#collide special

[hadesknockedupintheunderworld]

Out of the grandmansters/egg bosses in the Archie comics, which one was your favorite?? It can be either from pre reboot or post reboot!

Hehehe unfortunately for you, anon, my fav becomes a grandmaster before the super genesis wave and therefore is my immediate first choice without contest

*Bangs fist on table* I love her so much

[doctorwhommm]

adding doctor who to the long tradition of media with absolutely shockingly bad beatles wigs

[strawberricakeandpie]

Can I say something

[sillyfudgemonkeys]

Wait WHAT?!

FUCKING WHAT?!

*SCREAMING*

*SCREECHING*

OH MY GOD IT'S FATHER GLOWWORM! HE'S BACK HE'S BACK! THIS GLORIOUS BITCH IS FUCKING BACK!

AHHHHHHHHHHHHHHHHHHHHHHHHH! WORMY BOI IS HERE! DOES THAT MEAN WE GET KURUK????? YUN?????????????

DOES THAT MEAN WE ALSO MIGHT GET KURUK'S GANG????! ARE WE GETTING OFFICIAL DESIGNS OF THE FLYING OPERA COMPANY?!

RANGI?! DOES THIS REALLY MEAN I MIGHT SEE RANGI????!!!

DON'T PLAY WITH MY HEART LIKES THIS! JUST LET ME SEE THEM!!!! TT0TT

[finalgirlsamwinchester]

JOAN OF ARC + SAM WINCHESTER: POSTMODERN MARTYRS

Luc Besson, Joan of Arc (1999) | Panthéon, "Jeanne d'Arc ayant la vision de l'archange Michel" | 1.14, "Nightmare" | Anne Llewellyn Barstow, "Joan of Arc: Heretic, Mystic, Shaman" | Susan Visvanathan, "Representing Joan of Arc" | 2.13, "Houses of the Holy" | Robert Bresson, The Trial of Joan of Arc (1962) | John Everett Millais, "Joan of Arc" (1865) | 11.02, "Form and Void" | 1.11, "Scarecrow" |

This is incredibly self-indulgent, but there's an interesting comparison to be made here I think, between Joan as a cultural symbol and Sam as a variant on her. like her - his character also consists of ambiguities. He is both hero and monster/witch, saviour and pariah, transgressive while still fitting into the traditional mold of heroism. And because of their ambiguities, they're also both outsiders.

Joan is isolated because of her steadfast faith, and she's punished for it. She saves France as a young girl in men's clothes, hearing the voices of angels, and gets put on trial as a heretic by the very same Church that would later burn her at the stake. The very same institution to later saint her. Only in death does she get to become a holy martyr, no longer ambiguous. She is the hero with a thousand faces; Catholic saint, patriotic icon, queer symbol.

Unlike Joan, however, Sam's narrative is a horror story on failed martyrdom. He is the saint who never gets to die. His sacrifices never end in closure, not really. he's either stopped at the last moment, or retrieved from the depths of hell. He's denied the certainty that comes with dying, the nobility that comes with becoming immortalised as a memory. His faults are laid out on the altar, time and again, but he's not granted the crowning reprieve that death would afford him.

He holds onto hope and belief in others, clings onto faith in a higher power, whether that power be God or his family - his brother. He keeps faith in others in order to keep faith in himself. And he's let down over and over by that faith. His brother betrays him like a man; his visions come from a demon, the voice of God is really Lucifer in his ear. His own story turns on him like a pillory, trapping him before a jeering audience, unsympathetic to his suffering.

Sam, the heart of it all, more scapegoat than sacrificial lamb. In the end he only gets to exit the story by choosing to trust himself, and live.

[oldmanffucker]

my first instinct upon seeing this was to get angry and want to hit this person with hammers, but actually I want to talk about this.

this post, and I didn't even want to click in the read the rest bc it made me to sad to see, is saying that Wilson and Amber only dated for a maximum of three months, so should he really be this torn up about her loss?

So, as a grief support specialist and house fan, let's talk about it.

