#cus as is it just feels like a badly written drama

[bittersweet-mojo]

finished sandman. that sure was a bunch of different stories one after another. kinda makes you wonder if it would have been better suited being a comi-

[heretherebedork]

Le Quote:

"i wanna love me; the way that you love me; for all of my pretty and all of my ugly too; I'd love to see me from your point of view."

If FUTS was a better written show, Pi could have said this to Mork. Imagine that. Imagine a show where Mork earned Pi saying this to him, where Pi could truly look at Mork and be understood. Sigh. What we could have had...

Adachi could definitely say this to Kurosawa, tears in his eyes, desperately searching for that and learning it too, learning to see himself through the eyes of the man who loves him.

Oh, another show that could have been so much better? Itt and Pai. This could have been a gorgeous moment between Itt and Pai but instead we got homophobic parents and... tears. Ugh.

I feel like Khai ends up saying this to Third at some point, desperate and nervous, staring at him like something precious because he's trying so hard to grow.

Tai thinks this about Tien a lot but never says it. He loves the way Tien looks at him but this just isn't how their romance and relationship work.

Cu Du needs to say this to Jackie and actually communicate with him when they're not both upset. Oh, these boys are breaking my heart, tiny little stressed out daddies.

I want this to be Shei Lei and Yu Zhen someday so, so badly. I cannot wait for them to start actually talking/communicating and drama and, honestly, I wanna see them in pain and come back from that very badly. Am excited.

Lukmo to Simai. OMFG yes, please, Lukmo saying this while he stares at Simai with tears in his eyes and Simai pulls him close... Ugh, please, please, give me this. Top Secret Together! PLEASE.

[hentaimommi]

ʀᴏᴏᴍᴍᴀᴛᴇꜱ | ꜱᴜɴᴀ ʀɪɴᴛᴀʀᴏᴜ [x fem! reader]

Warnings: NSFW, all characters 18+, drug abuse

(A/N) I've never written on tumblr-- I've only ever written on wattpad (@/hentaimommi), let's hope this goes well! sorry for any mistakes/misunderstandings, I'm trying to improve my writing and take it seriously.

[R O O M A T E S]

It all began on a Friday night. Rintarou had gone out with his regular crowd, pot heads and easy chicks, and I was stuck at home. No one here to buy me a drink or hold my hand. I didn't mind though, I wasn't envious. He had his life, I had mine.

That was, until he got home. Usually in the midst of his cross-faded fits, he'd somehow sneak into my room. The first time it happened I was taken off guard, he never had shown an interest in me. No once could I recall any moment where he even asked how my day was. Yet, when he came home on Friday nights, that was all I could hear.

Tonight was no different, of course. I sat on the sofa, up late watching whatever k-drama Netflix had to offer that would stimulate my romantic ability. I'd never been romantically perused; men seemed to tiptoe around me, too intimidated by whatever quality seems to be so offputting to them. Anyone but Rin.

I could hear when he arrived home. The lock was being messily fiddled with, his drunken state rendered his ability to think cognitively or with any real consideration. Soon the door would finally open, swinging all the way to the wall.

A large waft of alcohol and weed forced it's way into my nasal cavity; reminding me of the man himself. Looking over to him, he stood facing backwards to the door, which puzzled me for a moment. Then, as if to answer my question by some hand at fate, another woman walked in behind him.

She was skinny, slender if you will. Tall, too. Her hair was long, skin coated in a thick layer of body glitter for whatever low-life party they were coming from. I wanted to pretend like this wouldn't phase me, but in the depths of my heart, it pulled. It hurt badly, so bad my face noticeably dropped.

""What's 'sur problem?" He asks, sloppily throwing his arm over the womans shoulder. She was so out of it her responses were only incoherent grunts. Classy. I rolled my eyes, standing up and gathering the things I had settled on the sofa.

It didn't hurt so much that, in a drunken state, he picked up some random woman. It hurt because then I realized how much I actually wanted it to happen. I had shaved, done my hair, and even put on a cute set of lingerie that had been collecting dust in my drawer since my first year at University.

The low glow of his bedroom light flickered on, causing both parties to squint. He then shut the door, no- slammed it. I sighed, letting a wonton groan escape before I secluded into my room for the night; sure to wear headphones.

By the time morning light seemed through the edge of my black out curtains, the woman was gone. The only sounds emitting from his room were low-groan like growls in his sleep. I stood, warm feet padding on the cold wooden floors in a hushed tone.

To the kitchen I went, turning on some light lo-fi on the Alexa that sat next to the stove, and beginning to cook a small breakfast. Eggs, bacon, and biscuits. Nothing too crazy, afterall, we're in Uni.

Apparently the smell awoke the sleeping bear, seeing how he groggily stumbled from his room. I didn't know how to feel. Usually he saved sex for me, which always made me feel like we had something exclusive. I was in for one rude awaking, now feeling nearly embarrassed at my ignorance.

