#But thematically IT’S ALL THERE

[herbofgraceandpeace]

Orion and El’s accidental spirit cleansing of Liu = contender for most powerful and beautiful moment of A Deadly Education change my mind

[kristybluebird]

She wants her cup of stars.

[automatonwithautonomy]

a thing you should understand about supernatural is one of dean's best narrative parallels is a very angry, fucked up teenage lesbian and one of sam's is the actual devil, like from the bible.

[lonelyzarquon]

[buggachat]

someday i will write and post my 10,000 page thesis essay about how in miraculous the yin themed characters (characters who wear primarily dark colors over white undershirts) are thoughtful schemers who live mostly within their own heads (marinette, luka, felix, amelie) while the yang themed characters (white over dark undershirts) don't think so much as they DO and are straightforward and action-driven (adrien, kagami, emilie) but that would require having the attention span to do so

[johnnyshrine]

★ 093 // “POV: You Died :("

[ladystoneboobs]

so, one aspect of catelyn which i think is underrated (certainly the biggest adaptation loss which nobody talks about) is her, let's say superstitiousness, or better yet, let's call it genre-savviness, being one of the few adult characters open to magic and the supernatural in this fantasy world. we first meet her in the godswood, home of gods which are not truly hers, yet she is still very aware of their power. when she and ned talk of the deserter he killed, he hopes he won't have to go with the nw to deal with mance rayder, but she has even more fear of that idea bc there are worse things beyond the wall than just wildlings. ned scoffs and says she's been listening to old nan too much, but she's right. we already know from the prologue that she's right! and here she is, understanding the genre of their world better than her husband, who was actually born and spent his earliest years in this northern land of deep magic, listening to old nan's stories. same with the direwolves, where she was uncomfortable with them at first, but later believed in them as guardians from the old gods even after robb had lost his own faith. and once again, we know she's right even if she doesn't know the evidence to back up her instincts, bc summer and shaggydog did not fail bran and rickon and robb was almost certainly a warg like his brothers. (perhaps making it more fitting that she's the one brought back as a fantasy vengeance monster, not ned and robb, the most unbelieving dead starks.) and in her 2nd agot chapter, everyone focuses on her ambition in wanting ned to agree to the hand job (pun intended) and sansa's betrothal, and while she does recognize the value of their daughter being a future queen more than ned does, that's only her stated argument bc she thinks it's rational enough for ned to listen to. (if ambitious matchmaking were as important to her as to her father she never would have made those frey betrothals fandom loves to blame her for.) in her own head there's a deeper urge driving her. she keeps thinking of the dead direwolf with antlers in its throat, an omen which filled her with dread from the first she heard of it, before robert's arrival, and thinking of it again is what makes her desperate to convince ned not to refuse robert. she had to make him see. and really, she's not wrong, as jon snow would say. the dead direwolf was an omen of ned and robert getting each other killed. it's just one of those misread portents, with no way of knowing the danger to ned was in his loyalty to robert, not conflict with him. BUT the next time she's dealing with baratheons, she knows exactly what she's talking about. it's catelyn, not brienne, who sees the shadow slaying renly, and explains that it was stannis who did that through some dark magic. with no way of knowing how it was achieved and no prior expectation that such a thing were ever possible, she realizes with no hestitation that stannis was guilty and that his red witch was capable of pulling this off somehow. really, the only instinct of the supernatural she's wholly wrong about is her insistence that varys gathered his knowledge through some dark enchantment. however, though that might offend varys, given his own personal experience with a sorcerer, i'd say it's a reasonable assumption without knowing the dude had children moving through walls everywhere like oversized rodents. and imo it just shows she had a healthy respect and awe for varys's power which most other characters lack.

oh, oh, and let's not forget that she also believed in the curse of harrenhal, from her own childhood and the stories old nan told her kids. "and every house that held Harrenhal since had come to misfortune. Strong it might be, but it was a dark place, and cursed. 'I would not have Robb fight a battle in the shadow of that keep,' Catelyn admitted." sure, that wasn't enough to save robb, but he did not die from the curse of harrenhal. that doom was meant for his enemies from tywin lannister to roose bolton.

