I Love The Idea That Everyone Who Meets Them Assumes Nicky Is The Calming Force For Joe, Who Can Come

is THIS your man? [shows an image of a malnourished injured exhausted man with big sad eyes looking up at the camera with blood smeared all over his face and mouth. and he is visibly trembling]

I've had this little idea in my head for a while now, so I decided to sit down and plot it out.

Disclaimer: This isn't meant to be some sort of One-Worksheet-Fits-All situation. This is meant to be a visual representation of some type of story planning you could be doing in order to develop a plot!

Lay down groundwork! (Backstory integral to the beginning of your story.) Build hinges. (Events that hinge on other events and fall down like dominoes) Suspend structures. (Withhold just enough information to make the reader curious, and keep them guessing.)

And hey, is this helps... maybe sit down and write a story! :)

Let me make this very clear:

When it comes to Hellenic Polytheism, there is no human religious authority, especially not one that stands before or speaks for the gods.

It does not matter what someone tells you. It does not matter if they claim to be a priestess/priest of X deity or a messenger for Y deity. It does not matter what their supposed past life was like. It does not matter if they claim to be the literal fucking Oracle of Apollo.

No one has the right to tell you how to worship the gods. No one has the right to assert their authority over your religion.

And most of all, remember that people can and do lie.

The thing I love most about the LOTR films is their ability to do storytelling without words. 

Many of my favorite moments in the trilogy are ones that have no dialogue. Wordless storytelling is the one thing the films do that the original books can’t, because books Have to use words.

I argue the vast majority of the films’ depth comes through things that AREN’T the dialogue. So much of the storytelling in LOTR is done through the music, cinematography, visual effects, character/costume designs, prop designs, environment designs, performances, and so on and so on. So some of the most powerful moments in the films are the ones that have minimal/no dialogue  – like the moments after Gandalf’s death, or  the lighting of the beacons, or Boromir dying as he defends Merry and Pippin, or the moment when Frodo wakes up after being rescued from Mount Doom and sees Sam in the doorway, the hobbits in the Green Dragon after their quest ends…..I could go on and on and on. And people joke about how Lord of the Rings is “50 percent landscape shots to pretty music”, because it IS, but I argue those landscape shots are so important and emotional and symbolic and evocative! They convey so much about the world, and the characters, and the tone!  I’ve written essays on it here and here and here –

 One of my favorite moments in the trilogy is the destruction of the Ring. I love how it captures this feeling of like…. relief beyond words. 

There’s just so much beautiful wordless storytelling! The way Sauron’s tower collapses to the musical leitmotif we first heard playing gently at the crossroads when Sam saw the fallen king statue and said “look– the King has got a crown again.” The way that, after Mount Doom explodes, the soundtrack transitions into the musical leitmotif that we last heard at Gandalf’s death.  The elvish in the soundtrack. ;_: And I love Gandalf’s reactions in this scene….the entire trilogy he’s been racked with guilt over “(sending) Frodo to his death.” The villains recognize and torment him over this: Saruman saying “Gandalf does not hesitate to sacrifice those closest to him, those he professes to love” while Gandalf has no response. And then we see that Frodo did it, he actually made it, and Gandalf breaks into tears…;_; and without a single line of dialogue you know exactly what this means for him. I’ve already written an overlong essay on how I love the general “watercolor painting” aesthetic of the films, and I want to add that I love the way the visual effects for Mordor’s collapse are designed– the way broken tower of Barad-Dur BURSTS outward, like a spirit is leaving it– and how initially it seems triumphant until you realize that Mordor is falling apart with Frodo and Sam still trapped there. And then all of the Fellowship breaks down. ;_; And so many scenes in the films are like this….Frodo crawling up the slopes of Mount Doom to a warped broken version of the Shire leitmotif. Eowyn standing on the edge of the Golden Hall as the flag of Rohan symbolically flutters away, and the Rohan theme plays on the Hardanger Fiddle. Frodo waking up in Rivendell and walking out of his room for the first time as the Rivendell leitmotif plays, autumn leaves falling all around him, then reuniting Bilbo to a mature sad verison of the Shire leitmotif. When Gandalf dies, the soundtrack in that scene is the only one in the films where the vocals aren’t in elvish/dwarvish– it’s just cries of pain, wordless grief. 

And I know that’s Basic Film Theory– the vast majority of things viewers will take away are the things that aren’t in the script– but Lord of the Rings does it so well! 

Every element has so much love and care put into it. Every artist gets to add something to the story.

