#it wouldn't have been THAT interesting

[hannahssimblr]

Michelle has been crying for a week.

Seemingly non-stop.

Tuesday evening, which was once about trigonometry and calculus, is when I currently find myself sitting awkwardly on Jen’s bed, alone, while she consoles her sobbing friend in the room next door for half an hour, and my iPod is out of battery.

“He’s here?” Michelle cries at one point, and Jen replies something gentle, muffled through the plasterboard wall. Probably a justification for my presence in her house, which is clearly not welcome even though I’m not actually forcing her to endure me when I’m in an entirely separate room. 

Jen comes back a few minutes later looking frazzled, bags under her eyes as if she has been the one kept up at night with a broken heart, wailing over the skinny emo boy who cheated on her with an even skinnier emo girl. This house has been like a battlefield for days, with even Rahim and Debra retreating to the relative safety of the conservatory in case their rampaging daughter decides to come into the kitchen for a snack and shriek at either of them for not replacing the Nutella she’s been living off or starts hurling around accusations that her white sliced bread has been purloined.

“You alright?” 

“Yeah, she’s just being Michelle. Extra Michelle. Michelle XL.”

“Didn’t sound like she was too happy about me being here.”

“Yeah well,” Jen steps forward and collapses sideways onto the bed, “She can get over it, I want you here.”

“I’m flattered,” I gently fix her fringe, “I’m just not really certain what I did wrong. I thought I did the exact right thing, actually.”

“Yeah but I told you before, there’s normal logic and then there’s Michelle Logic. That’s why I wanted you to be the one to tell her, she was bound to shoot the messenger.”

“Thanks.”

“It’s fair enough, I live with her. Can you imagine if it was me who broke the news?”

“...Do you think the end is in sight?”

“For this level of devastation? I dunno. She’s never been heartbroken before. First cut is the deepest, right?”

I shrug, “For me it wasn’t so bad.”

“Okay well, you haven’t been in love properly.”

“Okay…”

“Sorry but you can’t be an authority on this. Michelle properly loved Evan. He was her everything.”

“He was a fucking knob.”

“Yeah, clearly, but she didn’t know that, and she still loved him. Loves him.”

“He doesn’t deserve to be cried over like this.”

“Tell that to her. Or actually, don’t tell that to her. Don’t tell her anything. Stay a mile away from her until further notice.”

I sigh, “You can't keep us away from each other forever, like, eventually she’s going to emerge from her hovel of despair and find me sitting on the couch, or talking to her dad in the kitchen, it’s not like I’m going to be able to completely vanish from sight forever and ever. I also live five minutes down the road…” I shake her as she turns away to flip through a music magazine,  “and we go to the same school…”

“Yeah, I know, but all this stuff is girl stuff. You’re not supposed to be allowed to see it. You’re only here because you have special Tuesday night privileges.”

I scoff. “I’ve seen girls crying before.”

“Yeah, because of you.”

I toss myself down on the covers and wiggle my way into her eye line, “one day some horrible little bastard might break my sister’s heart, and on that day, when she’s crying and wailing over him, she won’t have anybody to talk to about it but me, and I’ll just turn to her and say ‘hey, sorry Ivy, this is girl shit! Can’t help you!’ Is this the future you want?”

Jen lifts the magazine and whaps me in the face with a full page spread of Amy Winehouse. “You’re so thick.”

I clutch my nose, “Ow! Fuck sake. I think you’re being stupid thinking like that, as if I’m not surrounded by girls at all times. You’re the one who always bangs on and on about feminism, but you’re the one creating a divide between the sexes, can’t you see that? You think I don’t care about girl stuff, like I can’t be around Michelle when she’s heartbroken? I do care.”

“The only girl stuff you care about is tits and fannies.”

“You’re foul.”

She giggles and goes back to her magazine at the same moment Michelle begins to blast a Paramore CD in the room next door. It’s so loud that it vibrates the walls. 

Debra’s screaming only adds to the chaos. “Michelle, my god, turn it down.” She pleads to no avail, and then I hear her thundering up the stairs and pounding on her daughter's door. “Not again! We’re trying to watch the news!”

“Well, there they go again,” Jen comments without lifting her eyes from her article. “You sure you want to walk right into her lair?”

Beginning // Prev // Next

[umblrspectrum]

3 years of this godforsaken show

[kirkwallguy]

cullen's crush on f amell/surana drives me insane. is he the first templar to have taken interest in you? have you been dealing with this your entire life? how long has this been going on? how long did it take you to notice the extra pair of eyes on you in the hallway? does he know you or does he just think you're pretty? did he mean it when he said he'd kill you? do you believe him? do you find yourself alone in corridors with him often? is it a coincidence? is he one of the good ones? is he stronger than you? whose side will the knight commander take if you have to defend yourself? is it worth it? how many of your friends have survived a situation like this? how many haven't? what are your odds? are you feeling lucky? are you sure?