"Mornin' beautiful. Whatcha makin'?" He asked, opening the refrigerator and grabbing a water. "Eggs, bacon, and biscuits. The pain medication is in the cabinet to the left, for your hangover." He smiled, nodding and grabbing the bottle from the cabinet.

I reached up into the one above my head, grabbing two plates and organizing a hearty breakfast for the both of us; especially him. He thanked me silently, taking the plate from my hands and making his way to the sofa. He turned the TV on, getting lost in whatever was playing at this hour.

I sighed, opting to eat at the counter instead of with him like we usually do on Saturday mornings. "Oh, I'm goin' out with Kita tonight, would you wanna come? Unless yer' totally wrecked from last night." He broke the silence, making me look up. Last night?

"What do you mean 'wrecked from last night'?" I asked, sipping on the OJ I had in a pink cup set aside from before I started cooking. Rin turned around, almost to question my sanity. "Don't you remember? I totally wrecked you last night, pretty thing." His words were quite literally laced with certainty, nearly making me laugh.

"Uh- no, you didn't. You did however completely destroy some bar hopper, though. At least that's the sound of it." I began to chuckle, opening my phone. Kita's Snapchat was full of videos of last night, so I turned to show him one of him and the woman he had brought home grinding on the dance floor.

"Oh shit. 'm sorry (F/N), I really thought it was you-! I swear I didn't-" He sat the plate down, only to be held up by a wavering sway of my index finger. "We're not exclusive, don't worry Rin."

He, however, didn't seem to 'not worry', as I had asked him not to. "No, no-" He started, walking over to me. He took my plate into his own, sitting them in the sink. Once done, he turned to me. "You don't get it, darlin'. I told that woman somthin' that was meant for you."

I arched a brow to his disposition, leading him to groan and roll his eyes. "I told 'er that I loved 'er!" He spouted, visibly frustrated and embarrassed. My eyes shot open, darting to find his own, but to my disappointment he had been glued to the floor.

"L-Love? Like- love love, or-" He stopped me, putting his large, calloused hand over my mouth. Once clasped, he spoke. "Love love. Don't feel special or nothin'. It's embarrassin'." I smiled, pulling his hand softy away from my face. The silence spoke waves as he stared down at me. Then, as it happens, I kissed him. He kissed back with a passion, or rather fury. His right hand snaked around my back, left finding its way to my neck, comfortably.

"R-Rin," Breathlessly I spoke agaisnt the skin of his cheek, his kisses finding a path to my neck. He chuckled darkly in amusement, gripping his large hands around the base of my thighs, then my ass. Quickly, by some form of magic, he picked me up and held my around his waist; like I was paper.

His kisses desperately continued lower, legs taking us back into his room as if it were some sort of automatic response to my hands running in his hair, tugging on the locks. Groans could be heard wide from both of us.

Sitting me down on the bed, he lowered himself onto his knees, looking up at me devilishly. Almost ominous, you could say. "R-Rin what are you doing?" I asked, panting from the loss of breath. He smiled, pushing the palms of his hands around the balls of my knees, wedging my thighs perfectly apart.

"Givin' you what you deserve." He spoke, hot and sloppy kisses making their way down my thigh and onto the lewdly clothed part of my cunt. Without hesitation, Rin reached under me, pulling at the waistline of my pants. Scooting just enough for them to release and relapse off my legs and into the floor.

"'s good for me. Aren't ya, darlin'?" His words dragged, sleepy, groggy. I nodded, releasing a pent up breath when he gently thumbed my swollen clit. "Yer so fuckin' gorgeous, god, I'm such an idiot." He spoke against my clit, tongue now delved into my slick folds.

My hips arched forward, begging for more. He reluctantly denied, teasing me of my furthered pleasure. He then backed away, pushing his boxers away from his hips and into the floor with my panties.

His cock was pulsing; leaking precum, a perfect pink. It begged to be touched, I could see it's long length twitch. "Take a picture, it'll last longer." I rolled my eyes, looking to the ceiling. "Sorry, you're just so hard." Honestly, he always had been- but this time looked desperate, like he was ready before he even sat me onto the bed.

"'cus you get me so hard, baby. Don't you know? Shoulda figured it wasn't you last night, my cock wasn't nearly as sensitive." His hands ran into my hair, cock lining up with my wet entrance.

I moaned as he put it in, filling me up full of his thick cock. I knew he should have put on a condom, but fuck it, I needed him now. His heavy breathe rolled across my chest like a blunt on a trey, hands cascading my body like a clay mold.

"'s pretty for me.." His praises worked harder on me, cock pushing in and out at a perfect pace. Our moans fell together, his pelvis softly rubbing against my clit with each thrust; stimulating it further. His mouth found way to my own, engulfing me into a shameless-sloppy kiss. "I love you.."