First and foremost, it's the depth, not the length, of a relationship that matters. Quality over quantity, all of that. Of course. But also, if we look at Amber and Wilson's relationship itself, this is kind of the first time Wilson is in a relationship that feels really good to him. Amber doesn't just want Wilson bc she needs him and needs to be put first by him, she wants him to take care of himself too. He's being challenged for the first time (in a romantic context) (canonically) to not put himself on the back burner for everyone else, but to think about what Wilson wants. House, of course, does this too, but in different ways. Which is also to say that Amber is a revelation for him because she is like House--House who is his longest and arguably only real friend, the person he trusts the most, is most able to be himself around. And now he's found this person who he can feel all that in a romantic and sexual context too.

Which is all to say that this relationship wasn't like any other three month fling he had, this one had a depth to it from the very beginning that was really important and profound to Wilson, and was changing some parts of himself in a way that was really kind of life altering, even as it was also pretty subtle in many ways to the casual viewer.

This, plus the fact that her death itself was really sudden, very traumatic, and prolonged (a couple days and many really traumatic failed attempts to save her life, including his best friend risking his life for her), really adds up to someone being profoundly affected by this loss.

But beyond this, Wilson did not only experience the loss of Amber with her death. There are losses we grieve beyond simply dying. The whole experience before finding out she was even missing and hurt, of seeing House without memory, of even for a little while thinking they may have had an affair, of watching House kill himself (literally) to bring back his memories - this portion of the situation alone is an experience of a loss of safety. He's realizing that life is random, and terrifying in a whole new way than he may have known it before. His best friend was in a bus accident. Life is random and he could have died. There is no guaranteed safety. His best friend who knows everything suddenly knows nothing. A loss of the status quo, of what he's assumed is the way things are. he's watching his best friend go to extreme lengths in order to capture his memories. he's watching his best friend fucking die on a bus floor as he tries to revive him with his boss. Loss of control, loss of the norm, loss of the future they could have had if none of this happened.

THEN.!! He's made aware that Amber was involved in all of this. And we don't know where she is or how she's doing. He's now been introduced to ambiguous loss (which he has experienced at great length with his brother who went missing, and is now experiencing again). Now they have to find Amber. Okay and now they've found her and she's in a coma and really on the brink of death. And this too is an ambiguous loss of another variety. He's experiencing both sides of ambiguous loss about Amber back to back (1. Physical absence and psychological presence (ex. someone missing/estranged) 2. Physical presence and psychological absence (ex. parent w dementia, someone in a coma))

He then has to skip over the grieving part and jump into problem solving and trying to keep her alive. and then his boy best friend has to risk his life for amber and wilson and almost die. And then Wilson has to realize that now, his kind of technically-alive-but-not girlfriend, he has to let her go. And she's woken up and he has mere moments to say his goodbyes and I love you's.

And ALL OF THAT is just the loss itself.

Then he is "grieving" or "mourning" in the way that is generally understood by the average person. If you ask the average person (esp in the US) what grief is, they'd usually point to this--after someone dies when you're sad--and none of the many paragraphs of grief and loss grappling I wrote about just before that.

The average bereavement leave is 3 days. Grief will invariably last more than three days. The amount of time we see Wilson grieving is frankly, really fucking regular. Even for a death less fraught and traumatic (subjectively) than this one.

Besides all of this, there are a number of different grief styles, and I think that Wilson's grief style is that of the Intuitive, or Heart, Griever (isn't that just perfect? I wonder if the writers knew that when they named the episode Wilson's Heart...).

This type of griever is more overtly emotional than the Intellectual, or Head, Griever (the other 2 styles are the Blended, or Head & Heart Griever, and the Dissonant, or Head vs Heart Griever). But is again, really common! Perhaps the asker of this original Reddit question is a head griever, or a dissonant griever, or perhaps even someone who has never yet had to grieve, and has only been fed the myths about grief, and they're trying to make sense of such a large grief.

There is no right way to grieve, there is no correct length of time that that grieving should last. There's no correct amount of time you are allowed to know someone before you grieve their death or pain. The way you grieve is the way you need to grieve, you simply have to try to honor it.

(I don't have a reddit so I can't respond to this directly, but feel free to link this in the responses to the post itself if you feel so inclined)

[mage8]

Today on Doctor Who, the world was saved by the power of McLennon.

The Devil's Chord

[trouticide]

hear me out

[brian-in-finance]

Caitríona Balfe attends the "Ford v Ferrari" press conference during the 2019 Toronto International Film Festival at TIFF Bell Lightbox on 10 September 2019 in Toronto, Canada.

