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cucumberteapot · 10 months

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I feel like people aren't as open to discussing E-42 Prowle because there is so much about the character we don't know or the films haven't explicitly told us yet. However, I'd like to think writers have presented us with enough information that we can make a strong assessment as to not to what kind of role they'll serve (I think it's fair to say Miles G is going to be an antagonist later-turned hero or anti-hero in BSTV), but what kind of character this is and how they challenge Miles as the main character.

I'd like to discuss one crucial aspect of piece of body language and physical characterisation. This right here:

This is our first proper shot of E-42 Prowler and it closely parallels Aaron Davis in then first movie when he's watching Miles run away.

Now I want to pay mind that in deliberately holding off the plot twist of Aaron being the Prowler, the audience is given no key identifiers as to the Prowler's true identity. He doesn't even have any lines of dialogue until Miles is hiding in his apartment and we after we get the reveal. In every sense of the term, Prowler is a gun for hire. Except he doesn't use guns. The point is he is a hitman. He consistently does what he's told by Kingpin - "You can count on me, sir. I don't ever quit." But then when he's confront with the reveal of the kid he's been hunting is his own nephew and he must choose between his identities as Aaron and as Prowler, that loyalty is severed and it costs him his life.

Which leads us to this specific visual of E-42 Prowler dangling from the rafter before dropping down to face Miles. The camera doesn't cut away from how he drops. Instead we're put entirely in Miles' perspective as to this guy's every move. Between us and Miles, the crew don't want us to miss anything. So what are we seeing here?

Well firstly I think it's clear this is something the Prowler we know wouldn't do because this is a merge of personas of Miles as the Prowler and as a 15-year old. This reads to us as something a lanky kid would do on a jungle-gym, and the fact E-42 Prowler doesn't take his eyes off Miles not only demonstrates curiosity but almost an invitation to play. Not literally, but I believe this Prowler is someone who likes to toy with their victims (which he see a bit of towards the end). And in this case, Prowler is definitely testing Miles from the moment he starts talking about ideas counteractive to his reality - That Aaron Davis could be a "good guy" and that the Prowler identity is something detrimental to the E-42 dimensions' existence. Granted, Miles is speaking from the experience of someone who's Prowler didn't provide income for their family and represent a symbol of strength like the Spiderman identity, so it's a no brainer E-42 Prowler views Miles as antithetical to his state of being. Another thing is that this is how Miles hangs from his webs throughout the movie (under the clocktower, before going through the portal to mumbattan, etc.), so it's a nice consistent characterisation between the two.

But that only leads us into what separates them. After keeping their focus directly on the other, they have their first exchange:

Prowler: Your dad is still alive? Miles: What? Prowler: Your father... You said he's still alive. Miles: Yeah. Prowler: Oh.

Okay, let's dissect this. Specifically Miles' confusion at to why Prowler's asking this because the audience is in the same boat but for very different reasons.

Now I don't want to make assumptions but even before Prowler unmasks, Miles already knows it's his counterpart and his question isn't so much as not knowing but a request for confirmation. However the reason why Miles is confused here is because he expected that same curiousity about identity from his counterpart - not about relatives. Prowler doesn't ask who Miles is even though he doesn't really know, and when he gets his answer that, yes, Jefferson is alive in the other universe, his reaction is played off as dismissive, separating his identity and priorities from Miles. Whatever it is, considering it's the first thing he's asks, this is a vital piece of information for Prowler but his reaction removes any possibility he can be negotiated with... which Miles continuously fails at.

Miles: Who are you? Prowler: My name is Miles Morales. But you... You can call me the Prowler. Miles: If I don't get home, our dad is going to die. Prowler: Your dad. Miles: Please... You have to let me go. Prowler: And why would I do that?

That then leads us on to Miles' question because he's not only asking for his kidnapper's name, he's asking for who this person is. And in turn who we see isn't particularly angry or vindictive - we'll get to that. Instead, Prowler's expression is complete desolation.

It's only when Miles further insinuates they are the same by referring to Jefferson as "our dad", does he shoot back with "your dad". It's quick because this Prowler is still separating himself from this version of himself and the idea he could or would've been or had anything like his life. Finally Miles accepts that they are separate and ask Prowler to let him go, but Prowler has another rhetorical question which implies although he considers this Miles separate to himself, he still has use for him somehow. Which honestly if you had this strength-is-all mindset, it might feel rewarding to have captured this part of yourself that you considered weak - which for all Prowler knows, Miles is just this inferior version of himself who got decked in one hit.

And then lastly we have these two shots here where Prowler raises his "claw" beside Miles' head and sizes him up.

If Aaron can scare Miles by punching the sand out of a boxing bag while Prowler only has to put his fist on it, you tell me who's more terrifying?

But truthfully this last non-conversational exchange before Miles stares Prowler back down is evident that not only is Prowler going to beat the shit out of Miles, but that Miles' "flippy, little sassy jokes" as Spot puts it, is not going to help him here. Because if he wants to survive, he's going to have to match Prowler's energy. This film has a bittersweet ending not because Miles is captured but because Miles has internalised what he's been fighting against the whole movie - The emotional desolation of being Spider-man that lets them deal with or appear indifferent to the harm or death of people around them and it's exemplified when he applies Peter's first lesson of being Spider-man:

"Don't watch the mouth. Watch the hands."

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robinwinged · 4 months

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escapism in "the boy and the heron"

Interrupting my regularly scheduled programming of Good Omens brainrot for this attempt to process the wonderful, fantastical, and distinctly discombobulating experience of watching Hayao Miyazaki’s “The Boy and the Heron.”

Miyazaki’s films, at least to me, have never been straightforward to follow. Spirited Away, for example, is a beautiful masterpiece whose meaning is difficult to decipher on a first watch, and is only fully unveiled when you dive headfirst into research of Japan’s context and the movie’s many symbolic themes. The Boy and the Heron takes this typical Miyazaki complexity and ineffability and turns it up to eleven. There are so many elements that seem random, so many narrative arcs and characters all warring for attention (what is the tower? why are the parakeets so goddamn bloodthirsty? why is the blue heron such a creepy old man?), that combine to create a whimsical but overall also very strange landscape.

I know that art in general does not have to have “meaning” or “a message” to be deserving of our love and attention. Art can be touching, affecting, disturbing, provoking - any number of things that would give it credit - and damn it if The Boy and the Heron isn’t all of these combined. But.

But.

This is also a Miyazaki movie, and he has proven once and time again why he is the master of hidden meaning, and so here, in no particular order, are my half-formed rambles on what I have personally think each movie detail that I struggled to puzzle out initially is about.

(spoilers below, so proceed with caution!)