[tls12lessthan3]

thinking about orvs metatextual engagement with its genre and specifically how that interacts with its women again. kim dokja is a self insert for the reader - what he thinks is largely meant to represent what we think, especially in the beginning before sing shong really fleshes out his character. kim dokja sees the world through tropes, directly acknowledging the genre around him and the cliches we expect e.g. the overpowered mc, the scheming villain, the beautiful heroine.

but a major part of his arc is deconstructing this reductionist view of the world in a way that parallels the author's deconstruction of the genre, and that plays really well with the way orv writes women. yoo sangah is perhaps the best exanple - shes introduced as the heroine, a one-dimensional pretty girl who in any other novel would become kim dokja's love interest. but the authors allow her to be her own character, directly challenging the stereotype of the heroine and calling attention to the genre's typical lack of depth for such a character. i think this undercurrent plays in the background often but really comes to the forefront when yoo sangah reminds kim dokja of her putting pepper in their bosses' coffee, a memory kim dokja had supressed because it didn't fit with the pretty girl persona he made for her.

i interpret that moment as yoo sangah pushing her way out of the mold of heroine often found in these stories, demanding a depth be added to her character, asking kim dokja - and thus the reader - to see her in her entirety, to see the heroine archetype for what she could be. orv is at all times in conversation with its genre, and its simultaneous writing of female characters with agency and depth and acknowledgement of the tropes these women are expected to fulfill is undeniably a part of that. and its a part i enjoy. most of the time.

[tathrin]

Hey, so do you ever stop to think about how the premise of Lord of the Rings being an in-universe book written by some of the characters who lived through that story means that they decided what parts and perspectives to use to tell that story...?

And when our authors weren't there to experience the events themselves, they have to rely on what they're told about them by the characters who were there, right...?

Okay so stop and think about the Glittering Caves.

We never actually go to the caves in the narrative. Tolkien LOVES describing nature and natural beauty, but we don't actually see the caves described "by him" the way we do other places. Obviously Gimli's words are Tolkien's, yes; but we only see the caves filtered through his words about them, after the fact.

When Gimli and Éomer and the other Rohirrim take refuge there, the narrative doesn't follow them. Obviously from a narrative standpoint this is to keep the focus narrow, and not to interrupt the battle-sequence with a long ode to the beauty of the caves, and to create tension in the reader who doesn't know if these characters are okay or not. Which all makes sense!

But think about it in terms of the book that was written in Middle-earth by the folk living there. Why DON'T we get to have a direct experience of those caves? Gimli obviously related several other parts of the story that none of the Hobbits were there to witness to them, and which were written into the books as Direct Events Happening In The Narrative (think of the Paths of the Dead scene, for one of the more visceral moments!). So why not the Glittering Caves?

Was it because they wanted to keep that narrative focus and tension, and so they didn't include his perspective on that part of the battle? Perhaps, that's certainly a possibility to consider.

But also consider: when we do hear about the Glittering Caves, what we hear is Gimli telling Legolas about the Glittering Caves. THAT is the part of that event that is considered of importance to include in the book: not Gimli's actual experience when he was in them, but rather the part where he relates that experience TO Legolas.

And I kind of just THOUGHT about that today.

And went HUH.

[bayetea]

a lot of people hate the hazel mist magic stuff and I won't deny that it was developed and implemented very weirdly but I actually really appreciate that it's partially connected to marie levesque who mind you summoned the lord of death/riches through her own powers. he didn't just meet her on the street and fall in love like other mortals parents she summoned a big three god to come directly to her (and then he fell for her afterwards). thusly it wasn't some late game add-on it was established very early in hoo that marie already had mystical powers of some kind based on new orleans gris-gris traditions and exploring that for hazel is pretty cool actually and makes sense! 👍

(also something something about frazel parallels where they both have special gifts that stem from their chinese/african heritage and not their godly fathers 😌)

for me the thing about it that sucks isn't that it's inherently bad or op as a lot of people seem to think (look me in the eyes and tell me that hazel is written on the page as more op than the likes of percy. rick limits her powers so much still even tho imo big three kids have a right to be op) it's that hazel's magic appears primarily tied to hecate and greek/roman mist magic instead of louisiana-haitian vodou influences (haitian vodou/louisiana voodoo are actual religions that have some key distinctions from each other, I'm just saying that rick could have drawn from either/both of them more when establishing hazel's powers). hecate mentioned marie explicitly when explaining why hazel has potential with magic but it's still pretty much all about nebulous greek/roman magic instead of new orleans-specific magic. let hazel levesque practice voodoo and cast hexes and work with spirits she deserves it (she is already a daughter of pluto so the connection to spirits should be there!!!)