My face began to heat up, lower body matching in a needy state. "I-I love you too, Rin." As the words carelessly fell from my lips, I could feel myself begin to convulse. Shaking, my hips turned up, meeting my peak with Rin right after; cumming deep inside me, filling me full as he always did.

His hand rested on my stomach as he pulled out, leaving me empty. His thin lips met my forehead, giving me a small kiss before lying beside of me. Wordlessly, we cuddled against each other, naked- without care.

His hands were on my body politely, never tracing a single inappropriate spot. "'m sorry, love. I didn't mean to." He spoke into my hair, big spoon feeling much smaller now. I chuckled, holding his hand fondly into mine. "Don't worry 'bout it. Just get ready for Kita and I to rank on you about it."

[remedialaction]

So, the more I think about The Last Jedi, the more problems I have with it. I came out of the theater thinking I loved it but had a few quirk moments that really annoyed me, but as time has gone on I’ve reached this point where I simultaneously love it and hate it, and I’m just going to embrace that and both love and hate it in equal measure.

And because of this, I have a lot to say and I’m just gonna go ahead and post it. Obviously, under a read more cus I’m not gonna bother attempting to hide spoilers. This may ramble some too, but whatever. Time for Starcourse!

The first thing I have to make clear about The Last Jedi is, to me, it did not feel like a Star Wars movie. By this I mean that the way it was shot, the way it was written, the way it is placed inside the whole cinematic series just doesn’t feel like a Star Wars film. Some of this is on a meta level: it begins mere moments after the end of The Force Awakens, and that sets it apart from all the other films, which have massive gaps between them. 

The Last Jedi and The Force Awakened could be one movie, in many ways, and that’s not really a good thing, because regardless of anything else, it begins to break down the feel of what a Star Wars movie is. However, the issues that make me say this go on further. On a technical side, the scenes don’t FEEL like a Star Wars movie. There are many things to say about George Lucas but I feel the cinematography in his films was, at the least, distinct. And that distinctness left a clear impression.

But The Last Jedi doesn’t really have that. It’s shot radically different than other films in the series, I felt like. And so that contributes to the feel that it’s a movie using Star Wars props and settings and characters, but yet not feeling like a Star Wars Movie, if you catch my meaning.

Another issue is music. In prior Star Wars films, the music is as much a part of the scenes as any other element, and it stands out in my head. I can hear the music when imagining the scenes, the music is distinctive because of how the scenes are shot and scored. I don’t remember any of the music from The Last Jedi, and while I’m sure it’s actually fantastic it just... didn’t capture me the same way. I’m not sure why yet, and it’ll take multiple viewings to really grasp it probably.

Moving on, the way it’s written also doesn’t feel Star Wars. I mean this in two ways: it’s pacing is all over the place, it’s dialogue feels out of place, and the humor, while occasionally actually good, doesn’t feel like Star Wars humor. I want to be clear that for some of these, much like the above comments, these are not necessarily reasons why it’s a bad movie, but perhaps why it may be a bad Star Wars movie. Other cases, though, absolutely mark it out as just bad writing regardless, but I’ll touch on that in each case.

Firstly, the humor. There is a lot of attempted humor in this film, some which works better than others. I’ll admit, while I found the opening bit with Poe and Hux amusing, it felt utterly out of place. It’s basically an extended version of the scene from The Force Awakens, which itself felt out of place, particularly given the context. In that, we literally just saw a mass slaughter of a village and you’re now doing a comedy bit. Not only that, Star Wars doesn’t really do comedy bits. The humor in Star Wars is delivered in different ways, but the timing is also key. This is akin to Padme cracking wise after Anakin talk’s about how he killed all the Tusken Raiders.

In The Last Jedi, there is less of a poor timing, but the entire bit robs the film of momentum, and also serves to render Hux into a buffoonish character (which I’ll touch on later,) and it just doesn’t feel like Star Wars. It’s funny, but out of place. In a lot of ways, I include Luke’s flick of the saber (though I think that also works well enough) but even more so his dusting his shoulder off. The former at least serves well as a shocking sort of moment. The latter serves to break the drama and scale of it all. Included in this, though, are Poe’s ‘permission to jump in an X-Wing and blow stuff up’ line, which again, just feels... out of place given the situation. It robs the scene of seriousness.

Which is sort of the major issue; I don’t feel like The Last Jedi takes itself seriously. Or, at least, it doesn’t do so consistently. Lines like that, or then lines like Rey when Kylo shows up in the mind link shirtless, and so on just serve to make it feel... less serious. Some might say it grounds things, but that’s the big issue: Star Wars isn’t grounded. It’s a Space Opera, it’s epic fantasy in space, and The Last Jedi doesn’t feel epic. Indeed, the whole film seems... small.

This is as much an issue with The Force Awakens, though, in that it really fails to establish the sort of scope of the First Order, and the Resistance really comes off as minor as well. It continues in TLJ though in that it really just never feels like things are ‘a big deal.’ We’re told of things but it’s very mixed on actually showing, I guess? Or the showing just... falls flat.