The tower, time, and escapism

The tower is the central mystery point of the movie - a literal mystical rock that crashed down from the heavens and later lured Mahito’s grand-grand uncle (let’s call him the Tower Master for convenience’s sake) into its depths. Within the tower is a mirage world filled with magic but no real living beings, controlled by the whims of the Tower Master and nothing else that remotely resembles logic or reality. The tower also contains a series of doors that seem to lead to different points in time, if the ending is to go by and how the 13 blocks are meant to be pieces of worlds the Tower Master has visited. So what is this strange and fantastic realm, and what role does it play in the overarching narrative?

My hypothesis is that the Tower is a pocket free from the influence of time (think like the TVA in Loki) - a separate island running parallel to the fabric of the universe that contains portals to different points of past, present, and future. By itself, the pocket has no life or substance; it must be filled by the imagination - pure imagination, untethered to reality - of its main (human) inhabitant. This is why most of the ships are illusions rather than real objects, why the parakeets are so ridiculously odd and behave nothing like real

birds, why the fish is the size of Kiriko’s damn ship. Anything that is real, has to be brought in from the real world (see: the pelicans, Himi, and Kiriko). This is also why the parakeet king immediately topples the tower: yes, he is not the Tower Master’s descendant, but he is also not inherently a real sentient being, and an imaginary object cannot in itself sustain a further imagination.

So why does the Tower Master choose to sequester himself in this alternate space, where he can only exist alone with his own mysterious creations? I think the Tower Master represents those of us who wish to escape from reality, to inhabit worlds which we can control, where pain doesn’t have to touch us if we don’t wish for it (whether I’m projecting reallyyyyy hard at this point does not matter ok). He is an insanely avid reader, with books literally piled in small mountains throughout his living quarters, and don’t we readers (i.e me, again) always wish for escapism? The Tower Master, then, is an example of those who would rather become entrapped in our own minds rather than deal with the world beyond us - maybe, even in a way, a little like Miyazaki himself, whose imagination is so powerful but is also extremely singular and all-consuming, anchoring him to his creative work without reprieve of retirement until his reserves run dry (not to imply that the man is a hermit or that I want him to retire, quite the opposite in fact, but parallels, no matter how shaky, can still be drawn).

This, too, explains why the Tower Master needs Mahito to control the world for him. It is not because he’s grown old, since he cannot be affected by time in the Tower, but it is because his imagination is stagnating - he is no longer capable of finding new ways to balance the tower, he cannot sustain the fantasy any longer. In itself, this can already serve as a message from Miyazaki - we cannot hope to live only within the confines of our minds if we do not interact at all with the real world, because then at some point we will run out of material, of lived experiences to build on top of, and threaten to crumble the fragile imaginary world we have created.

Himi and her fire powers

Himi is a strange hiccup in the system - a rare occurrence of a living person in this fantasy playland that wasn’t brought into it during Mahito’s own entrance, like Kiriko. This theory is a little bit out there, I can totally appreciate that myself, but remember that one year in which Mahiko disappeared from the real world and then came back completely unchanged? I think she chose to stay there for much longer than a year, knowing that time didn’t work the same in this pocket world and she always had the chance to return to her original timeline through the handy door-portals. I think Himi has stayed there essentially until she met Mahito - so long that she actually grew into a part of the fantasy, developing impossible pyrokinetic powers and becoming a set part of the landscape in exchange for extended youth. But this stay didn’t come without consequences. In the real world, Mahiko passes away in a fire, at a younger age than would be expected. Perhaps this, in itself, is a punishment for cheating time - the universe reclaiming the years that Himi spent in the Tower. It’s also definitely not a coincidence that Himi can control fire in the Tower, and dies by fire in the real world; a form of lethal poetic justice, if you will. Seeing Mahito was the trigger for Himi to leave, to embrace her own destiny, because she could now see and be proud of the outcomes of her life and not have regrets about missing out on the life passing her by. (This interpretation would then necessarily imply a deterministic version of life and time, so it’s probably not everyone’s cup of tea, but I think it makes sense in this version because you see doors way farther down than the present which Mahito steps into.)

The starving pelicans

The pelicans are another anomaly because they, too, are not figments of the Tower Master’s imagination, but instead have been brought into this fantasy world, for one reason or another, likely against their will. And this is where the Tower Master’s escape from reality cracks and burns at the foundation - he creates harm rather than good when he brings in the pelicans, because he does not account for the fact that they cannot exist without a source of food, and they then are forced to eat the Warawara to survive. The movie states that the Warawara are like baby souls, who ascend to become new lives, but I think it’s a little more metaphorical than literal rebirth. For me the Warawara are metaphorical ideas or seedlings of inspiration, the only parts of the Tower Master’s creations which aren’t fully formed, but allowed to grow by themselves and escape into the world - like passing the spark of creation to others outside the Tower. And the pelicans, involuntary prisoners of the Tower Master’s fantasy world, must prey on the Warawara before they have the chance to become real. This can be seen (if you squint real hard and do some violent spins so your vision is hella blurry) as the beginning of the end of the Tower Master’s reign - the forceful inclusion of other sentient beings inside his imagination doesn’t help him enrich his internal realm, but rather snuffs out the genuine inspiration that he could be passing onto others, creating pain where the Tower Master hoped to be spared from it.

Mahito’s rejection of the Tower

So with this central “Tower as escapism” theory, what does Mahito’s rejection to take over for the Tower Master mean? There is a moment that was so subtly powerful in that final exchange between the two, when Mahito stops denying the truth by telling everyone that he got his scar from falling, and instead admits that self-harm was the actual cause. At the beginning of the movie, I viewed that moment of very painful self-harm as Mahito’s wish to withdraw from the challenges of life - to live in isolation away from the grief over losing his mother, the challenges of being the rich new kid in town, the overwhelming discomfort of seeing his father shack up with his aunt. His reality is agonizing for him, and the fantasy land is so beautiful in its strange way that it could become a safe haven away from his trauma. But when Mahito says “no”, he is choosing reality; he is choosing to do the hard work, to face all the hardships life can throw at him, because he feels finally strong enough to not need to use imagination as an escapist crutch. In those final moments, Mahito is choosing to live in a world that he cannot control, because no matter how tough things get, he doesn’t have to do it alone - and that’s what I think Miyazaki is telling us too.

Of course, the movie also deals with themes of class conflict and war profiteering; grief and acceptance; continuing your ancestors’ legacies versus paving your own path, which many have already discussed and I don’t particularly have anything new to add to. Regardless, these themes are masterfully woven into the plot, as per usual, and serve to elevate the movie’s emotional impact into something heart-twisting and truly unforgettable.

Alright, ramble over - back to fandom lurking!

