you know what I want for emma? I don’t want someone chasing her, wearing down her walls until she finally surrenders. I don’t want to see someone push through those walls because we’ve seen it already, we’ve seen that love story with henry and mary margaret and it was fulfilling but it’s been done a billion times before
I want to see emma love on her own, not because someone is persistent or because people are pushing her toward someone. I want to see emma fall in love, and emma tear down her own walls and confront her fears and let herself feel. I want her to pursue someone because she’s found that she wants this person, not because she’s told that they’re right for her or because they’re present and convenient. I want her to fight for love and /get/ it, even when it’s not easy, and let her throw her whole self into it- by herself. because she chooses that person.
I want emma to be the one to choose, not be chosen.
Sophie, the girl, is given a spell and transformed into an old woman. It would be a lie to say that turning young again would mean living happily ever after. I didn’t want to say that. I didn’t want to make it seem like turning old was such a bad thing — the idea was that maybe she’ll have learned something by being old for a while, and, when she is actually old, make a better grandma. Anyway, as Sophie gets older, she gets more pep. And she says what’s on her mind. She is transformed from a shy, mousy little girl to a blunt, honest woman. It’s not a motif you see often, and, especially with an old woman taking up the whole screen, it’s a big theatrical risk. But it’s a delusion that being young means you’re happy.
I don’t control what happens with Waller or where she goes or how she looks; she is owned by DC Entertainment and Warners. I knew that going in. She is their property. That said, I think the changes made in her appearance are misguided. There were and are reasons why she looked the way she did. I wanted her to seem formidable and visually unlike anyone else out there. Making her young and svelte and sexy loses that. She becomes more like everyone else. She lost part of what made her unique.
John Ostrander - “Up Against the Waller”
Stuff like this is why I have a terribly, terribly hard time taking arguments against fan-fiction based on it “messing with somebody’s babies” seriously. And I don’t mean in a Lev-Grossman, this-is-an-attempt-to-mitigate-corporate-owned-culture way. I mean, for one, I don’t really, actually think fanfic is an attempt to do that. I think fanfic is what happens to any fictional touchstone with enough cultural saturation.
When everybody reads the Bible, you’re going to get a shitload of art based on the Bible. You’re going to get Paradise Lost. You’re going to get the Divine Comedy. Old-school Chinese readers published copies of popular novels with their own commentary, including the occasional picture of scenes from the text with outside observers sitting there, watching and discussing the characters’ actions. Fanfic has been happening since before the modern concept of corporation had come into being.
What I mean is that, while I have sympathy for the individual author who individually made her work and retains at least the important rights to it so that she may do as she pleases with her creations, and while I can certainly sympathize with her understanding of her characters as her babies, a huge portion of modern Western fiction falls so far outside this creator experience that the argument comes across as disingenuous.
Even in the world of books, where we typically just automatically think “This book was written by this person whose name is on the cover, who owns and controls the IP rights,” it’s a dicey proposition once you get to series. LJ Smith rather notably got fired from her own series due to her work-for-hire contract. The Sweet Valley High books are churned out by anonymous ghostwriters. Tiny fly-by-night publishers looking to “workshop” young writers in the hopes of scoring the next Hunger Games or Harry Potter without having to worry about the author getting in the way of cash-ins seem to be an industry whack-a-mole game.
Most comic artists and writers are creating under similar work-for-hire deals, as is practically everyone in the film and television industries. Things are a bit better now for many artists in these situations—John Ostrander does make money off Waller being licensed out, as opposed to many back-in-the-day creators who were contractually entitled to jackshit and frequently didn’t even get that—but they’re still not great. Creative control is difficult enough when you’re on the job and collaborating with other creators, answering to editors, and dealing with directors or show-runners. It’s a pipedream once you’re off it.
And most of us grew up watching this play out over and over again with various cultural icons. Lynda Carter was Wonder Woman, but her Wonder Woman wasn’t like either the comics Wonder Woman or the cartoon Wonder Woman. Tim Burton’s Batman was very different from Joel Schumacher’s Batman, both of whom bore little resemblance to either Tim Gunn’s Batman or Bob Kane’s Batman. Cartoon-Superman was flirting with Lois Lane, Comics-Superman was dead, Movie-Superman was a space-wizard, and ABC-Superman was Clark Kent in tights at all more or less the same time.