Linked to the issue of it taking place right after The Force Awakens, the whole film takes place in, arguably, the course of, what, a day? A few days? It’s hard to tell. At first, I thought it was only literally about a day because they literally give hour counts on their fuel but Rey is with Luke for what seems like a few days. Yet the pacing is such that thing seem both too slow and too fast. There is no real sense of time in a lot of the scenes, and that really causes issues with the pacing. And also with things like Rose and Finn, because we’re talking about people who just met at most a few days ago, on less then stellar circumstances, and then things progress so very quickly, and it seems... out of place.

And then we get things like the entire Casino subplot, which irks me on many levels. First, the intentional aping of the Cantina introduction with a reworking of the ‘scum and villainy’ line, the panning around of all these fantastic and weird aliens and all, and whatnot. Sort of clever, but it just gets hamfisted when Rose goes on to imply that the only way to get this rich is arms sales. I damn near groaned out loud at that moment, because this is a movie by Disney telling me the only way to get rich is arms sales. Eat my ass, Disney! You mean to tell me there are no Space Googles or Space Comcasts or Space Disneys? It doesn’t even make sense!

Particularly not when we just had a bunch of movies about the Trade Federation and the Banking groups and other members of the Confederacy that were rich, and thus had a lot of arms to defend their financial interests, rather than being rich BECAUSE of their arms. And then we have the whole stampede through the city, and how great it was to stick it to them... yet are you trying to imply EVERYONE in the city, all the stuff you broke only belonged to rich arms dealers who are assholes to kids and kick puppies or something? I get that Finn is new to this, impressionable, and so on, but he went from being amazed and loving it to literally being glad they smashed stuff up.

Also, the alien dude with the southern accent was terrible. Should have let it be an alien language and just let us UNDERSTAND through VISUAL STORYTELLING. You know, like we got with the Kubaz who ratted out Luke and Han and them in A New Hope. Indeed, not doing this makes the whole universe feel small. Aliens just aren’t used right.

And honestly, I’m just going go through a long string of ‘why’ questions that really irked me, in no particular order or organization. These aren’t all equal complaints, but they’re just things that got to me...

Why are the bombers literal bombers, when we had Y-Wings and B-Wings in the other movies that clearly were strike craft with heavy payloads for the sort of thing they were doing. Why would you ever have a literal ‘bomber’ in space, given there is no gravity for the bombs? That whole sequence also makes the Resistance feel very very small, because it doesn’t feel like a lot of ships get blown up but apparently that’s their WHOLE bomber wing?

On that subject too, Poe gets hemmed up for disregarding orders and taking out the dreadnought, abet at heavy losses, to the point that he gets demoted and the Vice Admiral (who, by the by, I really hate the design of. Leia looks at least paramilitary in outfit, but she is just straight up wearing a dress and it just feels... out of place) treats him pretty badly despite later saying she actually understood and likes him, but later, when they get caught due to their hyperspace tracking stuff, it becomes utterly apparent that it was absolutely a good thing that Poe did what he did cus had he not, the Dreadnought could have just blasted them from space. Instead, they manage to outpace them because Poe’s desperate gambit took out the ship that could have blasted them due to its superweapon guns.

On that subject, how the hell does ‘out of range’ in a vacuum work? Like, I guess the argument is the energy dissipates but how the hell can they maintain that speed that always keeps them at range yet never outpaces them? And why doesn’t the supermassive Snoke battleship have those same guns? (Also the way these ships are introduced is meh, not like how they did the like Super Star Destroyer in the original trilogy, but that gets back to how the movie is shot and not feeling right.) 

And how the hell does on person manage to fly that massive Mon Cal ship, anyway? How come the massive damage done by it ramming them going into hyperspace is played up yet apparently the ships are still mostly functional, at least enough to get folks down to the planet and all? That felt very odd...

And on that subject, the planet! The whole plan seems so very odd. How the hell did they manage to fly so far on sublight speed to get in range of this planet that just so HAPPENED to be an old rebel base (which only has one way in an out, for some reason,) and somehow no one saw these planets? Or, you know, the SUN it must be orbiting? And why not TELL people this plan, like what was the purpose of KEEPING IT SECRET? Particularly not when you have a hotheaded and brash guy who already is on notice for disobeying orders he thought was wrong, and you think your little stern talking to was gonna shut him down? Really?

And the irony is, Poe got hemmed up for his scheme to take out the dreadnought, which ended up being not merely good but necessary. But no one really talks about how his scheme to shut off the tracker, which led to the First Order becoming aware of the transports because the slicer (cus he’s a slicer, not a codebreaker, again, use the damn Star Wars-y terms, film!) ratted them out, and that leads to, what, like 90% of the Resistance dying? For that matter, how big IS the resistance, cus you seem to have enough folks to fill the trench yet apparently everyone fits on the Millennium Falcon in the end?