#the boy and the heron #studio ghibli #hayao miyazaki #the boy and the heron spoilers #robin rambles #the kind of movie that makes you think #or perhaps overthink??#the boy and the heron meta

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lucianalight · 5 months

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A Glorious Culmination

Let's talk about that perfect ending with its beautiful scenes and epic soundtrack, shall we? Here's all the reasons why I loved it:

The ending answered the question "what makes a Loki, Loki?"

"Authority, independence, style". Sure, but that's not all of it. And it's not the real answer.

So who is Loki? A villain? A loser? What defines Loki?

There are many characteristics that define Loki but one of the main ones that truly sets him apart imo is that he is a catalyst for change. Loki when faced with options he doesn't like, or a problem that looks like doesn't have a solution, makes a new way, creates a new solution, chooses an option that didn't exist before.

He has the power to destroy, like the mythological tale of Ragnarok.

And to give life. Like how the Ragnarok he brings, means the beginning of a new cycle in Norse mythology.

-"Yeah it was the best character development. Loki went from wanting a throne to..."

Let me stop you there.

Loki went from not wanting a throne but thinking he must have it to be considered worthy and an equal to Thor, to taking a throne despite not wanting it, because it was the right thing to do.

The fact that Loki sacrificed himself once again for the people he loved and cared about, wasn't a new character development. In the movies Loki risks and sacrifices himself every time when it matters. For Thor, for Asgard, for the world. The only development here was that this time he sacrificed himself for every universe there is.

And his sacrifice wasn't treated as sth he deserved by the narrative because of every terrible things he'd done. On the contrary the narrative acknowledges that this is the last thing Loki deserves. That he is paying for others' mistakes and wrongs. He spends centuries to save the timelines. He spends a long time trying to stop Sylvie without harming her. And when everything seems lost, he makes a decision to save everyone but himself, he creates a different path. He faces his deepest fear, to not hurt the people he loves.

If there is any character development, it's for the narrative and the audience that finally recognized who Loki actually is.

The Symbolism

I have to say my first reaction to the new Loki costume was:" This is the worst Loki costume ever :))))" also me two days later: "I'm gonna set it as my wallpaper." But I loved the symbolism. The biggest horns Loki's ever worn to show the weight of the crown. His cape that was connected to timelines, to show the burden of a throne. The simplicity in his clothes in contrast with his other outfits. Because this wasn't about the recognition Loki always wanted and deserved. This was about the responsibility Loki decided to literally put on his shoulders and feeling the gravity of it.

His shoes though :)))) I mean

Either let him be bare footed or give him boots you cowards :D

The Parallels

The fact that how the ending parallels the first Thor movie and everything came back full circle.

How Thor and Loki destroyed sth at the cost of themselves losing the people they cared about.

Loki doing sth not because of a desperation for acceptance, not because he thought it was sth someone else wanted.

Knowing if he chose the easier way, no one could have fault him for it because it seemed there was no other way.

He did it because he knew it was the right thing to do, because he knew who he wanted to be.

Loki not giving up, not letting go, not falling down from a broken bridge, but ascending, holding on as he fixes what's broken.

He holds and carries the whole universe on his back. It's not only a beautiful Atlassian tragedy, but also parallels Norse mythology in more than one way. Yggdrasil, the tree of life in Norse mythology, the one that Loki holds in his hands in the finale, wasn't the only parallel in the ending.

There's a subtle and beautiful nod to Norse mythology. The tale of Loki being bound till Ragnarok. The myth that says when Loki gets freed, the end of the world begins.

What a marvelous tragedy. And what a glorious culmination.

It's not all tragic though

Loki now is literally the most powerful and heroic character in MCU. He's holding the universe in his hands and keeping it alive. You can't top that.

And it makes his portrayal in the recent movies in which he was unfairly underpowered, even more ridiculous than before and that makes me happy :D

There is also a possibility to see Loki again and I'm not talking about the other variants. Marvel now has the best dues ex machina through Loki. He might be able to appear in any universe as an illusion to warn about dangers or help the characters. He might figure out a way to keep the tree alive without being there himself. That way he can find Thor in the sacred timeline. Or maybe the Loki who survived Thanos and is still in the sacred timeline finds Thor. Maybe there's still hope for a good reconciliation and a good story for Asgardian siblings.

So to sump up this was an epic, symbolic, beautiful and tragic ending. And yet hopeful. I loved it💚

#anyone else was reminded of Elsa when Loki created those stairs? :D #loki never wanted a throne #had to include it because everyone's going with this take and it starts to get on my nerves #just look through the tag if you disagree with me #a lot of people has written metas about it #loki 2x06 #loki s02e06 #loki #loki series #loki tv show #loki s2 positivity #loki gif #thor #thor1 #norse mythology #yggdrasil

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kerubimcrepin · 1 month

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Live-read: "Les Dessous de Dofus" - part 2

And this is how it starts.

Yes Lilotte. Yes he does.

Pupuces drink blood, as we know from Waven and the Dofus movie. Just because Joris and Kerubim's Pupuce likes to eat kibbles doesn't mean she isn't an obligate uhh hemovore (i made this word up). She wants to drink Lilotte's blood so fucking bad.

We can't really see if this thing Lilotte found is just a piece of fabric, or a dress. It doesn't look very dress-like, but it might be because it lacks any shoulder straps or belts. Keke does like to wear green a lot!

Considering the fact that she, uh, found high heels somewhere, I do think this is a dress. Kerubim has bad taste in clothes.

Joris is just pogging, while Kerubim is so worried about her being bitten everywhere by pupuce... gjsfgsf. (that and the fact that she found one of his drag things. But mostly her being bitten by pupuce)

I think Kerubim's game plan, if Julith hadn't showed up, was to hide knowing who Joris's parents were literally forever. Otherwise, this would be a pretty cruel thing to say, knowing that one day, he would have to reveal to Joris that that's his mom.

The Bakara bits of this comic make me so fucking sad, you have no idea. Just no idea. And her boyfriend is helping her get drunk, constantly.

I had spoken to some select people (in my dms) a lot on the parallels between Ivory Dofus's dragon, Jahash, and Kerubim, as well as Ebony Dofus, Julith, and Atcham. Joris has always been a person associated with neither light nor dark.

As well as parallels between Bakara (who I assume is around 10, in this design) and Joris (who is 10 at this time canonically). Makes me want to to believe that, in the Julith et Jahash comic, Bakara was 7. It'd be cute if they're similar like that.

Now, onto something more topical: Jahash and Kerubim are both idealists, who can make fun of themselves a little bit, but the idealistic view of their career as a hero differs for the two of them.

For Jahash, it is defending Bonta and its innocents.

While for Kerubim, it's about new experiences and sightseeing. It's about defending those who have nobody else, like widows and orphans.

And god, by now you probably know what Kerubim saying that he likes to defend orphans out loud does to my brain chemistry.