Image: Roxstar Entertainment

Collider Media Studio Returns To TIFF With Some of the Biggest Names in Hollywood

With the Toronto International Film Festival (TIFF) just around the corner, we’re thrilled to announce that Collider Media Studio will be returning to the Toronto International for another round of exciting interviews with support from Range Rover Canada. This year we have one of our bigger line-ups ever with scheduled talks with the top talent of the festival including Bobby Carnavale, Tom Hiddleston, Karen Gilian, Cobie Smulders, Ben Foster, Olympic Gold Medal Boxer Claressa Shields, Chloë Sevigny, Henry Golding, Beatrice Grannò, David Gordon Green, Pamela Anderson, Max Minghella, Orlando Bloom, John Turturro, Caitríona Balfe, Soul Rasheed, Brett Goldstein, Imogen Poots, Jee Young Han, Dakota Johnson, Demi Moore, Margaret Qualley, Alicia Vikander, Elizabeth Olsen, Chiwetel Ejiofor, Paul Rudd, Kate Mara, Jude Law, Nicholas Hoult, Tye Sheridan, Ron Howard, Ana De Armas, Isabella Rosellini, Ed Burns, Shamier Anderson, Minnie Driver, Brenda Song, Kiernan Shipka, Ryoo Seung-wan, Sandra Oh, Haley Joel Osment, and Gretchen Mol to name a few.

The program is produced by Leading Hollywood Events and Communications group, Roxstar Entertainment and their successful hospitality platform, the Cinema Center. Our sponsor partner Range Rover will help get the talent to our media studio with the 2024 Ranger Rover Sport, the official luxury vehicle partner of the Cinema Center and Collider Studio. Celebrities can enjoy the latest Range Rover Sport’s blend of sportiness, refinement, and connected convenience, ensuring they arrive at their red-carpet events in style and comfort.

Additional supporting sponsors include poppi soda, the better for you soda brand made with ingredients you love, like fruit juice and apple cider vinegar that create a mouthwatering soda with only 5 grams of sugar and 25 calories. Beloved by celebrities like Post Malone, Hailey Bieber, Kylie Jenner, Billie Eilish, Russell Westbrook, and Olivia Munn, poppi is revolutionizing soda for the next generation. poppi is now available at major retailers across Canada, including Loblaws, Real Canadian Superstore, Metro, Save on Foods, Maxi, Safeway, and Costco and key ecommerce retailers amazon.ca, instacart.ca and well.ca.

In addition, the Cinema Center will be serving up a themed cocktail menu featuring the ultra-premium Tequila Don Julio, as well as Ketel One Vodka, Tanqueray Gin, and Bulleit Bourbon. Don Julio’s luxury tequila is renowned for its use of only the highest caliber, fully matured and ripened Blue Agave that has been hand-selected from the rich, clay soils of the Los Altos region of the state of Jalisco.

Other partners include Canada’s new premium spring water brand, Legend Water co. and Peoples Group financial services will all be engaging our talent and guests with product offerings and special brand experiences onsite.

Check out the poster below and stay tuned to our socials for updates on this year’s Collider Media Studio at TIFF.

Collider

Caitríona Balfe attends the "Ford v Ferrari" press conference during the 2019 Toronto International Film Festival at TIFF Bell Lightbox on 10 September 2019 in Toronto, Canada.

Remember the return to TIFF?

[starshapedoasis]

~Lana singing Wonderwall~

[likealizardyousay]

i made my mom listen to iDKHOW and she said that she imagines the singer as David Tennant’s Hamlet and i haven’t been able to stop thinking about it

do the vibes weirdly match or am i crazy tumblr help i am going insane over this

[punkeropercyjackson]

Characters from different universes i know would be besties if they met

@theautisticcentre

[neiljosteh]

I might be cooking a competitive pokemon au for the foxes

[petalologist]

BEFORE ANYONE ASKS he reminds me of my dad (for this trend on twitter!)

[klaasje]

wld love to know more about the way the climate works in elysium… what effect does the pale have on wind. or water vapour. or cold fronts. do waterspouts form in the bay of revachol. if a hurricane got sucked into the pale would it get spaghettified a la black hole event horizon or would it pop out on the other side fully intact

[fabuloustrash05]

If you ever feel useless, just remember that Karai was in the When World Collide episode.