[naamahdarling]

Sudden and hard. Felt like a small explosion, like when the compressed gas factory a few miles away from my house exploded years ago, but with no sound besides the soft, faint thunder of a dozen nearby houses shuddering.

And our house shaking, obvs.

Cats were/are not happy.

[arcturianview]

im still pissed abt Viktor being told "nooooo don't try to cure your terminal illness!!! dont try to fix your leg!!! you're beautiful because of it"

there was a way to write this that didn't feel gross. this was not that way. with more time; with him actually overstepping bounds and pushing on in spite of it instead of immediately becoming suicidal; with this desire to "fix himself" shown more to be because of external pressure instead of a desire to stop his escalating pain and impending death, i could have found this to not feel awful. but it does.

maybe just pointing out his leg as an example could have worked. especially if it was more heavily demonstrated that his desire to walk without mobility aids was rooted in insecurity (perhaps he proudly shows off to people that he can now walk "normally")

but using his terminal illness as an example is just gross. just "be happy you're going to die young because its part of what makes you who you are" GIRL WHAT???

especially when his terminal illness is rooted in systemic issues... eh. feels bad man.

[vaguely-concerned]

in his and davrin's banters, lucanis exhibits a certain little shit energy I don't think we see him have with anyone else other than illario and honestly I am living for this

[vethbrenatto]

Sorry it’s strange that I’m crying, think it’s ‘cause you’re the one...

[emmerrr]

far and away my favourite thing about tsc was the direct parallels we got between neil and jean now that we've been allowed inside jean's head as well.

we have neil who's almost frighteningly self-sufficient; getting to grips with his surroundings when he moves to psu as soon as possible by going for long solo runs, not waiting for his teammates after he's done at the stadium, going shopping on his own for stuff on foot and only buying what he can carry back by himself, hitchhiking back from columbia -- the fact that he could have asked coach or any of his upperclassmen to come and get him not even occuring to him. but through forced proximity, he gets to know them more, and he gets to like them, and they become the people that he would do anything for, that he fought so hard to stay with.

on the other hand we have jean, whose time in the nest has had the adverse effect; he's never alone, he's hardly ever off-campus, and he's never had the kind of freedoms that you'd usually be afforded at college. the idea of living off-campus is horrifying to him, the idea of having his own room is unheard of to him -- and unsettling enough for him to want jeremy to move in there with him. jeremy shows him the way to the court but he's too disoriented to follow along properly because he's not used to being out in a city like this. for years he hasn't been allowed a life outside of exy and the nest, so he doesn't know how to be out in the world. he has no idea how to navigate it. he sees exy as his only purpose, so anything that doesn't seem to serve this goal is meaningless and egregious to him.

...but then there's jeremy, and cat, and laila.

idk, just, something something neil didn't realise how lonely he was until he met the foxes, and jean was painfully aware of how lonely he was despite being stuck with the ravens all of the time, and is now getting the chance to learn that it doesn't have to be like that with the trojans.

[starleska]

i see this opinion echoed across the Doctor Who fandom: that we really enjoyed Maestro, and love the idea of The Devil's Chord, but feel like the episode was lacking a little something in the writing department. so here's my suggestion: they shouldn't have killed off Timothy Drake 👀🎶 hear me out:

from the start, we're introduced to Timothy Drake as a deeply talented individual, and one disgruntled with his position in life. his passion and genius have been squandered, and he's been relegated to teaching his craft to disinterested schoolboys. but we learn he has a darker interest...Timothy is a scholar as well as a composer, and he decides to spice up his day by telling his pupil about the lost Devil's Chord. and then, Maestro erupts onto the scene...and they are everything that Timothy has never been able to be. Maestro is loud, and flamboyant, and unreservedly powerful: every glittering gem on their body screams you will look at me, and you will listen. and while Timothy's polite-society conditioning and time-typical bigotry are his initial response, we can tell that Maestro intrigues him. in return, Maestro doesn't just talk to Timothy, oh no. Maestro all but seduces the man, by speaking aloud all of Timothy's most private thoughts: that he's a misunderstood genius, and that it isn't his fault he never got that break. in this way Maestro manifests as a Devil figure, luring Timothy into an unspeakable Faustian bargain. here he is, wasting his life and talent and songs away in some stuffy school...when he could have so, so much more. like Maestro, he could be powerful. he could be who he wants to be. and most importantly: he could make people listen to him. i would've loved a version of The Devil's Chord where Maestro manipulates Timothy Drake into drawing out the music of others, thereby killing them, and feeding Maestro in the process. perhaps there could have been a caveat to Maestro's power: as the Essence of Music, it could be that Maestro has to operate through a living being, much like a demonic muse. not only could Timothy get all of the attention he ever wanted, finally being recognised for his musical brilliance...but he could exact revenge on those who said he'd never make it. wouldn't this have been a fascinating parallel with The Beatles? what if we'd seen an increasingly power-mad Timothy Drake, rising to stardom in an alternate timeline where everyone is devoid of musical inspiration, leaving him as the sole musical genius in the world? what if the Doctor and Ruby's horror at a devastated world included the theme of creation for creation's sake, as opposed to the manic pursuit of adoration which Timothy so clearly desires? perhaps i have lost my mind. perhaps i am reading far too much into the way Timothy looks at Maestro in the latter half of the clip above. but i think the terror of Maestro would have come through even more if they'd kept Timothy Drake around, and trapped him in a Phantom of the Paradise-esque doomed narrative with Maestro whispering in his ear and helping him take control of his destiny 🎶🔥

