#Degree In Useless

[inspectorspacetimerevisited]

The Eleventh Inspector’s claim to have a degree in winemaking

was a callback to the Second Inspector stating he held such a degree.

[blvvdk3ep]

I love you people going into "useless" fields I love you classics majors I love you cultural studies majors I love you comparative literature majors I love you film studies majors I love you near eastern religions majors I love you Greek, Latin, and Hebrew majors I love you ethnic studies I love you people going into any and all small field that isn't considered lucrative in our rotting capitalist society please never stop keeping the sacred flame of knowledge for the sake of knowledge and understanding humanity and not merely for the sake of money alive

[sadbugbois]

I read svsss and I really liked the way they didn't communicate, nobody does it like them <3

[bluberryfields]

This is what happens when you're raised by TV and trained in literary analysis

Beyond the crushing heartbreak of that finale, one thing in particular has stuck with me when I look at it in the context of S2 as a whole.

He lays out their relationship, "We're a team, a group. A group of the two of us. And we've spent our existence pretending that we aren't."

He then turns his head away and says, "I mean, the last few years, not really."

He pauses here, facing the interior of the bookshop. Really looks it up and down.

Turns back, "And I would like to spend" before choking on his words and looks toward the window. He can't finish saying something like "And I would like to spend eternity with you" because that's too much, too fast, for both of them.

But it's that "last few years" bit that has firmly lodged itself in my very broken brain.

According to Gaiman, it's been "a few years" since the end of Season 1. Armageddon has been averted. Heaven and Hell have reluctantly retreated. Crowley and Aziraphale have been effectively cut loose from their "sides," leaving them to form their own side.

So at the start of Season 2, we get a glimpse of the “fragile existence” they have carved out for themselves. To me, the biggest difference that we see is how they exist together in front of others. Going to the coffee shop, the pub, and the other shops along the street that Aziraphale has lived on for over 200 years. And don’t forget how they act in front of Nina, Maggie, and sweet, dim Muriel.

At the coffee shop, Aziraphale stammers a bit when Nina asks who Crowley is, but he still seems to have affection in his voice when he says, "We go back a long time."

Compared to Shakespearian "He's not my friend! We've never met before. We don't know each other!" panic, this is an incredible difference.

Of course, each time, Crowley is cool and cheeky and does nothing to indicate that they aren't a pair. Though, of course, he does deny it when Nina asks about Aziraphale being his side piece. “He’s not my bit on the side! He’s far too pure of heart to be anyone’s bit on the side.” And refers to him as an “Angel [swallows]I know.”

When they go the pub, Crowley's joy at doing something together in public that they do not normally do is super cute, including his cheeky order for Aziraphale's sherry. Then, when bringing the drinks over to the socially trapped Aziraphale, he greets Mr. Brown with a truly adorable, "Hello" and a signature DT smile. Then upon hearing how “excited” Mr. Fell is to host the meeting, he looks down and says, “Oh? You astonish me.” while Aziraphale sips his sherry and squirms.

We also watch as Crowley follows Aziraphale as he goes to each shop and talks to the owners about the meeting/secret ball. In theory, Crowley has no reason to tag along, and he certainly doesn’t help sway anyone who doesn’t want to/can’t go. He goofs around at the magic shop. He splays out on the bench, chin on hand, looking for all the world a husband waiting for his wife to pick out a dress at the department store. They are so married it’s ridiculous.

Finally, their behavior in front of Muriel while inside their sanctuary. Crowley sits on the arm of Aziraphale’s chair, somehow looking supremely comfortable on the old-fashioned furniture. He folds up those gloriously long limbs and presses himself as close as possible.

He smiles and plays along with Aziraphale’s coaching of Muriel in her disguise. Calls him Angel and asks to speak in private. And at the end, during the awful wait while Aziraphale talks with The Metatron, Crowley cleans up the shop and tells Muriel that he and Aziraphale will need some “us” time after all this. No beating around the bush. 

Without oversight, they can be openly together and happy. But Heaven just can’t let that happen. 