[sparrowlucero]

Reading comprehension site. As far as I understand it, your point is moreso that often stories set in a world without homophobia, transportation, etc. Are treated as morally better. Meanwhile stories which are parallel to real world queerness, identity, and oppression are often viewed negatively. Mostly because there's a standing idea of "you could have made it better by simply not including the homophobia and transphobia".

In my mind, both are morally equivalent, and both are examining themes which may be interesting in the context of queer experiences and liberation.

yeah that's exactly what I'm talking about... I'm basically just arguing against that more extreme mindset you sometimes see around queernorm stuff and pointing out that maybe it's not great to implicitly lump stuff like, say, steven universe, queer as folk, and i saw the tv glow together as the 'lesser' or "more harmful" type of work we should seek to avoid because they focus on queer struggles, or otherwise downplaying the value of themes that aren't like, escapist enough in some way.

Honestly I think at some point the discussion around depictions of homophobia- specifically, criticism aimed at the thought that (often quite fetishistic) homophobia (or sexism, racism, etc) needed to exist in fantasy for the sake of "historical realism", and of bury your gays-type stuff - sort of got telephone game'd into "it's weird to depict bigotry or gay characters suffering/dying when you could just not do that; no one wants to see that" and then in turn "the best, most valuable and desired way to depict queerness (race, disability, gender, etc) is to make it normal and as downplayed as possible" and i think it's worth pointing out that that's often not great advice/a good metric for judging queer fiction overall.

[valtsv]

TSV CHARACTER DESIGNS (1/6): CARPENTER

There have to be some monsters, don’t there? Because otherwise how could all of this be happening? Why wouldn’t someone have put a stop to it yet? How could we possibly make sense of the evidence of our eyes if there was kindness and courage buried deep in all of us and all we had to do was listen to it? Wouldn’t it be just truly fucking awful if it was only people out here and nothing else?

[shriika]

changelings route

[lucabyte]

i CANNOT stress enough how incompatible the themes of these two pieces of media are. i promise my media literacy ability is actually good im well aware that these character mappings are absolutely nothing. that said. play with me in this space. in this sopping wet miserable space. its bad luck to kill a piou piou

original screenshots (and hypnosis 1904) for reference

[zevranunderstander]

i dont think i will ever be over dragon age 2. like. bioware made an epic fantasy story about a chosen one having to save a country and stop the apocalypse and then they made the second installment of the series be about the sociopolitical climate in ONE city through the lens of a family of refugees fleeing from the war of the first game and just. made it about political tensions and class dynamics and the influences of living in a church-mandated state and the growing tension over an occupied piece of the city and political killings and interpersonal conflict and power and its story is ENTIRELY character-driven. it has easily the most iconic set of companion characters. the premise of living through a story told over the course of ten years and knowing from the start that something really bad will happen in the end was so fresh and exciting. the fact that the acts really built on top of each other andhow much the city changed over time. and the game was so mature in terms of the topic of fighting against oppression in so many ways (im usually generous and say that the short development time left some things a bit wanting), and as much as some people say that the game treats mages and templars as being equally bad, i don't think that that is actually true about the game and it very earnestly tries to grapple with some pretty complex political dynamics.

and then the game completely flopped financially and was almost universally hated for its queer themes and its sympathy for "terrorism" and a lot of the things that stemmed from basically having no production time at all and then the studio just made another epic fantasy story about a chosen one that has to save the world from the apocalypse

[starsandwriting]

I can't believe we saved basira from the cops but lost trevor to the fucking politicians

[stuckinsquahamish]

I’m sorry Jon M Chu, what do you MEAN your first idea was to have Idina Menzel and Kristen Chenoweth play Galinda’s parents. WHAT

[onewithblankets]

anybody think abt the turning point between old aika and present aika. anybody think abt the point where she just started forgetting to dye her hair and the roots are beginning to show. anybody think abt the first time she wishes for a lead pipe. anybody think abt ‘the others back home’

anyway I was thinking abt isat again and some suspiciously magical-girl-colored markers appeared and then I blacked out

[tenuousnessless7]

We don’t give Lockwood & co enough credit for casting actors who believably look like actual teenagers.