And why the hell is Finn piloting one of those speeders anyway? He’s not a pilot, we’ve literally been shown he was figuring out how to operate the guns on the TIE Fighter and Falcon but he explicitly NEEDED a pilot, that’s why he rescued Poe, after all, and that’s why Rey piloted their escape. If anything, he should be with the ground forces cus that’s his expertise. And speaking of expertise, how is it that this one guy who was a janitor apparently was a janitor for Starkiller base, and thus knows his way around that in a complex and technical way, and ALSO knows his way around Snoke’s superbattleship, in a complex and technical way? That seems... weird.

Like, I liked when Rey could navigate Starkiller base cus she was familiar with Imperial tech and designs from crawling around in them her whole life. Finn being that knowledgeable seems... sort of weird. 

On the earlier thing, why is Hux portrayed in an almost buffoonish way? It robs him of any menace. His other officers seem more competent, and he just seems... very very NOT competent, and it sort of messes things up. It robs some menace from the First Order when he’s the on in charge.

Why does everyone seem to get to where they’re going instantly? Travel time seems simultaneously a plot point and non-existent.

Why introduce Snoke as this strange character if you do basically almost nothing with him? Like, the Emperor at least had build up and then sort of mattered. And yeah, they could reveal more in the third film but that’s... really not helpful for THIS film feeling odd. And then the biggie: Rey and Kylo. And I don’t mean any sort of romantic overtones cus I actually like how they handled that, with Rey conclusively saying fuck no to Kylo and thus squashing that as a thing (though I know some folks refuse to see it that way,) 

What I mean is that Kylo’s ‘let the past die, kill it, and start over’ ideology is basically the exact same thing that Yoda is telling and what is happening with the Resistance and Jedi. Which, honestly, is itself fairly stupid and I object to this idea that somehow she already knows any of the good things in ‘old religious texts’ and whatnot, because of broader implications, but if you’re gonna have that message then why show that actually they saved the books and their on board the falcon at the end.

Honestly, there is probably more that I’m missing but this is the general thrust of things. I want to be clear, though, I actually liked a lot of it. Finn is still the best character, even if put in situations I don’t actually totally agree with. The humor was legitimately funny, and sometimes actually fit well. BB8′s constantly trying to pluck the ‘leaks’ and then using their head to do it felt both funny and very Star Wars-y; I can see R2 doing something like that. (though, as a note, that R2, C3P0, and Chewbacca all get basically no real place again sort of stands out. R2 and C3P0 being major aspects of the Star Wars franchise is sort of a big deal. They’re supposed to be there, and they’re really not in this.) 

But the fight sequences are pretty damn good, with a few minor hiccups, and like I really enjoyed the film while watching it. I’ll certainly watch it again, but there is so much that I feel also was just in JUST to tweak with people and Rian trying to play gotcha games, and it, at the core, just didn’t feel like a Star Wars movie. It’s a movie using Star Wars trappings in ostensibly the Star Wars universe, but it just...

Didn’t feel like Star Wars.

[dontbeallupinmyfriesdawg]

It's weird how everyone says that tvd hates it's female characters. I always looked at tvd/to as representing great feminism. Like all of the female characters have some type of badassery in them. But then I came on here and everyone started saying how tvd treats it's female characters very badly.

Here’s a brief, non-extensive rundown of the treatment of female characters on the show.

Elena

Definition of a Mary Sue Character

Abusive relationship with Damon 

Pre-relationship

http://dontbeallupinmyfriesdawg.tumblr.com/post/144617501355/itsana00-mikaelova-why-dont-you-ship

+ post relationship he was manipulative, controlling, killed her love ones when she did things he didn’t like etc..

Lost all her morals and a lot of her personality and agency via her relationship with Damon

‘Special Snowflake Syndrome’

Constantly has all her choices made for her

Caroline

Raped by Damon

Fed on by Damon

Physically harmed by Damon

Emotionally abused by Damon

Didn’t really have any individual storyline after season six

Was never put first in her relationship with Stefan

Was slut-shamed for her best friend over her rape

was never apologized to or got any resolution or closure on the situation (the show just pretended like it never happened.

Made her mom (Liz) BFF’s with her rapist

TVD just stuck two babies in her and Caroline never even had an opinion on it like she just rolled with it

Was kind of treated like shit by Stefan in s6

Is constantly forced to be around her rapist

is called derogatory things like Barbie and Blondie by said rapist

Bonnie

The list is too bloody extensive so here are some links

x x x  x (Skip to tvd) 

Katherine

For such a badass character she the most disappointing anti-climatic death in history

why is that her agenda (even after rising from hell) was always to get back Stefan? The show couldn’t have her focus on something more important like uh, idk her daughter?

that whole Damon torture scene while she was on her death bed

Was nearly tricked by Klaus into sacrificing herself and dying and when she had the audacity to save herself she was punished by way of Klaus murdering her whole family and hunting her for centuries

Rebekah Mikaelson

Suffered within a pretty abusive relationship with Klaus for centuries

Rose

Needlessly murdered

Grams

Needlessly murdered

Lucy

Needlessly murdered

Isobel

Needlessly died

Andie

Raped by Damon

Had her consent and memories compelled away

was used as a pawn and needlessly killed by ripper!stefan

Vicki

Was turned just cus Damon was bored and wanted a plaything

he never explained anything to her or taught her how to be a vampire he just abandoned her so she went into maniac territory forcing Stefan to kill her

Davina

The entire situation involving her death. Enough said.