[surreal-duck]

some business to take care of

[vaperarmand]

L + ratio + trite + contrived + mediocre + milquetoast + amateurish + infantile + cliche-and-gonorrhea-ridden paean to conformism + eye-fucked me + affront to humanity + war crime + should *literally* be tried for war crimes + resolutely shit + lacking in imagination + uninformed reimagining of + limp-wristed + premature + ill-informed attempt at + talentless fuckfest + recidivistic shitpeddler + pedantic + listless + savagely boring + just one repulsive laugh after another

[dear-ao3]

as some of u know already i have a test tomorrow in my anatomy class. i’ve never studied this hard for anything in my life and i still know nothing. i have a bachelors degree in three separate fields, i graduated with college magna cum laude with separate honors in two of my majors, i took 7 ap exams, i took the sat, i have a certification that is incredibly hard to get. i have never been more stressed for an exam in my life. i know too much and also nothing at all. how do you stem people do this in like four classes at once.

[fellshish]

We need the tapes to kill putin

[dragonroilz]

engineer if he had 11 useless PhDs

[thenightisland]

in various conversations with my doctor about the insane life changing effect adhd meds have had on me one of the things he said was that it's not uncommon for people who have dysthymia/pervasive depressive disorder to have undiagnosed adhd at the root of the problem. and i think we forget that like. major depressive disorder is supposed to be something that eventually stops. it's episodic. like even people with depression very often are not in a state where it's just like. every day is a misery virtually nonstop for 15+ years. but with dysthymia/pdd it very much so is. which you can have pdd and mdd both at the same time too which is evil but anyway. it is wild enough conceptualizing that there is in fact a difference between the two things bc i very much so got depressed around age ten and just. never stopped. and when you live like that for the bulk of your life you just sort of get used to it? like it sucks but you just assume a degree of that is normal. so even on several antidepressants i never once aimed for "not depressed" i was always aiming for "mildly less miserable" i had just accepted that i would always be a degree of miserable and that my default was going to be feeling bad and if i was very lucky there might be a few days where i felt a little less bad now and then. the goal was "bearable misery" which is nuts to type out like wow! bleak!

anyway something i noticed when they started me on the adhd meds was that all the Racket in my head just. stopped. for weeks i just said to people "it's so quiet in there" because i didn't have dozens of loud competing fast thoughts all the time. and it took a while to pin down why this effect made me less depressed and worked better than literally any antidepressant had. and it's bc it /stopped thoughts/ and when i was depressed the Thoughts did not stop and they were not pleasant ones so i'd get stuck in these awful mental doom spirals and nothing i did would make it stop. and then this medicine made it stop. and it turns out it's much easier to not be sad when your brain doesn't have the Sad Channel turned up to high volume and is forcing you to deal with it clockwork-orange style. bc historically it was like oh god do we really have to do this again do we have to listen to the you will always be alone and unloved and nothing you do will ever be enough and your life will never be fulfilling in any way spiral again?? do we really have to i'm so tired. but now that channel is muted. a lot of channels have been muted. no amount of cbt/dbt techniques or various other therapy tactics had ever managed to mute those channels before.

and it's just insane it's like the thing about how stunned people with chronic pain are to learn that the normal amount of pain for someone to experience on an average day is none. it's just that but emotionally. bc even with the challenges i still have for autism reasons, most days now i'm fine. the emotional pain is zero on an average day. i now understand what people mean when they say "i'm having a bad day" bc there's a difference. but you see. all my days used to be bad. all of them. even the "good" days involved a degree of visceral emotional suffering and dread. and you don't realize how pervasive the bad is until the bad is the exception and not just an ordinary day.

i do not sit around consumed by the same thought patterns and doom spirals and mental quicksand now i'm just going about my day like an ordinary person and it's amazing how much less life /hurts/ and that's the only way i can think to put it is that every day used to hurt and it doesn't hurt now. past-me was incapable of conceptualizing a life where my baseline wasn't "profoundly and painfully sad and aching at all times" i was 100% prepared to just live like that forever!!!! and now if i have a bad day that's all it is an outlier i thought people in movies were just doing a bit when they had a "bad day" and the solution was just have a big piece of cake and cry a little and go to bed early and you'll feel better tomorrow bc i never felt better tomorrow! now i just feel better tomorrow if i have a bad day! most days the emotional pain scale is a 0/10.

like this is so long already but those of you who have been around for a long time you know how nuts this is for me. and i'm a firm believer in everything happens for a reason even bad things and for a few years i've been like huh wonder what the reason is for the whole getting beaten in the head thing though. well. it exacerbated the working memory issues. and it got on my goddamn nerves. so i asked to try this medicine so i could remember to get my soup out of the microwave. and then it fixed all the problems that have plagued me since i was a small child. and now i'm able to conceptualize a day to day life that isn't just Hurting all the time when i once thought i would never do anything but hurt.