He doesn't want any orphan to suffer in life like he did.

Keke, a boomer, thinks that selling weed and catnip is illegal, but considering the fact that this guy went to the guards, — I think it isn't. Also, on the topic of funky plants that exist in the Krosmoz universe:

This is how my headcanon that Joris, Kerubim and Atcham smoke together can still win.

Like, there's a lot of weed near Bonta. Like a Lot of it.

They both haunt one another at night.

Julith having a stuffed doll of Jahash is just... so sad. Kerubim took everything from her, minutes after her husband has died.

And even if Kerubim thinks that she was an evil person, — he wants to protect the widow and the orphan. What happened here is the opposite of everything he stands for.

No wonder he's so protective over Joris, considering the guilt he must feel about killing his mother. He lost his parents too. He knows that, if he doesn't raise Joris himself, Joris has nobody.

My hot take, is that Bakara hates Joris, — and by proxy, Kerubim. Because the man took Joris in and loves him.

Sure, she couldn't have raised him, being a child herself, — but not having him in her life is a decision she makes on purpose, until the circumstances force her to interact with Joris.

Even as an 18-20 year old woman, she never contacts her nephew, despite knowing Kerubim and where they live. Even while crossing them on the street.

Think about it this way: She hates Julith. She thinks that she took advantage of her brother. That Julith had a child with him, for some perverted, monstrous reason, while lying about loving him, before destroying Bonta and causing the man to die.

While she probably knows that Joris isn't to blame for anything, her desire to never speak to him is... quite understandable. And probably for the best, for the sake of both of them, and their mental health.

#ro liveblogs dofus #dofus #wakfu #krosmoz #dessdofus #kerubim crepin #bakara jurgen

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lydiamartinappreciation · 9 months

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Lydia Martin Appreciation Week

How to Participate

Simply create something about Lydia. Fic, art, gifsets, moodboards etc are all welcome. If you want your work reblogged, simply tag it #LydiaWeek2023 or tag @lydiamartinappreciation. If you write fic on ao3, you can add it to the Lydia Martin Week 2023 collection.

All works must be Lydia-centric and Lydia-positive. A further list of rules can be found here.

Prompts

NOTE: These are just a guide. You can produce visual work for the writing prompts and you can produce written work for the visual prompts. You can combine prompts. You can choose not to use the prompts. All of this is just for fun.

Writing prompts:

Mon 18th Sept: Lydia & power

Tell us about Lydia's banshee powers or about her relationship to someone in power or about a time she felt powerless or any other interpretation you might have of Lydia & power.

Tues 19th Sept: Lydia & pack

What does pack mean to her? This could be a deep introspection of her connections or just a fluffy work about pack-bonding. As always, anything goes!

Weds 20th Sept: What-If Wednesday

It's What-If Wednesday! Here for all your missing scene, fix-it and alternate universe needs.

Thurs 21st Sept: Outsider POV

How do other characters from the show/movie see Lydia?

Fri 22nd Sept: Lydia & death

In Season 3, Lydia loses Allison and Aiden. In Season 5, she loses Tracy after trying so hard to help her and we also see Lydia relive her grandmother's death. What does death mean to Lydia? How does she cope with having death-related powers?

Sat 23rd Sept: Lydia post-canon

What happens to Lydia after Teen Wolf ends? Feel free to use or ignore the movie as much as you wish for this prompt.

Sun 24th Sept: Free day!

Create whatever your heart desires!

Visual prompts:

Mon 18th Sept: Favourite outfits

Lydia is a style icon. What are your favourite looks that she wears throughout the show?

Tues 19th Sept: Favourite relationship/dynamic

This can be romantic, platonic, family etc.

Wed 20th Sept: What-If Wednesday

Join the writers on What-If Wednesday! Here for all your missing scene, fix-it and alternate universe needs.

Thurs 21st Sept: Lyrics/quotes

What words perfectly incapsculate Lydia to you? These can be quotes from the show, from tumblr, from poetry, from songs etc.

Fri 22nd Sept: Parallels

What parallels exist between Lydia and other characters on Teen Wolf? Between her and other characters from different shows or films? Between her and herself?

Sat 23rd Sept: Lydia & enemies

What are her relationships like with the "bad guys" of the show?

Sun 24th Sept: Free day!

Create whatever your heart desires!

Alternative prompts

1 - Lydia pre-canon: What did her life look like before the show?

2 - Lydia & parents: This is could be her own mum, Natalie, or someone else's parents. You could also include her grandparents in this prompt

3 - Lydia being a teenager: She might be a banshee fighting supernatural villains but she's also just a kid

4 - Lydia & lore: All supernatural shows thrive on lore. Use this prompt to explore banshee lore from the show/movie, banshee lore from outside sources, lore of other supernatural creatures in the show. Any interpretation you can think of works.

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al-hekima-madara-blog · 11 months

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Madara & hindu cosmology

It's a thought I had following this post here

It's interesting that Madara never wished to resurrect his loved ones contrary to Obito. It seems that Izuna's death but more precisely the valley of the end’s defeat marked for him a definitive rupture with "this world". He was not interested anymore about his own desires. If you think about it, he was not supposed to be part of this collective dream that could have longed an eternity from the perception of those inside the dream. If everything had gone according to his plan, he would be just there alone watching people slowly dying in their cocoons.

Actually, I’ve realized recently that from my western perspective, I didn't pay attention to the Buddhist cultural aspect and in some instances the hindu cosmology. There is between both religions cultural bridges that we can't really see in the West shaped in judeo-christian background but from an asian/japanese audience it's implicit. In hinduism there is this idea that the material world is but a creative dream from the imagination of a god. He manifests himself in a sort of trinity:

Brahma the creator

Vishnu the protector

Shiva the destroyer (in order to recreate a new world) and note that Shiva is also associated as the Lord of dance. Shiva Nataraja destroys the cosmos, each steps is creating movement in the dissolution of the universe. It's a doomsdays to end a cycle and allow a new one to be born.

Shiva Nataraja, Lord of dance and destruction

Madara's plan is a way to attain this godhood state, to annihilate the world and recreate it again. We first met him during the apex of the 4th shinobi war, impersonating in a way Shiva, he destroyed the current shinobi world. From his perspective it's a failed world, or should I say a dream who turned into a nightmare, created by another god Hagoromo and perpetuated by his spiritual heirs Hashirama/Naruto. Obito in creating the Akatsuki and collecting the Bijuus, was incarnating one of Shiva's steps. He was preparing the dissolution of the world by perverting the shinobi system and hastening the apparition of the true "Shiva".

Madara’s Brahma phase can be paralleled with him being the second Sage Rikudou and having access to all the chakra on Earth and opening his third eye which represents in hinduism and buddhism the invisible one who brings mystical illumination and visions in the realm of high consciousness. If his plan would have succeeded he would have been a type of Vishnu protecting the new world. Alone, but keeping safe humanity inside his dream.

