#ama but not really

[cudainsider]

lii. tristen robins

[markscherz]

I… do not understand tumblr live. Like, are there actually only about 50 people streaming across the whole platform at any one time? And why are so many of them just… people smoking? Or unoccupied desks? And why is nobody talking about frogs?

[fizzytoo]

👨🏽‍🌾🍇

[genericpuff]

STAY OFF MY TERRITORY - Time Travel in Lore Olympus (feat. Springlock, our resident time traveller)

AH YES. TIME TRAVEL. BUILDING COFFEE TABLES FROM IKEA. BOTH A MESS, BOTH SOMETHING YOU SHOULD NEVER ATTEMPT EVEN AS A GAG.

THERE WILL BE FASTPASS SPOILERS IN THIS ANALYTICAL DISSECTION OF LORE OLYMPUS' TIME TRAVEL !!!

Let's establish the "time travel" in LO first of all - it's briefly introduced by Hecate, who says that Hades isn't in a 'where' but a 'when' , hahahaha i so love time travel jokes /s THIS ISN'T A LAUGHING MATTER-

We had already covered this in the criticisms that Kronos' 'dream comas' would have been better allocated to his time travel abilities, and it seems now Rachel is trying to make that a reality at the last possible minute. I'm going to completely tear apart that reality to present to you why it doesn't work in LO.

Aw, Kronos' time abilities are finite? Get on my level, sir.

The caveat is the existential toll that time travel takes on the jumper, and the fact that in most cases, it's impossible to perform due to paradoxes. And Lore Olympus' time travel presents a lot of paradoxes. No wonder Kronos went crazy, I'm going crazy just thinking about everything that's wrong with this.

So Hades is trapped 'somewhere' in time. This isn't something I haven't seen before, but the issue it presents is getting someone back to their present time, as it presents the first paradox -

PARADOX #1 - There are no accidents. If someone is to jump into a timeline outside of their own, even if by 'accident', that would still have to be predestined by the timeline itself. This is in line with the grandfather paradox, which I will let the almighty Google define for us all to keep things brief:

You cannot travel back in time 'by accident'. If you were to travel back in time, it would have been written into the script of reality already, so any effects caused by your jumping would be purposeful, even if they seem like 'accidents' to you - such as becoming your own grandfather, Philip J Fry.

Moving on, in the most recent FastPass episode, Melinoe reveals that she was taken from her timeline by Kronos.

PARADOX #2 - Which version of Kronos took her? Was it the present version travelling into the future to take her from her timeline into his present? Or was it some future version of Kronos who has escaped yet again at some point in the future and then travelled back into the past to interfere with the events of the current present, possibly in an attempt to rewrite the script? If it's the latter, this means that Hera and Persephone can't feasibly stop Kronos indefinitely, as to stop Kronos would mean that he wouldn't exist in the future to take Melinoe from her future timeline and thus this present timeline of events would cease to exist. If we want to get even more granular with it, 'present' Kronos is still 'past' Kronos as it's the Kronos from ten years ago who got his hands on a deity to help him mess with people's dreams, and that deity has been revealed to be Melinoe, who would have had to be ripped from some point in their future timeline. This falls in line with a temporal paradox, or as most people know it, the 'kill baby Hitler' paradox, which designates that one cannot go back in time to kill baby Hitler, as killing baby Hitler would remove all the subsequent events that would lead up to you deciding to build a time machine and go back in time to kill baby Hitler.

Melinoe claims she's only been here a few days. That would be all well and good, as time is funny like that - I've done my fair share of jumps into the distant past only to return a few minutes later - but what doesn't line up is the present timeline of events that would only work unless she's actually been trapped for longer than a few days.

