbreaking and affects how he reacts to everything moving forwards, most specifically it is the reason why he holds back so much other than when Cas is human (see all the meta about 2nd nightstands, all of 9x06, the bar scene etc). It is also a standard unrequited/undeserving/it’s better for them if they don’t love me love trope in order to drag the story out, just saying.

Falling for you / Complications & Higher stakes: Cas becoming Human. Dean’s Demon/MoC arc. All these arcs lead them to a more profound emotional development towards each other and more textual romanticism in the writing rather than the initial crush/interest.

Final straw for Cas: Perhaps believing Dean is dead in 9x23 but then consolidated in 11x23.

Final straw for Dean: Lucifer possessing Cas, the whole second half of s11.

~ Dean over this whole period comes to see Cas not as a distant Angel but in a much more Human way. He even might have stopped praying to him as he replaces it with phone calls / direct communication, but his faith in Cas is clear.

~ Cas replaces his love and faith in God with his love and faith in Dean (consolidated in 11x23) and doesn’t want be a soldier but wants to help people, maybe by saving people, hunting things…

12x12 is the expositional point telling us that Cas has CHANGED. It also is a call back to Dean’s worry that emotions will break Cas as here he is, emotional and breaking. Dean even bows his head and visually looks like he is praying (it doesn’t even matter really if he is or not, the effect for the audience is the key).

These concepts tie back round to and build on where they were BEFORE THEY MET to show how they have changed within themselves and grown in relation to each other.

So, Now. They have both experienced the complications and higher stakes towards each other. They have both fallen in love, Cas both metaphorically and literally falling (it’s only on becoming human that I think he truly realised how he felt, it’s both a narrative reality and a metaphor). Dean’s gone from having no faith to eventually meeting God and worrying the whole time about saving Cas.

Which leaves us currently at the Break up Moment. 

Which is honestly exactly where I see this separation and all the questions about choices/Angels/nephilim/cosmic consequences going, leading us to…. 

Act 3.

Winning him back.

Originally posted by pierce-my-panic

Headcanon: Tony isn’t used to a lot of physical affection. At MIT he meets Rhodey who’s determined to make up for it.

[Basically I always imagine Howard as a cold or at least very distanced father, who’s so focused on what Tony could be that he forgets to love Tony the way he is. Maria might express more genuine affection towards her son, but it would almost always be through words, not actual touch. And Jarvis loves Tony, of course he does, but he’s still a proper butler and I don’t see him as providing a lot of physical comfort either.]

So based on that picture the two of them living together and Rhodey using every chance he gets to touch Tony affectionately, which leads to:

  • resting his hand on Tony’s shoulder all the time, whether it’s to accompany a genuine compliment or just to remind Tony that he’s not alone
  • reaching out to pull Tony into a hug when he gets that look in his eyes again, the sad, distant one that makes Rhodey want to punch someone’s (usually Howard’s) face through a wall
  • ensuring that they only ever have a single blanket during the countless nights they spend in front of the TV and mock each other’s movie choices, because that means they’ll have to sit pressed against each other to fit under it, and that means Rhodey’ll have to put his arm around Tony’s shoulder and Tony will have to rest his cheek against Rhodey’s chest and they’ll have a silent war over who’s feet were laying on the couch table first
  • letting Tony put his feet into Rhodey’s lap when he stumbles into their apartment at way with that glazed expression that means he hasn’t slept in over 28 hours and singed hair-ends, and occasionally gently rubbing Tony’s toes to keep them warm
  • carding a hand through Tony’s hair and pulling a blanket around his shoulder when he’s fallen asleep on the desk again, or the kitchen table, or the lab, dark shadows under his eyes and ink blotches on his cheek
  • laying a hand on the back of Tony’s neck when they’re draped around each other, tired and content in the aftermath of whatever hell the profs or the paparazzi or some racist asshole just put them through, not holding down, just a gentle pressure to keep Tony’s too loud mind anchored in the calmness of the moment
  • allowing Tony to slip into bed with him late at night, not flinching away from the cold feet pressed against his shins, pulling Tony underneath the covers without any hesitation and holding him close, falling asleep to the steady breaths the other one takes
  • not minding in the least when, in those rare moments where it simply gets too much, where Tony gets overwhelmed by everything, Tony seeks him out, clings to him and presses his face against Rhodey’s sweatshirt as though it can hide him from the world, and Rhodey lets him, encourages him even, always pulling Tony a little closer, always shifting to make a little more room for him
  • and, you know, sometimes people ask Rhodey about Tony, ask him how he can stand living with Stark, and sometimes, when Tony’s experiment exploded in the kitchen sink, when Rhodey misses his morning classes because someone used parts of his alarm clock to improve their sound system, when another secret agent comes knocking at their door, Rhodey almost gets where they’re coming from, but. But then he remembers them, moments like this, where all he has to do is pull Tony into a hug or press a laughing kiss against his cheek or knock their shoulders together, moments where Tony just melts into him, all quiet and soft and still, and Rhodey wouldn’t give this up, wouldn’t give Tony up, not for any price in the world.
  • Tony does not have tears in his eyes the first time Rhodey yells those exact words into the phone during one of Howard’s worse calls. He does not.

Apparently I have more feelings about this than I realised. As in A LOT more.

skam: can focus on easter twice in all its 4 seasons: in season 2, to facilitate an easter cabin special episode, and in season 4, where the main of the season is muslim, thus it not even being a huge deal for her, but still having it mentioned constantly to the point where they have her upload a pic on ig with the caption “turnt for chicken week.”

skam: can focus on christmas twice in all their 4 seasons: season 1 and season 3.

skam: had an entire season 3 focusing on isak’s struggles with sexuality and religion, to the point where they showed his mum send him bibilical verses by text, showed him ask sana, a muslimah, her stance on it, thus creating a storyline in itself in that, made several references to religion by having even dress up as God, 21:21, had the jesus shirt be a focus, had an entire clip including isak attend church, and making peace with his conflict, when isak himself said he isn’t even religious and believes in science more, questioning sana as to why she is religious.

skam: can have isak mention ascension day in season 4 by an ig post, a season where sana, a muslimah, is the main, thus not even affecting her, but can still make sure it is mentioned.

skam: can show all of that, but has sana as their muslimah main in season 4, and can’t even mention the word “ramadhan”, and normalise it’s concept of it being an entire month’s form of worship, whose acknowledgement occurs even before the month starts.