[onebizarrekai]

I don't remember if you answered this question, but did you go to art school or are you self-taught? Have you studied from YouTube videos?

nah, I never did art school. I learned a few things from books when I was a kid and got signed up for a short summer art class one time, since I was thinking about being a professional artist and my parents were trying to help me along. I learned how to use digital art programs from tutorials when I was a teenager, but I haven't used tutorials much besides that. pretty much everything I know has been from observing other artists online and experimenting. so yeah, I guess that means I'm self-taught, haha.

I went to school for music and vocal performance, but I could tell a long story about the university I went to, how they weren't really qualified to train musicians and how I dropped out. I've already been working professionally as a performer for 7 years, working with a private teacher and as a teacher myself, and I have tons of experience that I never would've gotten at school, so it's all working out really well.

[heycarrots]

There’s been a lot of discourse about the nature of James and Miranda’s relationship. There’s even been a lot of discussion on my podcast about it. One thing I want to make clear is that my podcast is a platform for discussion on all points of view. I’m not going to agree, 100%, with everything that’s said, but it makes the views of my guests no less valid. There’s no right or wrong, here, because this is art and therefore, it is subject to interpretation.

My intent, however, is to attempt to get as close to the original intent of the actors as possible because we look at a show or a film or a play as going through several layers of distillation. Each level purifies the intended narrative leaving its truest essence.

When we make a reduction sauce using an alcohol of some kind, let’s say a red wine, the heat applied to it burns off things we don’t need for flavor. You’re never going to get drunk off of red wine reduction because there’s almost no alcohol left in it. That all gets burned off, leaving only the flavor components, which is what we wanted all along, anyway. We want that extra element that enriches the flavor of the steak, by adding nuance.

So let’s take apart that meal.

We start with the birth of the idea. The story kicks around in an author’s head, trying to get out, growing bigger and more persistent until it outgrows the confines of the mental box inspiration is stored in and has to be let out. That idea, that’s the cow.

The author raises that idea, feeds it, watches it grow, and then, ultimately slaughters it. That sounds awful, but once you have that idea pulsing, growing, evolving and then finally commit the final draft on paper, it is a kind of death. The life of the story comes to an end and it becomes memorialized in a mausoleum. Readers will come to visit, spend time with it, lay down flowers, cherish it, and mourn its passing.

The next level is adaptation. That’s the steak. There are many ways you can slice the story, large roasts encompassing the whole story or a smaller, hyper-focused character study fillet mignon.

A writers room gets hold of the cow and carves it up. They choose what gets cooked and what gets tossed. A GREAT group of writers saves the bones. They take in the entire supporting structure of the piece and while the whole story may not make it onto the screen, they will have slow roasted the bones for a stock. When you watch a show like Black Sails, where themes are introduced that won’t fully be explained or explored until several seasons later, that’s what that is. It is the stock being used to flavor the whole dish. You’ve distilled the entire cow to its purest essence and so every scene, every line of dialogue, every acting choice, encompasses the entirety of the story. A line from episode one is defined by knowledge of the finale and in regard to dialogue, defined by an actors’ knowledge of a character’s backstory. There are many writers rooms who are creating the bones of the story as they go, which means they aren’t starting with a rich stock. You can’t trace back character motivations or choices to begin with because those motivations changed throughout production.

Black Sails, again, isn’t one of those shows. Steinberg and Levine came into the writers room with their stock pot full and sloshing, spilling story everywhere. The richness of the details they were laying can make season one a bit hard to consume unless you are ready for a story on that level. Viewers need to come to the table with some bread to sop up all those character details because we WILL need them later.