PARADOX #3 - So it's only been a few days, but Hades and Persephone have known about this child trapped in Tartarus for weeks, and we know Kronos has had her since the dream diving arc back near the end of S2. So unless Kronos is simply jumping to different points in time to cause shenanigans - which leads to even MORE paradoxes as you feasibly cannot travel to your own past to change it due to it creating a different future - then it can't have only been a 'few days' for Melinoe, it would have been at least a few weeks, giving some wiggle room to the past events of her appearing before Hades in his dreams due to her being the goddess of nightmares. Kronos escaping Tartarus after using Melinoe to put people to sleep and possess them was not something that happened in a pocket dimension, it was very real and very present.

Hades commits an even bigger sin, however, and the biggest issue with this 'time travel' plotline:

PARADOX #4 - I truly hope 'home' means 'home point in her timeline' and not their literal home. Hades and Persephone cannot take Melinoe, for two reasons: they haven't had their daughter yet, and the future timeline versions of Hades and Persephone need their daughter back. If Hades and Persephone were to adopt this version of Melinoe in their present timeline, it would create a clone paradox, as they would have a duplicate Melinoe from the future, OR it would create the grandfather paradox if they opted not to try for a child knowing they already have Melinoe which would erase the whole sequence of events that led to future Melinoe's birth in the first place.

Ultimately Lore Olympus' time travel suffers from the same issue many time travel stories suffer from - not having consistent rules. It is choosing now , near the finale of the series, to introduce time travel, rather than establishing it back in Season 1 when Kronos was first hinted at. It's also still not clear in what Hades' role is in this, as him being taken to a 'when' could still be read as a dream sequence rather than actual time travel. After all, Kronos supposedly "exhausted" his time travelling powers centuries ago - surely as a way for Rachel to have her cake and cover for the fact that she's had Kronos in the series since S1 and never actually had him do what he's known for - but now she's trying to eat it too by just giving him his time travel powers again for no reason besides rewriting the dream diving finale from S2 but with ambiguous time travel instead.

It's all a huge mess and the best thing I can do for myself is simply not let it keep me up at night. I have enough time travelling problems to worry about as it is. I will be sticking to the Austin Powers method -

(I am not enjoying myself.)

[essektheylyss]

Open, non-exhaustive list of content I would read/watch in a heartbeat about the political situation in Rexxentrum post-Solstice:

One-shot or mini-arc of the Nein going full National Treasure level heist on the Cerberus Assembly records management department before a Ludinus simulacrum can reach the burn boxes

Faux Trump aide exposé-style novel of Athesias Uludan compiling and publishing The Dirt in the aftermath as part of his apology/comeback tour

Colville-run Dirty Dozen one-shot or EXU of Oliver Schreiber dragging some particularly unruly ex-Scourgers out of semi-retirement (read: house arrest) to take Ludinus out once and for all in exchange for full indemnity

Found documents a la Midst appendices of the Cobalt Soul documentation and evidence compiled about the incident

The Archmage: An Autobiography by Martinet Ludinus Da'leth (discovered and published posthumously) [1500 pages and riddled with exaggeration and inaccuracies, the last 20% has clearly been written by AI a simulacrum]

Lorekeeper rundown Youtube video from Dani Carr

Yet another novel: Wildemount's most (in)famous and (un)reliable documentarian smelled a story (Taryon's version)

Literally just a main campaign episode of the Nein infodumping to Allura at a war council meeting with the Hells present. I need this information so badly. I am fucking begging.

This sounds like it runs the gamut in level in terms of seriousness but I would like it stated for the record that I would unhinge my jaw to consume any item on this list.

[bybdolan]

SPEAK NOW (Taylor’s Version) inspired by TAKE THE SADNESS OUT OF SATURDAY NIGHT by Bleachers.

[storybookprincess]

shoutout to the mountain goats for writing lyrics that i can actually relate to ✌️

[i-lavabean]

I don't go here (yet) but here's Bode as a Firebender

[pynkhues]

I recently read an article in which Quentin Tarantino stated that fewer movie stars exist as a result of "Marvel movies in Hollywood." I think Jennifer Aniston made a similar argument before saying that there are no longer any movie stars. I'm not sure what that means. I can think of a lot of movie stars right now, such as Zendaya, Timothee Chalamet, and Zoey Deutch etc. what do you think? I'd love to hear your thoughts on this and Quentin's comments.