A new editor takes over Fantastic Four and suddenly Sue Storm is divorcing Reed Richards and fucking Namor on the side; last issue, her sole goal in life was to keep the boys in cookies after their dust-ups with mean ol’ Doctor Doom. A long-running series changes out half its writers pool and now all the female characters are yelling “Oh no, my period!” and slipping on banana peels. Another long-running series gets a different producer, and now the careful scientific and ethical considerations have been replaced by hand-waving and gratuitous sex scenes. George Lucas feels like having another vault of money to swim around in, so a three-part series that explores the nuances of racist animation, a galaxy where only two women may exist at any time, and magic blood parasites is green-lit.
There’s no expectation of consistency after a few trips to this rodeo. We’re aware that these characters are basically toys, and they can behave very differently depending on who’s taken them out of the box this time. The person playing with them may have wanted to do so for a very, very long time, or they might really not like them very much at all. We generally don’t get to hear about the creators’ feelings about it. Sometimes they’ve been dead for decades, sometimes they can’t get anyone to listen to them, and sometimes they’re constrained by a need to play nice with the studio/company. Sometimes they’re a co-creator that was never able to finangle credit, and nobody cares.
To act, in this environment, as if fan-fiction is causing some unique or special harm just seems ludicrous. You can say, “I don’t like it when people who aren’t me get their grubby little hands all over my stuff, and I don’t want people writing fanfic of my characters.” It’s probably not going to work, but by all means, say it if you like. Get annoyed when people do it anyway. Write rude things about them in editorials. Whatever floats your boat. But please don’t pretend that this is some cardinal sin of fan-fiction.
I mean, there are a metric assload of people scoring a huge payday off doing the exact same thing in a far less respectful way and a much more public setting, and it’s been going on for so long that you look like kind of an asshole when you look down on some knob of a fan getting a character wrong in spite of a sincere love of the work but not some dillhole of a director fucking a character over out of gross disregard for the source material.
I think the fact that within Hogwarts there’s a lot of distaste for Slytherin and Hufflepuff shows some interesting insight into the wizarding community. Like, Hufflepuff represents hard work and fairness, right? But there’s the idea that Hufflepuffs are losers, sort of the proverbial nice guys who finish last. On the other hand, Slytherins, who represent cunning and ambition and personal drive, are seen as cutthroat and generally nasty and mean.
Ultimately, Hufflepuff and Slytherin are both rooted in philosophies on self betterment and achieving success in life, both in terms of being a better person and being a more powerful/wealthy person. The obvious question raised by Hogwarts student’s disapproval of both Slytherin and Hufflepuff is this: if it makes you a loser to succeed through hard work and fairness, but a cheat to succeed through cleverness and an attitude of doing whatever it takes to achieve your goals, how is someone in the wizarding world expected to gain power/wealth/status if they aren’t already born with it?
It’s also worth noting that in a world where magic can do your work for you, Hufflepuffs are scoffed at for being willing to work at all, and Slytherins are shunned for taking advantage of magic to it’s fullest.
The phrase fan work is typically used, by both fans and academics, in the sense of work of art; it refers to fan fiction, fan vids, fan art. Within fandom, these objects are “the main focus of most discussion outside of the show itself” and are “highly prized” because they “require some level of artistry to master” (Sabotini 1999). They are the objects, and thus the labors, most likely to be publicly assigned value (in the form of comments, kudos, likes, reblogs, recommendations, etc.) by other fans and to be studied by academics.
But there are many other forms of fan work, including work that does not necessarily result in objects for recirculation. Media fandom runs on the engine of production, but much of what we produce is not art but information, discussion, architecture, access, resources, metadata. Think about all the behind-the-scenes labor, for example, that goes into commenting on stories, beta-ing vids, writing essays and recommendations, reviewing and screen-capping episodes, collecting links, tagging bookmarks, maintaining Dreamwidth and LiveJournal communities, organizing fests/challenges/exchanges, compiling newsletters, making costumes, animating .gif sets, creating user icons, recording podfic, editing zines, assembling fan mixes, administering kink memes, running awards sites, converting popular stories to e-book formats, coding archives, updating wikis, populating databases, building vid conversion software, planning conventions, volunteering at conventions, moderating convention panels—and the list could go on.
Such activities and their outcomes tend to be less discussed and commended, in both fannish and academic circles, than fandom’s “traditional gifts,” even though in many cases these activities facilitate the creation of art objects or provide the infrastructure that enables the dissemination and discussion of those objects. The sheer volume of fan work, in the inclusive sense of the phrase, necessitates further fannish labor; the navigation of online fandom is made possible by the creation of metadata, access points, links, and so on: important though sometimes underacknowledged work. These labors, too, are gifts.
dude though not once in pacific rim do they mention the internet dying, so it’s safe to assume that the internet is still around when this is taking place just think about it
- jaeger pilot fan blogs
- selfies with dead kaiju ‘look at this piece of shit #byeju’
- 'share to help people who's houses have been destroyed'
- 'KAIJU ARE MISSUNDERSTOOD!!!! THEY JUST WANT TO BE FRIENDS BUT WE ARE KILLING THEM!!!!!!!! MY POOR BABIES I UNDERSTAND U!! <3<3'
- kaiju memes
- Change.org petitions to take the funding from the wall and give it to the jaeger programme
- 'But have you asked the kaiju what gender it is?'