Over the course of finalizing scripts and blocking out episodes, the steak is cooked. Like any great steak, this story is medium rare. More juice comes out with every bite. It’s what makes the show infinitely rewatchable. It continues to cook on the plate, but because it wasn’t overdone, it never dries out.

When the actors get ahold of it, that’s the reduction sauce we were talking about. That sauce provides nuance and flavor. That’s the emotion. A line of dialogue on a page is just ink. It’s nothing until it’s spoken aloud. And like any bit of language in this world, it’s subject to interpretation. In this case, it’s the actor who does the interpreting.

I spoke on the podcast about the art of subtext and how huge a role it plays in Black Sails. One example we used is Jane Eyre. It’s one of the most frequently adapted novels in the English language and with each adaptation, we get a new version of our characters. The most volatile and subject to change is Rochester. There are MANY versions of Rochester that I find appalling (including the original beast in the book), but each actor has formed him into something else, based on their performance. Toby Stephens takes Rochester and turns him into a silly tragic romantic, broken many times over by a society he never really fits into, despite the status of his birth. He connects with Ruth Wilson’s Jane because she fully and happily inhabits that space on the fringes that Rochester thinks he needs to climb out of. Jane takes his hand on the outside of the wall, turns him away from the guarded palace and shows him the wild world that was at his back this whole time.

This is what Toby Stephens, Luke Arnold, Louise Barnes, Zethu Dlomo, and really all the actors for whom their subtextual choices make them reflect like prisms, have done with their performances.

In the final distillation, character motivations and emotions are finalized by the actor. Writers can pontificate, the source material lies dead in its lovely tomb, but stories live and breathe by their storytellers.

What we’re left with is Toby’s face telling the world how deeply Flint loves Silver. Every single choice tells this story.

We’re left with Luke showing us how much Silver is repressing in his feelings for Flint. Luke’s face shows us an incredible depth of feeling and a door slamming shut.

We’re left with the incredible intimacy between James and Miranda, which speaks of a decade of shared physical intimacy. There’s an openness, a freeness to it until the moment in episode 3 when Miranda learns that James has found the Urca and is leaving soon to pursue it. She gives some of it away when she says “I thought I’d have you all to myself”. She is mourning the loss of intimacy that she only gets in short windows of time. They aren’t strained because James isn’t attracted to her, but because he’s rarely there. She has him for a few days at a time before he’s off on another hunt. The coldness starts from the moment he tells her he’s leaving in a few days because I believe she thinks he won’t be coming back, that this is the hunt he won’t survive and she’ll finally have lost both James and Thomas. From the moment Richard Guthrie darkens her door, she’s looking for a way to weaponize him and get them out. For her, it’s a race against the clock and she’s willing to sacrifice a bit of her relationship with James in the present to secure happiness for them in the future.

This is also why James still has sex with her before leaving, even though he’s furious for her reading Meditations to Richard. This is how they connect. They connected through physical intimacy in the flashbacks, as well. Him stroking her thumb in the carriage before the kiss. Tactile contact to seal their understanding of each other. Miranda bracing her hands on his chest during important moments in the Hamilton’s home, something she also does to Thomas, to show physical connection, physical intimacy. Miranda thrives on physical touch.

To think that, for 10 years, James is lying there like an object for Miranda to use, is, to me, short sighted. To think that James doesn’t love Miranda outside of a group, is also ignoring the fact that, 10 years on, James will not leave on a hunt (angry as they both are) without physically connecting with her, trying so hard to reach beyond his anger and the wound freshly opened from sight of that book he’s chosen not to look at for probably the better part of those 10 years. The way his hands hover over her back after she comes and he desperately wants to be with her in that moment, like the best of their moments, but he just can’t, speaks to the depth of his love for her.

So many fans of the show point to this sad sex scene as one of the most important character moments for James and Miranda, but I consistently come to the opposite conclusions about WHY it’s important and what we learn from it, because I’m taking my cues from the actor’s choices, not the director or the writers. On the page, in plain ink, he hates having sex with her. Toby and Louise show us, however, that they are trying to recapture a thing that is fleeting, reaching out to each other to patch up an old wound from which the scab has been picked off, leaving it seeping and raw.

