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AMA: Looking back at the series, are there any adjustments to the characters or the plot that either of you would have liked to change or add?

Gillian Anderson: I wish that the lap dances I used to do as Scully in David's trailer could have been filmed.

David Duchovny: Or that David was a better tipper.

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the Onion

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When I say that my favourite atla ship is Zutara people assume that I dislike Aang. But that couldn't more further than truth. I love all the kids in team avatar.

I really like Aang, I just don't find his relationship with Katara romantically interesting and therefore I don't ship them.

So if you like both zutara and Aang please like or reblog this post. I want to see how many of us share this mentality.

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There is a fury to Terry Pratchett’s writing: it’s the fury that was the engine that powered Discworld. It’s also the anger at the headmaster who would decide that six-year-old Terry Pratchett would never be smart enough for the 11-plus; anger at pompous critics, and at those who think serious is the opposite of funny; anger at his early American publishers who could not bring his books out successfully.

The anger is always there, an engine that drives. By the time Terry learned he had a rare, early onset form of Alzheimer’s, the targets of his fury changed: he was angry with his brain and his genetics and, more than these, furious at a country that would not permit him (or others in a similarly intolerable situation) to choose the manner and the time of their passing.

And that anger, it seems to me, is about Terry’s underlying sense of what is fair and what is not. It is that sense of fairness that underlies Terry’s work and his writing, and it’s what drove him from school to journalism to the press office of the SouthWestern Electricity Board to the position of being one of the best-loved and bestselling writers in the world.

It’s the same sense of fairness that means that, sometimes in the cracks, while writing about other things, he takes time to punctiliously acknowledge his influences – Alan Coren, for example, who pioneered so many of the techniques of short humour that Terry and I have filched over the years; or the glorious, overstuffed, heady thing that is Brewer’s Dictionary of Phrase and Fable and its compiler, the Rev E Cobham Brewer, that most serendipitious of authors. Terry once wrote an introduction to Brewer’s and it made me smile – we would call each other up in delight whenever we discovered a book by Brewer we had not seen before (“’Ere!’ Have you already got a copy of Brewer’s A Dictionary of Miracles: Imitative, Realistic and Dogmatic?”)

Terry’s authorial voice is always Terry’s: genial, informed, sensible, drily amused. I suppose that, if you look quickly and are not paying attention, you might, perhaps, mistake it for jolly. But beneath any jollity there is a foundation of fury. Terry Pratchett is not one to go gentle into any night, good or otherwise.

He will rage, as he leaves, against so many things: stupidity, injustice, human foolishness and shortsightedness, not just the dying of the light. And, hand in hand with the anger, like an angel and a demon walking into the sunset, there is love: for human beings, in all our fallibility; for treasured objects; for stories; and ultimately and in all things, love for human dignity.

Or to put it another way, anger is the engine that drives him, but it is the greatness of spirit that deploys that anger on the side of the angels, or better yet for all of us, the orangutans.

Terry Pratchett is not a jolly old elf at all. Not even close. He’s so much more than that. As Terry walks into the darkness much too soon, I find myself raging too: at the injustice that deprives us of – what? Another 20 or 30 books? Another shelf-full of ideas and glorious phrases and old friends and new, of stories in which people do what they really do best, which is use their heads to get themselves out of the trouble they got into by not thinking? Another book or two of journalism and agitprop? But truly, the loss of these things does not anger me as it should. It saddens me, but I, who have seen some of them being built close-up, understand that any Terry Pratchett book is a small miracle, and we already have more than might be reasonable, and it does not behoove any of us to be greedy.

I rage at the imminent loss of my friend. And I think, “What would Terry do with this anger?” Then I pick up my pen, and I start to write.

Extracted from Neil Gaiman’s introduction to A Slip of the Keyboard: Collected Non-fiction by Terry Pratchett

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STACKEDNATURAL ⇉ 132/327 (part 2)

6.10 Caged Heat Written by Brett Matthews & Jenny Klein Directed by Robert Singer Original Air Date: December 3, 2010

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( SPOILERS AHEAD) Things that will haunt me about the new live-action Avatar, the Last Airbender show:

Iroh being confronted by his past as a fire nation general and war criminal. Of course, Iroh is a cog in the machine of war that he’s part of and he’s changed his ways since, but that doesn’t change what happened in Ba Sing Se under his leadership.

Sokka overhearing Hakoda being disappointed in him. Y’all were worried that Sokka wouldn’t get as much characterisation in this version. Well, we got this and it broke my heart.