- K A I J U M E M E S
- kaiju dildos
- 16-year-olds on DeviantART going through their “edgy” phase with rainbow Kaiju fursonas
Thor: The Dark World (liveblog) [x]
I waxed pretty poetic about this in the previous post, but I still really love these books. They’re massive books, the pages are thick and there’s detail everywhere on them. The pictures of the Aether MOVE, the dials spin and twirl, the lines along the side/between the text twist and twirl, the knots on either side spin around, and the whole book glows against the dark of the room.
The book is definitely made of paper (or paper-like material), these aren’t screens as we would have, but look like they would feel like paper and ink even in the animated parts. And it’s just a beautifully designed book!
But the other thing that caught my attention—“I know these stories, mother told them to us as children.” Aside from the earlier scene with Loki’s punishment, this is really the first time he’s even mentioned, and it’s very clear that Thor didn’t say she told them to him but to them, that she told both Thor and Loki these stories as children.
So, all those scenes of Frigga reading to her boys as they were kids, probably before bedtime, a book perched on her lap or just reciting them from memory, as she tucked them into bed? HAVE NOW BEEN CANONIZED.
But it’s also a sign that Thor still remembers Loki very well, that their childhood together is still very much there. I think it’s still an automatic reach for him—which sounds kind of obvious, but it’s just a quiet moment that gave me a lot of feelings because so much of the movie is about Thor trying to step away and yet his first thoughts still go in Loki’s direction in tiny, tiny moments like this.
Plus, you know. Frigga telling stories to kid!Thor and kid!Loki, I AM HERE FOR THAT.
Thor: The Dark World (liveblog) [x]
Here’s the scene that kind of fucks me up on timeline issues the most. I both love and hate this scene, because it’s utterly gorgeous and I love this room, the representations of Yggdrasil and its branches, the Nine Realms hovering between the leaves. I wish we had gotten a better look at that room and what its purpose was (possibly the same room we see Jane working in later, with the holograms or whatever they were?), but I’m still glad for it because it was just so very pretty.
I enjoyed the library as well, it’s beautiful and a lovely blend of advanced technology (the books moving and the lights that look like magic) and the old world (the heavy doors the physical books, the way the shelves looked) and that’s exactly what I wanted from Asgard!
The whole “the Nine Realms are not eternal, they had a dawn, as they will have a dusk” thing makes me wonder what they’re trying to say. Because the Earth (Midgard) is literally BILLIONS OF YEARS OLD and yet most of what’s being discussed in this movie is 10,000 years at most.
Now, nobody says that it’s literally the birth of the universe that was when the Dark Elves ruled, and I like to think that they’re being metaphorical here, that “the nine realms” is more about the current rule of them, rather than that all the suns will burn out and the planets will crumble or whatever. Because that’s fucking ridiculous.
I think it’s not meant to be literal or else just a reminder that these things are not fixed in time, even if it’s measured in billions of years, that everything eventually dies. It’s just… “before that dawn, the dark elves, reigned absolute and unchallenged”… I’m never quite sure how to parse what they mean by that.
Either they’re billions of years old or they’re speaking in a metaphor about the rise (possibly birth of?) races that were the “light” to the elves’ “dark”. It’s just… an odd way to phrase this conversation.
But seriously tho. That room showing us Yggdrasil was beautiful and I really do love the LOOK of everything in this movie! I know we don’t get a lot of world-building (still more than the first movie, though) but we do get a good look at a fair amount of the place and it’s ALL SO PRETTY AND FITS WITH EXACTLY WHAT I THOUGHT ASGARD WOULD LOOK LIKE.
I can believe this is a living, breathing world of these people! They have their own mythology and ways of phrasing things (that give me frustration in trying to parse it, but I also do like the idea that the way they phrase things might not always sound right to me, because they have their own mythology that I don’t always believe) and their own style and aesthetics and different levels of technology and things they value. They’re not wholly alien, they’re obviously influenced by modern writers trying to create a society, but it’s still just alien enough that I love it ridiculously.
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