And as odditiesinnaruto said, time in a dream can be infinite. If Izumi was able to have a whole life with Itachi and "dying old", Madara must have been capable of putting someone in a dream where they exist and continue their life through their imaginary descendants for generations and generations, for centuries and millions of years which represents few seconds in real life. He would have literally created a Madaraverse inside the zombified Narutoverse (it sounds really like the movie Inception). And in his dream, somewhere the Uchiha clan and the whole world will "exist" in peace forever. It gives me vertigo!

#Madara #madara uchiha #uchiha madara #naruto #naruto shippuden #madara meta #naruto meta #hindu mythology #hindu cosmology

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thescrumptiousstuffs · 18 days

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Get to know me

Thank you @firstkanaphans for the tag!

Do you make your bed? Yes. I went to boarding school where it is a must to make your own bed (amongst many, many other rules). I have a love-hate relationship with my time in boarding school.

What's your favourite number? Hemmmm.....24 cause it's my birthday

What is your job? Respiratory (pulmonologist for those living in the States!) & Sleep Physician. I am a doctor who completed two/dual specialties. In simple terms, I deal with patients with lung-related medical illness and sleep disorders (think sleep apnoea, narcolepsy etc.)

If you could go back to school, would you? Yes, if I have the time, I want to complete a degree in history (I contemplated between a medical degree and Bachelor of Arts with History during university - but well, I chose the former).

Can you parallel park? Yes, but I loathe it with passion. I am always stress that I will inevitably hit someone's car (hasn't happened yet but urghhh, the anxiety whenever there is no choice but to parallel park!!!!)

A job you had that might surprise people? None. Medical school sapped all my time and energy. And once I graduated, it was straight to hospital doing shift work as a junior doctor before I spent a chunk of my 20s-30s basically qualifying and completing my specialist training.

Do you think aliens are real? Yes

Can you drive a manual car? I learnt to drive it cause it was compulsory (in my country) if I want to obtain a driver licence. However, I ditched it as soon as I can! And no, I will never drive one ever again.

What's your guilty pleasure? Buying expensive (sometimes niche!) perfumes, shower gels, body lotions and scented candles. And yes, I was absolutely giddy when I realised Khaotung (and First by default) have just as expensive taste in perfumes as I am! - MFK? I have several.....

Tattoos? Nope!

Favourite colour? Maroon and midnight blue

Favourite type of music? Pop (and K-pop)

Do you like puzzles? Yes. I just don't have time to complete them (usually!)

Favourite childhood sport? I'm not sporty. Sports day in my boarding school was the bane of my existence

Do you talk to yourself? Yes (and to my cat)

What movies do you adore? Spirited Away, Howl's Moving Castle, Knives Out, Glass Onion (Knives Out sequel) (I'm seeing a pattern here....)

Coffee or Tea? Coffee

First thing you wanted to be growing up? You know, I can't remember...

I'm not sure who to tag as it seems a lot of my mutuals are already tagged for this game! But if you see this on your dashboard and want to be involved, please considered yourself tagged! I love to learn more about my tumblr friends

#tag game #personal post

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julez-fiction · 1 year

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Top 10 Movies You Probably Haven't Seen about Time Travel and Parallel Universes

If you are a fan of time travel movies, this list is for you. This list includes some gems you probably haven't seen but are totally worth a watch. Included on the list are movies with themes about time loops, alternate realities, parallel universes and time travel itself. So go on, get lost in time with this amazing list. Sorry, couldn't help it 🤣

1. Coherence, 2013

youtube

Sci-fi/ Thriller

IMDb: 7.2/10

Rotten Tomatoes: 88%

Director: James Ward Byrkit

Starring: Emily Baldoni, Maury Sterling, Nicolas Brendon, Elizabeth Gracen, Lorene Scafaria, Hugo Armstrong

Synopsis:

Eight friends at a dinner party experience a troubling chain of events due to the malevolent influence of a passing comet.

Google Synopsis:

2. Parallel, 2018

youtube

Sci-Fi/ Drama

IMDb: 5.8/10

Rotten Tomatoes: -

Director: Isaac Ezban

Starring: Aml Ameen, Martin Wallström, Georgia King, Mark O'Brien and Alyssa Diaz

Synopsis:

A group of friends stumble upon a mirror that serves as a portal to a "multiverse", but soon discover that importing knowledge from the other side in order to better their lives brings increasingly dangerous consequences.

3. Triangle, 2009

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Horror / Thriller

IMDb: 6.9 / 10

Rotten Tomatoes: 80%

Director: Christopher Smith

Starring: Melissa George, Michael Dorman,Liam Hemsworth, Henry Nixon, Rachel Carpani

Synopsis:

Five friends set sail and their yacht is overturned by a strange and sudden storm. A mysterious ship arrives to rescue them, and what happens next cannot be explained.

4. The Endless, 2017

youtube

Horror / Thriller

IMDb: 6.5 / 10

Rotten Tomatoes: 92%

Director: Justin Benson and Aaron Moorhead

Starring: Justin Benson, Aaron Moorhead, Callie Hernandez,Tate Ellington, Lew Temple, James Jordan

Synopsis:

Two brothers receive a cryptic video message inspiring them to revisit the UFO death cult they escaped a decade earlier. Hoping to find the closure that they couldn't find as young men, they're forced to reconsider the cult's beliefs when confronted with unexplainable phenomena surrounding the camp. As the members prepare for the coming of a mysterious event, the brothers race to unravel the seemingly impossible truth before their lives become permanently entangled with the cult.

5. The Mandela Effect, 2018

youtube

Sci-Fi / Drama

IMDb: 5.8 /10

Rotten Tomatoes: 20%

Director: David Guy Levy

Starring: Charlie Hoffheimer, Aleksa Palladino, Robin Lord Taylor, Clarke Peters

Synopsis:

A man becomes obsessed with a phenomenon where facts and events have been collectively misremembered by thousands of people. Believing it to be the symptom of something larger, his search for answers brings him to the brink of insanity when a startling revelation forces him to make a difficult decision that, if he is right, could have consequences for the entire world.

6. Looper, 2012

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Sci-Fi / Action

IMDb: 7.4 / 10

Rotten Tomatoes: 93%

Director: Rian Johnson

Starring: Bruce Willis, Joseph Gordon-Levitt, Emily Blunt, Paul Dano, Noah Sagan, Piper Perabo, Garret Dillahunt, Jeff Daniels

Synopsis:

In a future society, time-travel exists, but it's only available to those with the means to pay for it on the black market. When the mob wants to eliminate someone, it sends the target into the past, where a hit man known as a looper lies in wait to finish the job. Joe (Joseph Gordon-Levitt) is one such hired gun, and he does his job well -- until the day his bosses decide to "close the loop" and send Joe's future self (Bruce Willis) back in time to be killed.

