#Something 2 Celebrate about!

[aureliasylvia]

Something 2 Celebrate about!

#driverslicense #celebration #passexam

[demon-of-the-ancient-world]

Hate (affectionate) how it's made so clear from the very beginning of part 1 just how loved Paul is by his family and household. Both his parents, Duncan, Gurney, Thufir, even Dr Yueh all clearly care so deeply for this kid, and we're shown that time and time again.

Cut to the end of part two, and almost every one of those people is gone. The only ones who remain are a weird, came-back-wrong version of Jessica, and Gurney who has gone from mentor to worshipper. Paul goes from someone deeply loved and valued for who he is by a small but caring group of people - to someone followed and worshipped and feared by thousands. They're obsessed with him in a way, as a leader and "messiah", but nobody loves him.

The only one remaining who loves him for who he is is Chani, who leaves him because in the end that love isn't enough to bring who he is back.

[lottachaos]

this gif is of David Tennant BTS of gomens and it’s keeping me alive

@ferndaphnia gets credit for this life giving gif

[sallymew4]

i love when terumob makes a guest appearance in a ritshou fic because most of the time its like they descend from the heavens as the older, more mature couple to bestow advice to the poor foolish children. while in every terumob fic ever theyre the most romantically inept fools ever who cant catch a break at all

[samcarpentara]

smile 2 really delivered as a sequel… bigger than the first and the stakes were much higher

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[clumsycapitolunicorn]

"Oh! I thought we were leaving that until tomorrow night?" "Do you really think I'm going to be able to keep my hands off you for that long?"

SUKI PANESAR & EVE UNWIN | EASTENDERS

[bloggrgirl]

"here's one for you greg. do you think if i spoke posh i would have a better career? not better, bigger."

[eugeniedanglars]

if you ever feel like you’re bad at your job just remember that joe jonas’ own pr team managed to turn the internet’s view of him from completely neutral to public enemy number one in the span of 48 hours

[moonhuit]

it doesn’t always matter where we are but here I am and I say hello, sitting next to you this time, just pretend I’m sitting next to you this time. you would like it here. maybe you would like it here. I think that maybe you would like it here. so here we are again: me being here and you being off the map and me sending it out across the wires and being overheard. // the long and short of it by richard siken

[notachair]

ARCANE S2 SPOILERS

btw 🤗🤗🤗 to me being right about jayce using the hexcore to save or "save" viktor after being deadly (or apparently *dead* I think) injured after the attack against the council and it leading to jayvik divorce 🤗🤗🤗 happy birthday to me 🥳🥂

[silverysongs]

i did in fact watch the chicken shop date with andrew garfield and I am in fact torn about whether I should be enjoying it this much

[jacarandaaaas]

this day next week encanto would have officially been out for 2 years

time? is an illusion! I literally remember showing my friend the clips saying when theatres open we need to see it😭 when ppl started posting the songs from the theatre too💀 never forgetting that first clip of wdtab that was posted and everyone went INSANE.

[moongothic]

On the train of your last ask, what are your thoughts on dragons sexuality?

Personally I think he’s Demi something (more attracted to personality than looks or gender)

Honestly because we don't know that much about the guy it's kind of hard for me to form an opinion, and if Crocodad Real then we're going to find out his orientation eventually (since we gotta find out if that was a contributing factor to the Dragodile Divorce (assuming they're divorced)) so I'm kind of okay with not forming any headcanons, since the headcanon could get thrown out the window

If anything, what interests me is how Dragon's orientation could impact the story-- like when I've discussed the Dragodile Divorce I have mainly focused on speculating how Crocodile would've felt about it, but how Dragon felt about that is interesting too

Because if he's straight then yeah that probably contributed to The Divorce, but how did Dragon feel about it? Learning that the love of his life is now happier than ever before after transitioning and being happy for him, while also losing the version of Crocodile that he fallen in love to begin with? No longer feeling thet draw to him because of the thing that has brought him so much joy and comfort? Knowing that even if they did take down the WG the family Dragon had hoped to have would never come to be, because their relationship would now end? And that it would be on some level his fault, because he's not attracted to Crocodile anymore?

Like even if Dragon took things well and the divorce happened "on good terms", it would've been sad for Dragon too.

But then there's a slightly juicier option, because what if Dragon was bi, but the Divorce happened under unpleasant circumstances (be it Dragon lashing out or things getting violent because he couldn't recognize Crocodile) and he didn't figure it out until it was too late?

Because you'd still have Dragon going through some if not all of those previously mentioned feelings, of having to come to terms with the version of his significant other whom he had fallen in love with no longer existed, the family had pictured in his mind would never become a thing, that those things were be kind of his fault and that he had hurt Crocodile deeply in the process. But then he'd be looking at some news article of Crocodile's most recent heroic stunt, seeing his handsome face with that usual, unbothered expression, and realizing he still loved him? That he still wanted to be with him, wished they were together, even now that Crocodile was a far more handsome man than he was? And then the realization that he's bi hitting him like a fucking truck But it's too late. The divorce already happened. He already hurt Crocodile too deeply. Knowing Croc, he had probably already moved on. There was no fixing it, the relationship was over. At least for now, trying to go see Croc could be dangerous due to the WG and not wanting to risk the WG finding out about them and The Kid and Croc would probably be furious if Dragon even risked that at this point, after what he had done. Oh, and then Crocodile killed thousands of innocent people attempting to usurp a country by manufacturing a civil war. Something Dragon can't forgive. (Not to mention, hearing he had been taken down by their own son... Oof)

But what if despite all that, and not knowing the full circumstances behind what had happened (like the fact that Crocodile didn't know who the hell Luffy was), Dragon still loved Crocodile? What then?

[aeolianblues]

I'm not an extrovert. At all. In everyday life, I'm a yapper, sure, but I need someone to first assure me I am okay to yap, so I don't start conversations, even when I really want to join in sometimes! It's just the social anxiety acting up. God knows where from and why I lose a lot of my inhibitions when it comes to talking to people about music. I don't know where the confidence has suddenly sprung from. I've made a crazy amount of friends in musical circles, either just talking to people about common music or (since it is after all in music circles) talking to bands about their own music. I let out a sigh of relief any time an interaction goes well, because in truth it's going against my every instinct. I wish I could do that in everyday life

[theclearblue]

I'm gonna get into a brawl with my mother one day don't be surprised when I get on the news