Katara witnessing her mother being executed in front of her. She immediately covers her mouth to keep herself from screaming. Her mother died so she could live, and so even as she cries, Katara quiets herself so her mother didn’t die for nothing. What a terrible responsibility to place on yourself.

Zuko sitting with Iroh next to Lu Ten’s casket. Cue that goddamn instrumental of Leaves From The Vine. This version really understands and cares about Zuko and Iroh’s bond.

Gyatso telling Aang that even if he had come back that night, he wouldn’t have been able to make a difference. It wasn’t his fault. This broke me. We hear from Katara in TLOK how much the Air Nomad genocide affected him through his entire life, despite everything he achieved. He never recovered from the guilt of wondering “what if”. He carried it his entire life…and Gyatso waited as long as he could in the spirit realm so he could free him of it.

Ozai’s face as he burns Zuko. Iroh looking away, Azula watching as a mixture of emotions go over her face as she witnesses her brother be mutilated, Zuko’s cries…girl I was struggling. Then we cut to Ozai’s expression and my heart plunged into my stomach. To me at least, and several others, it looked like he was trying not to cry. Ozai has done more terrible things than you can count…but he’s still a person and you have to sit there and watch in horror as some tiny, humane part of him revolts at the monstrous act he’s committing and his son screams in agony.

I know this show is getting a lot of criticism and that’s fair. It’s not perfect. But there are definitely parts of it that will stick with me for a while.

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Since Avatar The Last Airbender got remade in live action so it could be more like Game of Thrones, they should remake Game of Thrones in animation so it can be more like Avatar The Last Airbender.

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Sebastian Amoruso as Jet in Avatar: The Last Airbender — 1.03 "Omashu"

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twitter // ko-fi UNCLE send him to the principles office and have him EXPELLED!!!

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Seriously. This show was amazing. everyone is just being a hater!

it’s going to be exactly the cartoon. And it IS really fun.

So about Netflix's the Last Airbender....

I am literally so confused you guys. You made me think I would HATE this show. And I LOVED it. Me. Known perfectionist and hater.

Katara was lovely. Yes, she started as a more soft spoken character than her cartoon version, but she was still passionate and hopeful throughout, just visibly unsure of herself. I think people were thrown off by this actress' natural way of expressing herself, which is Different from animated katara for sure, but not bad. Then she spends the whole season growing in Confidence and Fire. I Adored her fight with Paku, it really did feel like a payout of the whole season's development, and the bending kicked ass!

The Bending Kicked ass!!! The martial arts was fun and fast and creative and exciting! It looked SO good. That alone would be enough reason for me to watch and enjoy any show.

Zuko's actor was fantastic. He really captured the rage and confusion of this 16 year old banished prince. And there were so many Added moments between him and Iroh wich to me enriched their relationship. Like YES! This is why I'm watching, to see more of them, to see things done a little differently.

Iroh facing the consequences of his actions at Ba Sing Se!! That's what I'm here for!

Zuko's relationship with the men on his ship! That's what I'm here for!

The Extra layers we get to Ozai manipulating his children!

Also no one is talking about Admiral Zhao, who I had SO much fun with. I feel like they slightly fleshed out his character in a really dramatic way, really developing the hubris and frankly insane grasping ambition of someone who would kill the moon. I completely enjoyed this wilder, less controlled version of him, who comes up through the season from basically nothing and no one!

I am OBSESSED with King BUMI and his anger and disillusionment with the world! Like this was SO real. Living a hundred years of futile war would do that!!!! It is one of my favorite changes to the whole series. This new layer of emotion and character depth is what I'm here for!

Sokka was SO funny. He literally had me laughing out loud so often. That actor GETs Sokka, and GETS the way his humor is delivered. And is also able to tap into the more vulnerable side of him. People said he was "obsessed" with leadership. WHAT? That is a young person trying desperately to do his best and to try and find his place in the world, to figure what he has to offer. I loved his pride at hearing the Mechanist say that he would make a good engineer, and the sweetness of the moment that Yue's father says that he can be a hero without being a warrior. Sokka does so much growth in this series, in understanding himself and life.

And his chemistry with Suki was adorable!! I even like him and Yue (who was a totally unexpected sweetheart, despite her terrible wig)!! Like he has that same ability that Sokka has in the original to Connect with people.

Aang was great! He WAS fun loving and sweet and funny. I don't know what you guys wanted. Cartoons are always bigger and more exaggerated than live action. People's eyes swell up an, birds fly around their heads, and there are funny sound effects. That larger than life quality is the strength of animation! You have to look for different strength in live action. Like the SUBTLETIES of the acting choices. This little actor brought so much kindness, innocence, and strength to Aang.