7. Madelines, 2022

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Horror / Sci-Fi / Drama

IMDb: 3.9 / 10

Rotten Tomatoes: -

Director: Jason Richard Miller

Starring: Richard Riehle, Brea Grant, Perry Shen, Sydney Steinberg

Synopsis:

While working in their garage, Madeline and Owen discover the secret to time travel. However, a mistake in their code causes a copy of Madeline to appear every day, and the pair must kill her to prevent the universe from destroying itself.

8. The Alternate, 2021

youtube

Sci-Fi / Thriller

IMDb: 5/10

Rotten Tomatoes: 75%

Director:Alrik Bursell

Starring: Ed Gonzalez Moreno, Natalia Dominguez, Syra McCarthy

Synopsis:

A man discovers a portal to another dimension in which he has everything he has always wanted.

9. Synchronic, 2019

youtube

Sci-Fi / Thriller

IMDb: 6.2 / 10

Rotten Tomatoes: 79%

Directors: Justin Benson and Aaron Moorhead

Starring: Jamie Dornan, Anthony Mackie

Synopsis:

When New Orleans paramedics and longtime best friends Steve and Dennis are called to a series of bizarre and gruesome accidents, they chalk it up to a mysterious new drug found at the scene. But after Dennis' oldest daughter disappears, Steve stumbles upon a terrifying truth about the supposed psychedelic that will challenge everything he knows about reality -- and the flow of time itself.

10. Synchronicity, 2015

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Sci-Fi / Thriller

IMDb: 5.4 / 10

Rotten Tomatoes: 47%

Director: Jacob Gentry

Starring: Chad McKnight, A.J. Bowen, Brianne Davis, Michael Ironside

Synopsis:

A physicist (Chad McKnight) travels back and forth in time to prevent a seductive woman (Brianne Davis) and a ruthless tycoon (Michael Ironside) from stealing his invention.

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bleachbleachbleach · 1 year

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We rewatched Fade to Black last night, as one does, and I went back to this scene to verify whether that’s really how tall Hitsugaya is relative to Kyouraku (IT IS), but lol this line:

“We must consider this matter to be the gravest occurrence in the history of Seireitei!”

I know that the movies and filler arcs and omake largely occur in alternate but not quite parallel universes from the canon timeline (Bount and Reigai actually just slot in, and I am convinced the universes do in fact intersect at points on that line), but this made me wonder... do the movies all take place in a shared alternate timeline?

Because boy, I love the idea that Yamamoto is like “it’s ON SIGHT with that child” at Hitsugaya and no-pants-purple-Hyourinmaru is rampaging through the Seireitei creating new landforms on a Tuesday, and then on Thursday that same week, Fade to Black happens, and it’s the NEW gravest occurrence in the history of Seireitei. 0 Days Since Grave Occurrences in the Seireitei

Reasons I Think the Movieverse is all the same ‘Verse:

- It’s well known that Detective Byakuya is on the case in DDR, but HE’S BACK AT IT IN FTB! More Detective Byakuya!!

- Ichigo has an awk conversation with Byakuya about Hisana in FTB, which would sensibly make Byakuya feel like he was justified in initiating an equally awk conversation with Ichigo about Yuzu in Hellverse (because Yuzu is definitely a person Byakuya knew existed prior to that film)

Reasons I Think FTB/Beast Swords universes could be parallel:

- Byakuya decides to stay home from the gallavanting for most of FTB, only to show up at the VERY end for the sole and express purpose of blowing up the 12th; @ Senbonzakura late in the Beast Swords arc, same. Literary symmetry

Reasons I Think Anything:

- Byakuya

#i apologize to the byauya tag for this but this is the byakuya content of my heart #kuchiki byakuya #bleach anime #bleach filler #no brain just bleach

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internetjulian · 1 year

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I rewatched Avatar (2009) and now I hate Jake Sully

This is mostly copy-pasted from my Letterboxd review, something I might keep doing here whenever I write longer things on that website. So here are some unpolished thoughts about Avatar, a movie that I like but have complicated feelings about.

Avatar is a very well made movie whose central analogy doesn't quite work as well as it wants to and whose lovingly derivative story perpetuates some uncomfortable tropes that bring the whole thing down for me.

The movie is definitely not the vapid thoughtless tech showcase some people make it out to be. Much of the film is genuinely inspired. But while its heart is in the right place, the parallels it draws between the conflict on Pandora and actual historical events are so overt and rigid that when it strays from this 1:1 allegory, some odd implications start to arise that are difficult to stomach (spoilers ahead).

The magic tree being an observable phenomenon is a choice that baffles me. Surely the fact that it is culturally important and sacred to the Na'vi is reason enough to leave it alone, right? But the movie goes out of its way to establish that it is important because of its scientific value, and that that's why it must be saved. In fairness, this information is delivered by a scientist, but the choice to give the sacred forest these magical properties at all feels like a genre trope that is at odds with the story. The Na'vi being attuned to nature is conveyed well enough without the magic, and this sci-fi development unintentionally contributes to the legitimization of actual destruction of sacred Indigenous lands: in real life, they're not magic, so why shouldn't they be destroyed? This obviously goes against the movie's very clear messaging, but the implications are there, and the movie would be better off without them.

Also, the premise itself is a very strange one to couple with the setting and messaging of the movie. Jake Sully's double life (one a harsh and unkind reality and the other a beautiful world with gorgeous 3D graphics) feels like it's participating in a conversation about virtual worlds and wish-fulfillment. Despite Pandora existing in-universe as a real place, there is a video game quality to it that feels intentional. Jake himself is a clear audience surrogate. We inhabit him and he inhabits a virtual character called an Avatar.

The unfortunate side effect of pairing this specific premise with this specific story is that it uses our current language of video game escapism to tell a white savior story, because that's really the only kind of story you can tell when you combine these two ideas. Jake is the Protagonist. He's the Player Character, and so when he joins the Na'vi, he must become The Most Important Na'vi. He's the one who inspires them to fight. He's the one who tames the beast no one could. He gets the girl and he stops the bad guys. It's a video game campaign.

To have an outsider be the one who solves all these problems for the Na'vi feels gross to me. But it's what this premise necessitates. The protagonist can't be Na'vi, because we aren't Na'vi. We need to learn about the world through his eyes, because he's our Avatar. But this complicates the theme of the movie. The struggle for Indigenous rights is not fought by a Protagonist like Jake Sully. There is no magic tree that picks a Chosen One, and if there were it certainly wouldn't choose the white man who just learned about this struggle yesterday.