From Toby’s performance, regardless of the words he uses years later to describe it, we see not a character who “loves men” or a character who “loves women”, but a character who LOVES. I don’t see Flint defining that love in terms of boxes and parameters. He’s a character who must be coaxed out, but then loves without reason, without a safety net, as he proves with his love of Silver. As was also referenced by a guest on the podcast, he places a sword in Silver’s hand and says “do it”.

Anyway, this post got away from me and took several turns, but the love between James and Miranda being dismissed by so many in the fandom has been bugging me for a while and I just needed to emotionally vomit on tumblr.

[loganslowdown4]

Roman: *on stage, singing* Shake yo money maker!!!

cThomas: *smiles awkwardly; holds up his college degree; starts shaking it*

Roman: *slaps it out of his hands* WRONG

[snakes-of-the-undercity]

Vi is gifted kid burnout but in the english major way

[ventresses]

Is Ryloth based on Algeria?

A while back, some friends and I had an interesting discussion about why Star Wars has the Twi'lek speak with French accent, and the implication that Ryloth could perhaps be inspired by a country formerly colonized by France.

We discovered there were A LOT of parallels between Ryloth and the country of Algeria

Political History & Colonialism

Algeria became a colony of France after they invaded it in 1830. Their conquest of Algeria has been called a genocide, and they perpetrated countless atrocities- starvation, epidemics, retaliation for resistance, etc. During that time period, there were popular revolts against the French occupation, and insurgent groups, guerilla warfare, etc., particularly in the decade prior to their independence, which Algerians finally won in 1962.

Ryloth's rulers/most powerful political official(s) are always shown as off-world, corrupt, disconnected from the life and struggles of its people, and allowing the people and resources of the planet to exploited. First, this is under Senator Orn Free Taa, then Separatist occupation, then the Empire.

Throughout that same history of oppression and exploitation, we also see armed resistance movements and guerilla fighters, like the Twi'lek Resistance and the Free Ryloth Movement.

Geography

Algeria is the largest country in Africa. It contains a significant portion of the Sahara Desert, and hosts many impressive rock formations.

Ryloth is a large planet on the Outer Rim. Whenever we see Ryloth on-screen, it almost always shows the desert, is peppered with incredible rock formations, gorges, etc.

Architecture

The homes and structures we see on Ryloth are reminiscent of traditional &/or vernacular mud-brick architecture in Algeria and its neighbor, Morocco. For example:

The Syndulla House

Numa's Village (from The Clone Wars S1E20)

The Capital City (from The Clone Wars S1E21)

Interior Design

We also see themes and details that are strongly reminiscent of Islamic architecture in, for example, the design of the Syndulla family's home.

This is also true of simpler homes, like the ones in Numa's village from The Clone Wars, which utilize subtle geometric motifs and Arabesque patterned windows.

Art

Mosaic art was one of the hallmarks of Roman and Byzantine and Islamic Empires, all of which Algeria was part of, and had their history and culture influenced by.

The Syndulla family portrait is a mosaic.

Head Coverings

The vast majority of Algerians identify as Muslim. It's very common practice for Muslim women to wear the hijab, which covers their hair.

Every time we see a female Twi'lek on-screen she is wearing a head-band or head-covering. We very rarely see male Twi'lek do so.

Language and Accents

As a remnant of the legacy of French colonialism, French is widely spoken and understood in Algeria, though its official language is Arabic.

Many Twi'lek speak Galactic Basic, and do so with a French-sounding accent, though Twi'leki is their native language.

Anything else?

[ratnix]

I'm also curious to see if S2 (or later seasons) will have some Shakespeare Prospero references.

I know Nevermore's Prospero is based on Poe's Masque of the Red Death but it is highly likely that Poe based his Prospero on Shakespeare's The Tempest since the two characters aren't that different [and share a name obviously] (I have a whole theory on Poe's Red Death being a continuation of Shakespeare's Tempest, the things I do with an English lit degree). Probably not because I remember RnF saying that they didn't want to make Prospero this douchy mf as he is in the Red Death (and the Tempest) but I think a parallel between the stories would be interesting