And I don’t actually think it’s because “every artist on Lord of the Rings was uniquely talented in a way no artists have been before or since.”  I actually have….really mixed feelings on LOTR as a franchise, both because there’s so much in them that I think was objectively Bad and wrong (like the horrible lack of diversity/racist use of coding.)But the reason there are so many strong moments in Lord of the Rings despite its inarguable flaws was because the films had an extended pre-production time that a lot of movies don’t get. Howard Shore was given years to work on the soundtrack rather than months. The visual artists were treated like storytellers in their own right.  The difference between the Hobbit and LOTR trilogies wasn’t talent or money– it was time.  

And the problem with a film industry where everyone is trying to churn out as much Content as possible is that time is something you can’t really buy.

“Do you know what it’s like to be named for the dead?” James asks his father in the middle of one of many arguments. “Do I remind you of a man we’ve never met? Am I in honor of someone you watched die? Because I don’t want it.” When James Sirius Potter looks at himself in the mirror, he sees a mess of reddish brown curls and slightly askew glasses and freckles everywhere. He sees hands that climb trees and grip tightly to broomsticks. He sees his mother’s smile and hears his father’s voice. Because James seems like the thick goofball of the family, but he reads history book after history book, wishing to never repeat the sins of their fathers. If he saw any of James Potter he wouldn’t recognize him at all, and maybe, he fears, that’s where he falls short.

“Do you know what it’s like to be named for the dead,” Albus says one day to Rose as they sit by the Great Lake. “Names of men who I think aren’t the heroes I’ve been told about. Men I’m told are brave but seem just as bad as the rest.” Albus Severus Potter loves being called Al and having his hair ruffled by his friends. He loves sitting on high ledges and looking out at the vast sky and thinking about what is on the other side of the earth. Albus Potter sticks his nose in old books and keeps to himself and has no desire for greatness in any form. He doesn’t want to lead a war or be a spy. He wants to be Al and bake with his grandmother on Sundays and give his sister piggyback rides. And, most days, that feels like admitting failure. 

“Do you know what it’s like to be named for the dead,” Lily shouts one day with tears in her eyes. “I’m not her, I’m not her, I’m not her,” she repeats over and over again. Because Lily Luna Potter is a Slytherin and brutal and fierce and full of fire and made of stone. She is not soft and kind - she is not the woman who saved her child from death. Because she can be selfish and harsh and unforgiving. She spends her mornings running through the icy, frozen woods and her nights leaning over windowsills because the rush is just right.  Lily Potter will fight to the death, but for no one but herself. And does that make her somehow distorted, she wonders as she flips through photo after photo of a young woman with pretty eyes she doesn’t have and gentle hands that she will never understand. 

“Do you know what it’s like to be named for the dead?” Fred chokes through sobs as he rushes past his mother. “Do you have any idea what it’s like to be named for someone who haunts us every day and every night? Can you imagine being named for someone you can never look like because of your skin?” Because Fred Weasley ties up his wild dark hair into a thick ponytail when it’s time to play Quidditch and sees deep brown eyes when he looks at his reflection. Because Fred is dark skinned like his mother and will never look like his namesake, and is he resented for that? Is it worse to look like the brother that his father lost or to not resemble someone he loved at all? Because, most days, Fred is already different than the rest of his cousins and friends. Fred loves to laugh and play the highest caliber of pranks, because Fred is a Weasley…but that is something that no one can physically see, and that’s what’s the most terrifying. 

“I know what it’s like to be named for the dead,” Teddy tells them all at some point, his hands on their shoulders or pulling them into a tight hug. “I know what it’s like to remind the person you love of all who they’ve lost. How much it hurts.” Because Teddy Lupin is named for a man who was killed alone and frightened in the woods over twenty years ago. He is his mother when he decides he likes the color pink and his father when his eyes morph into an almond amber. Because he is an orphan and no different from Harry…and he can understand how their father feels, because he wishes to honor those who died for him, too. Because he knows he is nothing like Ted Tonks, and yet his name carries a piece of his grandfather with him and that’s why Grandmother can only call him “Teddy,” otherwise she’d burst into tears. Because Teddy Lupin lives in between Harry and George and their children - born into war and only knowing peace. And so Teddy understands exactly what it is to be named for the dead, and knows exactly why it is so important to do so. 

And even as he tries to tell them all this, he feels hot tears running down his cheeks and wonders to his parents, who have never been there, “Do you know what it is to be named for the dead?” 

Props to Michael Sheen for doing such a brilliant acting job that I actually believed he didn’t absolutely love being kissed by David Tennant

kaminari !! 💛 ⚡

I swear Percy wears masks like no one else. Hes always been different and laughed at and put down at every turn but he’ll love his family no matter what

So, that scene where Harry retrieves Ron from the bottom of the lake and Percy loses his mind? Let’s look at that.

“Percy, who looked very white and somehow much younger than usual, came splashing out to meet them.”