Like Bonnie and Caroline she’s a real punching bag character 

Hayley

Created to basically be a plot device

http://dontbeallupinmyfriesdawg.tumblr.com/post/155398150610/mrslackles-orriculum-yknow-how-you-want-to

Became one big orgy of special snowflake syndrome and the Mary sue on TO

Her only purpose (and storyline thus far) has been to give birth to and raise the magical miracle baby

Camille

Well… you saw what happened to her.

basically just created to be Klaus’ moral pet

to tell him how wonderful he is

even when takin her dying breaths

had no agency

literally created as a love intrest and a love intrest only

Sybil 

A riduculous, poorly written villan that was given zero thought

Cade

See Sybil’s bullet point

Gia

Died needlessly an intresting, funny poc female who became collateral damage instead of well rounded character

Keelin

Currently in a relationship with the woman who threatend, catured and enslaved her

Qetsiyah

Treated like shit by Silas

Was the third wheel in her own love story

Lexi Branson

Was murdered needlessly by Damon

Could have had a storyline outside being Stefan’s best friend

deserved better

Jenna Somers

Died needlessly

Nadia Petrova

Died Needlessly

Sarah Nelson

Didn’t desreve to get caught up in that whole Enzo/Stefan/Damon/Matt drama

Sarah’s mom

Was murdered spitefully by damon out of revenge

Anna

Needless murdered

Liv Parker

Was interesting and could have had a better more extensive storyline

was killed needlesly

Jo Parker

See Liv Parker’s bullet point

Penny Ares

Was killed needlessly

Nora Hildegard

Died needlessly

Mary Louise 

Died needlessly

Emily Bennett

They could have presented her as something other than a slave

Sage

Was a cool character

Died needlessly

Sarah

Died for plot

Aimee Bradley

See Sarah’s bullet point

Carol Lockwood

Was murdered spiteully and horrifically by Klaus out of revenge

Had too many scenes in close proximity with damon

Monique

Okay she was trifiling but she didn’t have to die

Ayana Bennett

http://dontbeallupinmyfriesdawg.tumblr.com/post/156183084590/ayana-bennett-the-original-witch

Ivy

Was Stefan’s way of passing the time while he ignored Caroline and his problems and then died just cus

Greta Martin

Was Klaus’ groupie

died

Kimberly

Murdered along with her pack spitefully for the sake of revenge

Mindy

Died so ripper!stefan could make a point

Paige 

died with her pack

Dana

Died cus Klaus was bored

Amara

Was a slave

Then a mistress

Lived in agony for thousands of years

Died

Liz Forbes

As said, was made to be friends with her daughter’s rapist. I just wanna reiterate that…

Sophie Deveraux

Died

Mary Porter

Died because of Kol’s paranoia

Do the tvd ladies have some badass-ish moments? Yes. But mostly they are used as plot devices or hangers on for the male hero, the are used and abused to progress the male character’s storyline. TVD and TO’s writing is embedded in misogyny (with the poc females getting it worse) and therefore so are most of the ships.

Further reading:

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If anyone has anything else to add feel free.

[pubtheatres1]