And I FELT his frustration at being asked to do this at 12, his fresh hope anytime it looked like someone more experienced would be able to help him and no one did, and that's why he didn't learn waterbending this season, because he kept waiting for an freaking ADULT to show him the way, to help him carry this immense burden, but every adult he meets asks him for help instead, asks him to carry it himself, and then the finale hits and he realizes that there won't be any adults helping, he does have figure this out himself, and he makes the hard choice, takes on responsibility more than his years and offers himself to the ocean spirit, and he might have been lost entirely if not for Katara!

And that counter running theme to the show pays off: that he doesn't have to do it alone. He may not have more experienced guidance, because the adults have let him down again and again, but his friends will be with him, and they will figure it out together!

This is there throughout the series! Katara tells him this about learning waterbending, when he says he still wants to wait. Bumi tells him this in the palace at Omashu, and Aang sees the faith he has in his friends repaid!

I like these changes! And the show still found time for silly fun adventures and character building moments.

The show was never going to be the animated original. That is already a Masterpiece, and it frankly did NOT need to be adapted at all. I did not WANT a live action adaptation. I was adamantly convinced I would hate it. But the changes that they netflix show gave are what I Iike most about it. If I want to see Zuko say "you rise with the moon, I rise with the sun," I will go watch the animated original, because that version is perfect. And now, if i want to see Zuko say "Lu ten would have been proud to have you as a father," and see iroh pull him into a tight hug, I can watch this live action version, which is very good too. I'm going to disagree with most of the people on here and say that the Netflix's Avatar: The Last Airbender, DOES capture the heart of what we liked about the original show. It's spirit, fun, excitement, and characters. And the changes made are the reason we should be watching.

#avatar the last airbender #atla live action #atla netflix #ATLA #sokka #zuko #atla zuko #katara

[thedoorbird]

What to Read After Dracula

If you want to read more Stoker: Dracula’s Guest and Other Stories by Bram Stoker

If you want more foundational genre-defining gothics: Frankenstein by Mary Shelley

If you want homoerotic vampirism that’s both intriguing and problematic: Carmilla by J. Sheridan le Fanu

If you want a gothic heroine fighting against the villain trying to possess her: A Long Fatal Love Chase by Louisa May Alcott

If you want a protagonist entering an extremely fucked up old money home and fighting for their freedom: Mexican Gothic by Silvia Moreno Garcia

If you want basically the same plot as Dracula but a lot more batshit and can put up with 1800s racism: The Beetle by Richard Marsh

If you want a modern take on Dracula that acknowledges the sexual assault subtext: The Southern Book Club’s Guide to Slaying Vampires by Grady Hendrix (note: this one is very hit or miss, people either love it or hate it)

If you want academics fighting ancient evil and an actual implied cameo by Dracula: The Case of Charles Dexter Ward by H.P. Lovecraft (my personal favorite Lovecraft!)

If you want morally ambiguous mad scientists: The Strange Case of Doctor Jekyll and Mr. Hyde and Other Stories by Robert Louis Stevenson (and read the rest of the stories in it while you’re at it!)

If you want rootin’ tootin’ Americans fighting gothic monsters: Pigeons from Hell by Robert E. Howard

If you want a gothic mystery with a spooky villain: The Hound of the Baskervilles by Arthur Conan Doyle

If you want an implied polycule where a nerdy lady does all the real mystery solving: The Woman in White by Wilkie Collins

If you want the kind of vampire romance Dracula has become in pop culture: A Taste of Blood Wine by Freda Warrington

If you want something campier: Haunted Castles by Ray Russell

If you want something sexier: The Bloody Chamber by Angela Carter

If you want something weirder: Blood 20 by Tanith Lee

If you want to read foreign bootleg Dracula: Powers of Darkness or Dracula in Istanbul, both creatively mistranslated from Bram Stoker

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The older I get, and the more on fire the world seems to be the more I feel comforted and SEEN by Sir Terry Pratchett and Discworld.

Not because all the books are inherently comfortable so much as because they feel like someone taking you by the hand and saying; “I know. I’m just as angry about this bullshit. But we can hold hands. But the sun still rises. But hope is still important. Hope wears steel toed boots and smiles with pink and bloody teeth and will make you laugh and will make you cry. It’s not okay. But we’re in the shit together, and some day it’s gonna be less shit.”

This got away from me.

What I’m saying is, I’ve got a shovel.

#GNU Terry Pratchett #Discworld #yes this

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Some Discworld wizards designs

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‘fan nonfiction’, or academia

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I’d like to share a short story I stumbled onto while reading Fragile Things by Neil Gaiman.

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