QuillBot's

Months ago, when you sent me this ask, anon, I wrote out a really long reply and as soon as I hit post, my laptop crashed and ate the answer, and I was so annoyed at myself for not saving my reply, that I couldn't bring myself to try and re-write an answer. I'm really sorry for that, especially because I think this is such an interesting ask (or well, two asks, because I think the death of the movie star and the impact Marvel's had on the broader concept of a movie star, are kinda two different things).

I've been thinking about it a bit again recently though, particularly as the Oscar race gears up, and Jacob Elordi and Charles Melton''s respective stars are rising in an industry currently desperate to find the new young Hollywood male 'talent', and I've been thinking about it again because honestly?

I agree with Jennifer Aniston, I think the movie star is dead.

We are a long, long way from Golden Age Hollywood where actors like Cary Grant and Marilyn Monroe could captivate a public imagination in a way that translated to big box office effect, after all. Hell, we're even out of New Hollywood, an era dominated by names like Al Pacino, Jack Nicholson, and Jane Fonda, and the Blockbuster era with Tom Cruise, Sylvester Stallone and Harrison Ford.

My original reply went into a lot of the different reasoning as to why this is (like with many things, I don't think there's any one reason for it), in particular how the advent of streaming has changed our relationship with films and TV shows, how the saturation of the market has diluted the staying power of celebrities, how social media and the perceived accessibility of celebrities removes personal mystique which in turn removes intrigue and increases a sense of entitlement, and the fact that so many people having stopped going to the cinema means that the experiential element of seeing a film in a setting larger than life has been diminished.

I think call out culture plays a role too, with any actor on the rise being torn down by tweets they made eight, nine or ten years ago impacting how their star rises, I think the dismantling of the studio system (which is a good thing!) also harmed actors in the long run as studios stopped investing the same resources into making and training stars (they used to be able to sing, dance and act! Now some can barely even act!), and I think, of course, the rise of prestige TV changed the industry substantially (after all, movie stars were movie stars - they traditionally did not, and would not, do TV, which created a clear class structure in terms of screen-based storytelling).

And yeah, I think the language shift from film and TV to content has done irrepairable damage to the artistry of filmmaking and the consideration of a movie star as an actor at the top of their field instead of an actor with the most Insta followers or YouTube subscribers (after all, if everything's content, isn't it the same thing? [no lol]).

Which I guess is kind of where Quentin Tarantino's argument comes in, right? What he's saying is that Marvel's made it so that the IP - the content itself - is the star, not the actor, and I'd say he's probably right with that.

Think of it this way - back in the New Hollywood/Blockbuster era, Harrison Ford was the movie star - he was leading new franchises left-right-and-centre between Star Wars and Indiana Jones, sci fi epics like Blade Runner, leading action thrillers like Patriot Games, The Fugitive and Clear and Present Danger and getting nominated for Oscars for Witness.

He was a movie star in every sense of the word because you could hinge a film - one with a new concept, not just remakes or sequels - on him and be virtually guaranteed a success. He was what sold the tickets, the director just hopefully had to make something good enough people would leave the cinema glad they saw.

Tarantino's argument is the Marvel model - - hell, even the new Star Wars properties, turned the franchise into the star, for better or worse, which means original films can't compete because nobody knows the IP. Back when Harrison Ford was at the top of his game, his name was what helped original films including smaller, standalone works like Witness find an audience, but the studios have changed that. Capitalism has changed that.

Properties with existing audiences and deep pockets for merch were prioritised, only now those franchises are faltering and you've got a generation trained that 'cinematic events' are reserved for blockbusters in established universes, instead of taking a risk on a new film because you know you love an actor who's in it.

Do I think we could go back?

Maybe, but probably not.