[burst-of-iridescent]

not to beat the "sokka's misogyny" disk horse even further into the ground, but while i agree with the take that sokka being sexist logically doesn't make sense, i would go further to say that the water tribes themselves being sexist is both illogical and thematically contradictory.

the flaws of each nation in atla have always been linked to their element, and specifically what those elements represent. fire is the element of power; power, left unchecked, leads to imperialism and authoritarianism. earth is the element of substance and stability; stability, prioritized too highly, creates and justifies the rigid class system and rampant corruption of ba sing se. air is the element of freedom; freedom, taken too far, becomes irresponsibility and abandonment.

meanwhile, water is the element of change... therefore the water tribes cling to antiquated ideas about gender roles instead of adapting with the times (especially when the times involve a fucking war going on).

not only is this unrealistic, it also breaks the thematic pattern of the nations' flaws being virtues taken to extremes, and how this dovetails into the show's overall message about the importance of balance. if we're keeping with the pattern of virtue and vice being two sides of the same coin, then the flaw of the water tribes has to be related to change. and here is where some of the (badly executed) ideas in the comics and legend of korra could have come into play: change, left uncontrolled, can lead to progress... but at the cost of tradition and spirituality.

(imagine a nwt cut off from the world and forced to rely solely on itself, ingenuity and creativity flourishing out of sheer, desperate need. imagine a nwt where waterbending is nothing more than a tool, used to build and defend and maintain a fortress always at risk, its spiritual origins slowly lost to time. imagine a nwt more military than community, whose architecture and technology far exceed anything the world has ever seen, who look down upon their less advanced sister tribe, and see no need for the avatar - after all, where was he when they had no one but themselves for the last 100 years?

when warned that the fire nation is coming, they show no fear; they have held strong on their own for the last century, bolstered by their weapons and wits, and will continue to do so. you need the spirits, aang implores, and is met with derision, for there is no place for spirits in a society always chasing more, greater, better. the spirits have not helped us before, avatar. why would they now? we are all we need.

when the moon spirit falls, unprotected and forgotten in an abandoned, rundown spirit oasis - so do they.)

not only would this fit better thematically, it would also ensure that the nwt's flaw plays a role in its own downfall. where the fire nation's warmongering resulted in the poverty and suffering of its own people, and the earth kingdom's corruption led - at least in part - to the fall of ba sing se, the misogyny of the water tribes is never shown to negatively impact them in any way. the north isn't defeated by the fire nation because they relegated half the population to healing. the south doesn't suffer raids or lose their waterbenders because they (supposedly) didn't let women fight. this lack of narrative punishment means that - outside of a few girlboss moments for katara - the sexism of the nwt isn't significant to the overall story whatsoever.

furthermore, while the ba sing se arc last almosts half a season, and the fire nation's actions drive the entire show, this supposed systemic oppression of women shows up for one episode in the first season before disappearing entirely. pakku is reminded of his lost love, magically turns into a feminist, and somehow the entire tribe follows suit? no one else protests, not even the other students or the chief?

and yet, though there are still no female waterbenders other than katara, or agency for kanna in her relationship, or any indication that women stopped being forcibly betrothed - the entire issue is simply swept under the rug and never brought up ever again in the show. i understand this was a children's cartoon made in 2005, and that even having female characters openly speak about and challenge misogyny was a radical feat for the time and genre, but the reality of patriarchy is that it's structural, sustained and immensely difficult to resist - if the show was going to depict that resistance, it should have done so with greater depth and nuance, as it did for many of the other difficult topics it tackled.

ultimately, handwaving misogyny away like it never existed is far more disrespectful to katara's character, her fight against injustice, and the girls who saw themselves in her, than simply toning it down or removing it could ever be.

[muddyfrankenstein]

jee im so eepy

[moongothic]

I'm not watching that but I'm howling at the thumbnail+title combo

[joy-girl]

I love the Uchihas!!!!! They're so deranged and passionate and I love them for it!!!!!! ❤️