The movie has a similarly uneasy relationship with disability. It's commendable that the main character of this blockbuster is disabled, but leveraging this first as his motivation to betray the Na'vi and then as a reward for his change of heart feels unnecessary. The former feels like a byproduct of the film's adherence to traditional western story structure, and the latter feels like a byproduct of the film's adherence to traditional video game structure. I like that the movie is engaging with the way disabled people are treated by both the people around them and the systems that neglect them, and there's an interesting transhumanist angle to the in-universe Avatar technology, but the movie doesn't linger on either of these. The philosophical and thematic questions that these ideas pose go unanswered and unexplored.

I still think this is a good movie. It has a lot of really great qualities that I haven't mentioned because I think they're pretty obvious. The cast rules. The action rips. The romance hits. The spectacle is awesome. I watched this movie in 3D in a virtual movie theater using my Quest 2, and while this wasn't a perfect recreation of the theater experience, it was certainly better than watching it on a flat TV screen with only two measly dimensions. There are some small details in the worldbuilding that are invisible in 2D, such as printed photographs and flat computer screens having visible depth in the 3D version.

The movie leans on well-established tropes and familiar story beats in ways that feel playful and timeless, lending the story a confidence that it wears with glee. Even though this results in ideas that undermine the movie's political messaging, at least the messaging is there, and it is well-intentioned. Avatar even improves upon some of the stories it remixes by treating the (fictional but analogous to real tribes) Na'vi and their culture with the bare minimum level of respect.

The fact that Avatar raises all these questions and invites these conversations is neat, in my opinion. This is a massively expensive movie with CGI spectacle up the wazoo and it's making me talk about imperialism and colonialism. I prefer a movie that does that to what we generally get in the blockbuster space these days, even if the conversations it invites are criticisms of how it stumbles. I hate Jake Sully, and that's cool.

#avatar #avatar 2009 #james cameron #jake sully #na'vi

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rookie-critic · 9 months

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Barbie (2023, dir. Greta Gerwig) - review by Rookie-Critic

[NOTE: This ended up being a bit more spoiler-y than I had originally intended, so if you haven't seen the film and plan to, maybe skip this review for now.]

What a revolution this movie has caused. Waves of pink, hoards of men/women/people adopting "I am Kenough" as a mantra, the Indigo Girls are back in fashion, and I have no doubt that, come the beginning of the university school year, we'll see frat after frat moving into their new Mojo Dojo Casa Houses. This film had already won the country over well before it even came out, and now that it is we're now in the third consecutive weekend of Barbie sitting comfortably atop the box office throne. Those ninja turtles never stood a chance (though I did adore that film, as well, but that's for another review). I must admit, I am apart of the wave of people singing this film's praises. It's visually striking, it's hilarious, the messaging is overt and in-your-face without being preachy, and we're seeing Margot Robbie and Ryan Gosling at the top of their game.

When we start the film, we're greeted with a nod to the opening sequence of Stanley Kubrick's 2001: A Space Odyssey, and to the voice of Helen Mirren explaining to us that, once Barbie came along and squashed out the era of baby dolls, her existence solved sexism and female quality issues for good, because Barbie proved that women can be anything. Of course, this is not the case, and the film uses it's next hour and 45 minutes diving into the reality of the modern world through the eyes of one of those dolls. The perfect, pink-streaked world of Barbieland lies in stark contrast to the harsh realities of the real world, and our two main characters react to this knowledge in very different ways. First, we have Barbie, who reacts with bewilderment and disbelief at the idea that everything she thought she knew about the world and women's place in it was a lie, but then, there's Ken. Ken, having lived his whole in the perceived service of Barbie, is stoked, because of course he would be. Men (and horses) rule the world, of course.

Now, going down this path, it would have been very easy for the film to be very blanketly "anti-men," but it even manages to avoid doing that, instead choosing to go down the path that Ken is misguided, merely a person who's never really tried to live life for himself and more for the idea of what he should be. In that the film draws a surprising amount of parallels between the two main characters, because even Barbie goes on a self-discovery journey of sorts. She has to come to terms with the black-and-whiteness of her worldview, and has to reconcile with the idea of there being things like cellulite and aging, and has to come to terms with the fact that the world has a good fair way to go before it's as utopian as a place like Barbieland. This is all accented in a scene that's relatively early in the film when Barbie meets an older woman for the first time upon coming to the real world. Barbie has just cried for the first time and looks over to find an elderly woman sitting on the bench next to here. The woman gives Barbie a smile and Barbie tells her she's beautiful, to which she replies "I know!" It's kind of the pin on which the whole film balances. Then there's also the character of Allan (played with as much endearing awkwardness as you'd expect from Michael Cera) who, even when all of the Ken's go off the deep-end into a Matchbox Twenty, leather-clad nightmare, keeps his head, and understands the bad things about what the Kens are doing.

It's a very deep film that is presenting itself as a colorful comedy, it's thoughtful without being obtuse and critical of its source without being dismissive, and it manages to do all of this without sacrificing being a very lighthearted and entertaining film on the surface. It's all very impressive, and is only hindered by the small nitpick that, for a film focusing on how our preconceived notions of things need to be knocked down and we should all live for ourselves and be whoever we really are, it is strangely reinforcing of the gender binary. I would have liked to have seen the film explore that side of things a bit, but it didn't detract too much from the overall experience. Crybabies like Ben Shapiro be damned, Barbie is delightful, and just as good as you've been led to believe.

Score: 9/10

Currently only in theaters.

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monkiedude · 1 year

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@brendaonao3 tagged me to do this! Love you, old friend.

3 ships

Hangman/Rooster my beloved!!!! I don’t know if TG:M was just at the right place at the right time or what, but I haven’t been this invested in a ship in AGES. Just. Enough canon to work with, enough blank space to play with, you could make me believe they get together just about any way and I’d buy it and thank you for it. (Plus the raw material GP and MT bring to the table doesn’t hurt. Hnngh.)

I tend to be pretty fandom-monogamous, but two other fave ships I’d revisited pre-TG:M:

Arthur/Eames (Inception). Coincidentally (?) LOTS of parallels to Hangman/Rooster. Two supporting characters in a team that has to work together to pull off a mission. Total opposites in many ways that you know would make them total complements if they could get over themselves. MAJOR bitter ex energy. This ship also has some of the most incredible fic I’ve read for any fandom, ever. The canon-compliant stuff is great, but the AUs! Dear god, the AUs. It is my very fervent wish that we start getting TG:M AUs like that. (Plus the raw material that TH and JGL bring to the table doesn’t hurt. JGL’s wardrobe alone.)