I think the place we are now in the history of cinema / TV / 'content' means you can't make a movie star anymore because I think the industry is simply so different that no actor can break through in the same way that even Leonardo DiCaprio could 30 years ago. That industry doesn't exist anymore, actors aren't guaranteed draws (Bones and All proved that for Timothee Chalamet, and Wonka I think could go a similar way), or they have to heavily rely on other industries to become household names which I think dilutes them as a pure 'movie star' (Zendaya's a great example of this - I like her a lot, but how many movies has she even been in? They built her career up in peripheral industries long before they tried to sell her as a movie star, and frankly, I'd question her even as a leading actress yet given she's typically only either been in ensemble casts or clear supporting).

It's a whole new world, and yeah, I think the movie star is dead.

[thelassoway]

Social Conditioned ¯\_(ツ)_/¯

[the-everqueen]

for the AMA: what compels you most in a fictional character!

rage as a trauma response.

it compels me when a character spits in the face of god. when the response isn't "why did you let all this happen" but "how dare you let this happen." something about the assertion of agency in the wake of un-meaning. something about "there was never a Purpose, the point is what you make of it." this is undoubtedly because i was raised evangelical and continue to struggle with what i believe vs what i want to be true. pero also i think i was denied anger for so long (and even now my reflex when i'm hurt is to divert/repress/hide/sublimate anger) that it's cathartic for SOMEONE to get to be mad at the powers that be.

misogyny means it's usually (white) male characters who get these narrative arcs. this is evident in my blorbos: astarion from bg3, the corinthian from sandman, will graham from hannibal. (my immediate first thought was actually emilio sandoz from the sparrow, very literal autistic brain serving me well here lmao, what does it mean to be god's whore.) but my favorite female and genderqueer characters have this, too. saga anderson from alan wake 2 (LITERALLY tells both the in-game narrative force and the meta "fuck off, i'm done with other people writing my story"). essun from the broken earth trilogy (everyone who says they can't connect to her...i need you to examine yourself for misogynoir). vic from nos4a2. eurydice from hadestown. erica slaughter from something is killing the children. jade from my heart is a chainsaw.

(horror is obviously a huge medium for this...the final girl is a figure of righteous anger, the avenging angel, the woman who mows down the ultimate horror with a baseball bat or a butcher knife and she's right, she's in the right, she's the monster slayer, fuck you fear me.)

[fizzytoo]

amaya and karlee take in chestnut ridge little by little. while karlee does some horse watching from afar (secret horse girl), ama gets to know some of the locals.

Maria Marshall-Lee (by @hauntedtrait) owns The Dusty Rose, the only lesbian bar in town.

[genericpuff]

have you seen this lmao

omg yes LOL

i love how twitter dunking on LO for being absolutely ridiculous when taken out of context has ironically turned into an olympic sport

[ohdeargodwhy]

Still trying to work out why they made Trent a gay man if not for TedTrent and/or to be a parallel to divorcee Ted also coming out later in life make it make sense

(Like yes kinda support to the colin storyline but also there were so many other characters who could have provided that - sharon for one, obviously, keeley another, any new character. Also why specifically gay and (we assume) divorced and not happily married bi or gay with kids???)

[modernbaseball]

So entertaining to see Logan at a rock bottom lol. He's gotten "everything" he wants he's going to end Waystar as the CEO he's left his newest wife (Marcia) for his newest woman (who he left another woman for), everyone is afraid of him and treats him like a god and he has SO much money, especially since he failed to buy PGM, and his children aren't around to embarrass him anymore....and he's so MISERABLE and ALONE and BORED

and the atmosphere of every scene with him VS scenes with the siblings... it's dark, inside and outside, it's tense and dry (lol) there's no banter no conversation there is NOTHING. it's just Logan in a dark room and everyone sits around quietly because he'll snap his jaws at anything that moves now that he doesn't have willing sentient punchbags to follow him around

[elavoria]

Face studies of my Kingmaker and WotR characters, Mircella and Isanna. :3