JESSICA INNES ON MULTI-ROLING IN ‘Trainspotting’ Jessica Innes portrays Gail Houston (Renton's Girlfriend), Laura McEwan (Tommy's Girlfriend), June (Begbie's Girlfriend), Cathy Renton (Renton's Mother) and more in Trainspotting. Q. How do you make the changes of character in Trainspotting? In 75 minutes, playing 7 different people, you can only do so much to change your characterisation – I focus a lot on my voice. I get recognised, a lot, for my distinctive husky tones. I use this as much as I can in shows - heightening my voice for young Gail, but taking full advantage of my deeper tones for the sultry, sexy Laura and for the tired and desperate Cathy Renton (Renton’s Mother). Sometimes I have to quickly use Emotional Recall – an acting method where we think of a similar situation we have been in to that of the character we are playing. We draw from our feelings at the time to give a more realistic representation. The characters I play range from comedy, to tragedy, to powerful, and weak, and that also helps when I give myself intentions as an actor. Giving myself different intentions (or goals) with each character also helps me change character. Q Have you ever had difficult moments? I would not say I have had any difficult moments, but the challenge is very different from the other actors. Looking at the characters, especially of Renton (Gavin Ross) and Tommy (Greg Esplin), they have to create one in-depth journey for the audience to believe in 75 minutes. I have to build seven different emotional journeys that last under 10 minutes each, but have to be equally believable so that the audience can feel something for my characters too. That is my challenge – my favourite challenge – and I wouldn’t describe it as difficult, but if it were easy then it would not be theatre! Q Do you use costume and make-up to help to change characterisations? Yes – Adam Spreadbury-Maher, the Artistic Director of the King’s Head and director (alongside Greg Esplin) spoke to me about costume specifically for the characters of Gail Houston in the innocent white, Laura McEwan in the fiery red and June – Begbie’s pregnant girlfriend – in dark blue, etc. These colours were to highlight the emotional status of each character. It was then up to me to design the costume, as I have to be able to get in and out of them as quickly as possible – maybe a skill better left off of the CV! Make-up stays the same because I have absolutely no time to change it! I do a lot more with my hair though – I got an undercut so I can change it to differentiate between characters. Q. What’s your favourite character and why? My favourite character is Cathy Renton – she is the only woman in the play who does not cry, swear, or is beaten up. She is the strongest woman in the play as she is the one who saves Renton’s life after his overdose. She is powerful enough to convince him to come off heroin. My favourite comment I ever heard from an audience member about Cathy Renton was a man giggling at the end of my scene and whispering to his friend “that is exactly like my mum!” I was over the moon that I had managed to capture a character - over twice my age - which someone could completely relate to. I also receive a lot of comments from audience members who say they too love Renton’s Mother – which is incredibly sweet! I also love the character of Laura McEwan. She has challenged me as an actor so much, as I have to strut about on stage in a bra and thong. I laughed with the other cast members a lot saying “it’s great if you’re sexy by accident, but I have to BE sexy!” Scary times! She is a brilliant character though because she is so independent and strong. I have the incredibly fun task of grabbing a man in the audience and shouting at him “no f**king guy ever hurts me!” … she’s brilliant! Q Is it important to put something of yourself into your characterisations and what do you bring? I don’t think you can act without putting a part of yourself into a character. You have to be believable and relatable in some sense so that the audience travels with you through the scene or the play – that’s my favourite part of theatre. The audience comes with you through your emotional journey during the play instead of just observing a live story. This is especially why I use emotional recall. I am 22 so, to portray Renton’s Mother, I think about my younger sister and remind myself of situations where I have wanted to help her, to get across the maternal instincts needed for the scene. Sometimes it can also be a way to vent yourself through the words of the character – like Laura McEwan, who dominates men and does not tolerate being hurt or treated badly. The same goes for June, who is submissive to her boyfriend and tries to excuse every fault. We have all been both of those girls!! Q The range of your performing credits are unusual, including playing an elderly woman, falling in love with half eagle/half man, the taxi driver with a split personality, an Aristocratic Lady in a ballet, and my personal favourite a parrot puppet? Just how challenging were these roles? Haha – that has to be one of the strangest questions I have ever been asked. I suppose the most challenging (but fun) piece, was when I did a physical theatre piece with puppetry – the parrot puppet! The story was based off of Flaubert’s Parrot – a very strange but excellent story indeed, written by Julian Barnes. It was difficult as I had to make everyone believe in a beautifully handmade parrot head that was attached to my hand – especially when the parrot died in our story, it was wonderful to hear the audience “aww” at the tragedy. The taxi driver with the split personality was equally wonderful to play, because she literally changed on every sentence – sometimes even half way through a sentence. The audience’s reaction was amazing, and I used a lot of my voice in that character using ominous dark tones for this comical character. A fantastic question I repeatedly got asked after the show was “how do you do that with your voice?” … I wish I knew the answer. Q In your CV I see that you have other skills including Burlesque and ballet. Useful? I did not go to drama school after college. I took a leap and luckily landed into In Your Face Theatre and started touring shows. I use a lot of workshops and short courses to build my skills, including Dance. Burlesque has a lot of acting in it as well so I thought that would be perfect to get some skills in – this definitely helped with Laura McEwan and finding the confidence to be in underwear. Ballet is great for every actor to control posture which helps with breathing. I love spending my time doing workshops because I meet a lot of people - it’s great for networking, confidence building, skill developing and it’s fun. Trainspotting is now on tour after a sold out run at The King's Head Theatre, Islington, London - 2-27th February 2017 Cu Jessica Innes is represented by Van Rensburg Artist Management

[jillmckenzie1]

The Feel Bad Movie of The Year

Not long ago on my birthday, I decided to do something for myself. To celebrate my inevitable march toward old age and the grave, a drive in the mountains was just the thing. I fired up the trusty Prius, put my iPhone music on shuffle,* and off I went into the majesty of Colorado’s iconic Front Range.

I stopped at Flagstaff Lookout Point. The road to the top was closed due to snow, and I figured a little stroll would do me good. After a few minutes of picking my way through the recently fallen snow, I became acutely aware of two things. First, as far as I could tell, I was the only one up there. No families frolicking in a winter wonderland. No couples blissfully holding hands as they experienced the beauty of nature. No drunk CU students running down the trail wearing short shorts and flip-flops.