Kirk/McCoy (ST:AOS). Oh, man, I was super-obsessed with this one back in the day. Much like TG:M, I saw the first movie WAY too many times in the theater. In general, I’m not big on ships that start as best friends, for whatever reason, but I vibe with this one. Plus Star Trek is just a fun universe to play in (although, again, some of my fave fics for this ship are AUs too, god, there is one kids-to-adults one that focuses mostly on HS and I re-read it still, all the time). I’m sad about this ship, though, because most if not all of my engagement with it was on LJ, and I know that a lot of the fic hasn’t made it to AO3. (I love K/M in TOS too, fwiw. DeForest Kelley’s McCoy in Wrath of Khan after the Kobayashi Maru, draped across the floor, actually begging for a compliment from Kirk…SO fruity, god love him.)

First ship

JC/Joey (popslash). I still stand by it and will not take questions at this time.

Last movie

In truth, the OG Top Gun for the zillionth time, while I was multitasking doing laundry and a crossword puzzle. Before that, it was actually Whiplash for the first time, as I continue in my quest to watch Miles Teller’s back catalogue, and a rewatch of Tombstone for the first time in at least a decade, for Val Kilmer. Next up is a rewatch of Jerry Maguire, probably for the first time since it was in the theater? (I have a huge embarrassment squick, so I remember not loving it, but I’m also in a Tom Cruise phase, so needs must.)

Last song

Sturgill Simpson’s cover of “The Promise,” which I didn’t know existed, but now do thanks to a completely captivating Hangster WIP. Before that, some random new-ish country songs as I continue digging for songs that Jake thinks about playing for Bradley on acoustic guitar. Suggestions welcome.

Currently reading

I mean, the real answer is Hangster fic, but I also just started “Girlhood” by Melissa Febos and am getting ready to be furious about it.

Currently watching

Other than the movies mentioned above, I just finished rewatching Bridgerton s2, which I unironically love. Oh, and trolling YouTube for Miles Teller interviews. (Glen Powell is my guy, but sometimes I find him to be, like. Overly polished, and kinda performative, in interviews. Miles is a fucking loose cannon and I find him fascinating.)

Currently consuming

Diet Dr. Pepper. Should actually eat lunch at some point.

Currently craving

Trying to remember if I have stuff to make a Jungle Bird, but I think I’m out of Campari. Boo.

I literally don’t know how to tag people, I’m such a fossil, but this was fun! Am I doing this right? @greendaze, @daggerspared, @saint--claire ?

#sorry not sorry i treat my tumblr like lj #ramblings #someday I will shut up about TGM but today is not that day

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lydiamartinappreciation · 8 months

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1 Week til Lydia Week

How to Participate

All works must be Lydia-centric and Lydia-positive. A further list of rules can be found here.

Prompts

Writing Prompts

Mon 18th Sept: Lydia & power

Tell us about Lydia's banshee powers or about her relationship to someone in power or about a time she felt powerless or any other interpretation you might have of Lydia & power.

Tues 19th Sept: Lydia & pack

What does pack mean to her? This could be a deep introspection of her connections or just a fluffy work about pack-bonding. As always, anything goes!

Weds 20th Sept: What-If Wednesday

It's What-If Wednesday! Here for all your missing scene, fix-it and alternate universe needs.

Thurs 21st Sept: Outsider POV

How do other characters from the show/movie see Lydia?

Fri 22nd Sept: Lydia & death

Sat 23rd Sept: Lydia post-canon

What happens to Lydia after Teen Wolf ends? Feel free to use or ignore the movie as much as you wish for this prompt.

Sun 24th Sept: Free day!

Create whatever your heart desires!

Visual Prompts

Mon 18th Sept: Favourite outfits

Lydia is a style icon. What are your favourite looks that she wears throughout the show?

Tues 19th Sept: Favourite relationship/dynamic

This can be romantic, platonic, family etc.

Wed 20th Sept: What-If Wednesday

Join the writers on What-If Wednesday! Here for all your missing scene, fix-it and alternate universe needs.

Thurs 21st Sept: Lyrics/quotes

What words perfectly incapsculate Lydia to you? These can be quotes from the show, from tumblr, from poetry, from songs etc.

Fri 22nd Sept: Parallels

What parallels exist between Lydia and other characters on Teen Wolf? Between her and other characters from different shows or films? Between her and herself?

Sat 23rd Sept: Lydia & enemies

What are her relationships like with the "bad guys" of the show?

Sun 24th Sept: Free day!

Create whatever your heart desires!

Alternative Prompts

1 - Lydia pre-canon: What did her life look like before the show?

2 - Lydia & parents: This is could be her own mum, Natalie, or someone else's parents. You could also include her grandparents in this prompt

3 - Lydia being a teenager: She might be a banshee fighting supernatural villains but she's also just a kid

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vincentcatagainsttheworld · 2 years

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#Repost Deborah Harkness FB page A DISCOVERY OF WITCHES REAL TIME READ, Chapters 34, 35 & 36 “Stephen Proctor could travel in time?” Matthew’s voice assumed the deliberate evenness it often did when magic was mentioned. Sarah nodded. “Yes. Stephen went to the past or the future at least once a year, usually after the annual anthropologists’ convention in December.” ********* “Of course you can timewalk. You’ve been doing it since you were a child.” Sarah sounded smug as she discredited Matthew’s scientific findings.“The first time you were three. Your parents were scared to death, the police were called out—it was quite a scene. Four hours later they found you sitting in the kitchen high chair eating a slice of birthday cake. You must have been hungry and gone back to your own birthday party." -A DISCOVERY OF WITCHES “My inspiration for Time travel is a mash-up of multiverse theory meets the movie Sliding Doors. Multiverse theory is the idea that an infinite number of universes exist in parallel, almost like streams of water or trains on tracks, running alongside each other. And everything that exists is present in all of them, but in different combinations and with different histories, all at the same time. (The idea was first advanced by a physicist, Nobel Prize winner Erwin Schrödinger, in 1952.) There are lots of competing theories about the subject of time travel, all of which have problems. No one knows how it works. Add to that the fact that most timewalking witches are not physicists. So what they perceive (i.e., it’s like changing trains, as in Sliding Doors) is not necessarily what truly happens in the world of All Souls. Why? Because there are not only physical laws at work but also magic. Timewalking, therefore, isn’t just a pure question of quantum mechanics. Supernatural agency is at work, too.” THE WORLD OF ALL SOULS p. 265 After A Discovery of Witches was first published, Deb received a great many emails asking her how timewalking worked. So many, in fact, that she wrote up a little explainer, parts of which ended up in The World of All Souls, in this passage above. ADOWRTR2022 #ADOWRTR #adowrtrch34 #adowrtrch35 #adowrtrch36 https://www.instagram.com/p/Cjso_gwIyUN/?igshid=NGJjMDIxMWI=

#repost #adowrtr #adowrtrch34 #adowrtrch35 #adowrtrch36

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