“Percy seized Ron and was dragging him back to the bank (’Geroff, Percy, I”m all right!’)”

And three pages later: “Madame Pomfrey had gone to rescue Ron from Percy’s clutches.”

But you know, as Ron’s always telling us, Percy only cares about his career.

There is a very popular reading of this character that holds that he really is defined by his ambition and self-importance, and that he never does anything to show that he values his family until DH.  It’s a reading that most likely comes from taking Ron and the twins estimation of Percy as fact and it completely ignores scenes like this one.

What Rowling does here is a brilliant example of showing instead of telling.  When not in crisis mode, Percy is very verbal; he’s always talking about his accomplishments or work business that no one finds interesting but him.  Here, he’s all action.  He completely fails to act the part of a cool, impartial judge because his little brother appears to be in distress, and his affectation disappears.  What remains is a very Molly Weasley-esque kind of concern: You’re alright? Ha! I don’t believe you.  Let me smother you with affection until I’m satisfied that you are correct.

As funny as the image of Percy checking over Ron like an agitated mother cat is, my favorite part of this scene is Harry’s amazement that Percy looks young.  He’s eighteen, only four years older than Harry himself. He IS too young to be taking his boss’s place in this capacity, but Harry has bought into the affectation too. I think people sometimes forget how unreliable Harry’s point of view is.

There is no lack of evidence showing that Percy is quite different from what he pretends to be and how his siblings see him; you just have to tune out all the noise they all make about him to see it.

Guys—

Eddie’s not weak, nor is he a twig.

Exhibit 1: he was able to YANK both Dustin and Mike out of their seats as if they were fucking hand bags.

Exhibit 2: he’s able to climb up a rope with NO support which uses SO MUCH core strength like bro I could never—

Exhibit 3: he’s in a band, he’s gonna do some heavy lifting and shit

Exhibit 4: when he tried to provoke Jason in that cafeteria scene, Jason fully just backs down

Exhibit 5: MANZ LITERALLY THREW STEVE AGAINST THE WALL

So allow me to present: Steve Harrington who knows full well that Eddie is able to completely and utterly manhandle him and absolutely living and thriving for it.

Thank you for your attention.

Monsters learning to be human is one of my favorite tropes in stories and I love the way Malevolent handles it. Yes, John learns that he’s more than his past and learns to love Arthur and humanity, but not only does he “become good” he is also gains all the selfish emotions that come with being human.

Take lying for example. In seasons 1 + 2 he lies because that’s what he knows as the King in Yellow. He lies and manipulates for his own benefit. He does so uncaring how that affects Arthur because he is just an end to a means. And it’s hard to tell when he’s lied as he only points it out when he knows it would hurt Arthur.

Compare that to season 3 + 4. Despite lying being the core of who he was as the king, he gets kinda bad at it. It’s pretty clear that John is hiding things from Arthur about what happened to him when they were separated and why John wants to go to New York. He begins to sound so unconfident in his words because he now understands what he’s doing is wrong. Instead of lying to manipulate and hurt Arthur, he’s lying to try and hide the fact that he’s hurting him. He’s so scared of the repercussions of the bad thing he knows he did, that he lies to cover it and pretend it will all blow over. It takes a lot of guts to admit your own guilt, and deciding to shrink away from it instead is so human.

When John admits all his lies to Kayne in part 40 he just sounds so desperate. He truly believes that he’s in the home stretch. That just a little more lying and everything will be done and he won’t feel guilty anymore. He decided he’ll tell Arthur when it’s over because he believes Arthur won’t be that mad, that he’ll think “you did something bad, but it all worked out in the end so it’s okay”, but we all know that’s not how that works. He’s so horrified when it’s revealed Arthur heard his confession because he knew what was coming, all of Arthur’s feelings of betrayal, disappointment, and anger, and he wasn’t ready to face it. He feels so guilty that he probably can’t imagine Arthur understanding and forgiving him.

Of course Kanye’s deal makes this worse. John once again knows that this is wrong as he hesitates at the beginning. But once Arthur begins to threaten him to not take the deal, John decides to take it, once again trying to run away from the repercussions of his actions. John doesn’t know yet that lying more only makes things worse, and Kayne knows this and gives him one more bump to trip on before leaving John to the fate that he has been avoiding for so long.

Of course it’s enjoyable to see John gaining his humanity. Him showing compassion, sympathy, and enjoying the mundane parts of life like admiring the view or wanting to watch a movie. But humanity is a double sided coin that comes with emotions like jealousy, selfishness, and envy. It’s frustrating to see John make all these decisions that we know are wrong and will have bad consequences, but he hasn’t been in this position before doesn’t know how this will all play out yet. And we just have to watch him learn the hard way.