The second thing was the near-total silence. Initially, I was on auto-pilot as I walked. I gradually noticed no birdsong, no critters snuffling in the underbrush. Just the far-away sound of wind mournfully blowing in the trees. At that moment, it occurred to me that if I were killed, nobody would notice for a very long time and that nature would continue on, oblivious to my presence-or lack of it.

When it comes to freaking people out, atmosphere is key. Standard horror movies rely on startling people, and a character will jump when a cat/monster/serial killer/pan of lasagna bursts out of nowhere. Movies that take the time to create a feeling for the world they inhabit are worth paying attention to. Despite thin characterization and a story that doesn’t quite hold up under scrutiny, The Lodge is a film definitely worth paying attention to.

Our protagonist is not Laura (Alicia Silverstone), as she only appears in the first few minutes of the film. She’s separated from Richard (Richard Armitage), and it seems they’re on good terms. Their son Aiden (Jaeden Martell) and daughter Lia (Lia McHugh) have adjusted fairly well. That will change. Richard informs Laura that he’s ready to move forward with a divorce. He’s been seeing Grace (Riley Keough), and they have decided to get married. With that, Laura commits suicide.

Months pass. Understandably, the children are upset, withdrawn, and they cling to each other as a source of support. As happens in the aftermath of a tragedy, Richard struggles to do his best and he comes up with a plan. He owns a remote lodge nestled in the mountains. The plan is for Richard, Grace, and the kids to spend Christmas together and forge a bond that’s real and lasting.

That will not happen. Aiden and Lia still mourn their mother, and they resent Grace’s intrusion. A little internet research shows them that Grace was the only survivor of a suicide cult and that Richard fell in love with her while writing a book about her experiences. She’s grappling with her own trauma, and when Richard announces he needs to leave the lodge for a few days to take care of work, he asks Grace to take care of the kids while he’s gone. She tells him everything will be fine. It won’t be.

If you’re looking for a fun night out at the picture show with your sweet babboo, I cannot recommend strongly enough not seeing The Lodge.** Do I think it’s a bad film? No, not at all! Directors Veronika Franz and Severin Fiala particularly excel at creating a feeling of hopeless dread. We’re deep within slow burn territory here, and Franz and Fiala use immaculate production design, unsettling cinematography, and a musical score that’s minimal but powerful to communicate a very specific message to the audience. Terrible things are going to happen, and nothing can stop them. The design of the namesake lodge alone is worth the price of admission. It feels slightly too big, slightly oppressive, and when characters make a fire in the fireplace, the light never feels cheery. It feels like a cry in the darkness.

Their script, co-written by Sergio Casci, isn’t constructed with quite the same level of care. Again, let me be clear, it’s not badly written. In fact, they take the time to examine how trauma and religion can ripple through a person’s life, and how sometimes it simply can’t be managed. It’s dark stuff, and solid characterization would have taken the script to another level. Instead, we’re kept at arm’s length from the characters too often. There’s also a plot point that requires some strenuous suspension of disbelief. I think ultimately it doesn’t matter, considering the kind of movie Franz, Fiala, and Casci were looking to make. Their goal is to unsettle and create a growing sense of religious paranoia, and they succeeded.

The cast is solid, and there are two performances that bear mentioning. I liked Riley Keough as the unpredictable Grace. Early on, I had a bit of a hard time sussing out her motivations. Did she genuinely want to connect with the kids? Did she just tolerate them? Were there darker motivations at play? Keough plays her cards very close to the chest, and I liked her struggle between mental illness, familial discord and the creeping isolation of the wintry outdoors.

As I said earlier, Alicia Silverstone’s Laura isn’t our protagonist, but her presence looms throughout the lodge and the lives of the characters. Silverstone is a performer who never quite got the respect she was due. She’s equally skilled at comedy and drama, and she’s best known as the bubbly Cher in Clueless. In a way, she’s become a cinematic icon, a likable one, and here she takes that energy she’s known for and curdles it. It’s genuinely shocking to see a performer with that degree of likability go that dark that fast.

I can’t imagine most people will enjoy the experience of watching The Lodge. Only one or two jump scares exist, the only character who is heroic is also utterly ineffectual, and the film is drenched in a profound sense of hopelessness and doom. That’s fine. Franz and Fiala made precisely the movie they wanted to make with skill, and they were backed up by a studio that supported their vision, no matter how bleak and wintry that vision might be.

  *There’s something a little weird about driving through the glorious desolation of the Flatirons while “911 Is A Joke” plays.

**Though there was a couple on a date sitting next to me. As the credits rolled, the woman turned to her partner and said, “So the moral of the film is, never introduce your kids to your girlfriend.” She got a massive laugh.

from Blog https://ondenver.com/the-feel-bad-movie-of-the-year/