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#beautiful – @gingerandjazz on Tumblr
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who is that pip with pizzazz?

@gingerandjazz / gingerandjazz.tumblr.com

I miss Doctor Who...-- my stuff @ jazzpizzazz --
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okay but the idea that finn and rey meet each other and immediately settle on a system of respect is revolutionary because all we ever get is boy meets girl and boy acts like a dick/girl hates boy and yet somehow of course by the end of the movie they’re together (i’m looking at you, jurassic world)

and this idea of what makes a “””good couple””” in media is so toxic because it perpetrates this idea that if two people hate each other or are assholes to each other for most of their time together then somehow they’re going to get together and it’s gonna be peachy

and in force awakens i was so ready for that to happen all over again BUT NO

instead we get two people who look out for each other in ways that neither of them have ever really experienced before and there’s just no forced antagonism between them. there’s drama, sure, but there’s also honesty and loyalty and giant space squid monsters

like holy guacamole what a way to kick off a trilogy

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okay, most of what i do re: harry potter is criticism, and hp is flawed in such a number of ways, but sometimes i just sit here and

i mean, you all have a comprehension of just how drastically harry potter changed literature, yeah? like. it revitalized it. it blew the literary scene apart. the new york times had to create a separate bestseller’s list for children’s lit just because harry potter existed. harry potter changed reading.

so many people on tumblr were born in the ‘90s. when the first book came out, most of us couldn’t read. but we grew up in a world where everyone, everyone, everyone was reading harry potter, no matter how old they were; we grew up in a world where the most popular story in the entire world was a fantasy children’s book.

it’s sort of difficult to grasp, sometimes, the extent to which harry potter is not just a book. the extent to which what is basically a series of fun, interesting, and fairly good novels is such an enormous, enormous part of our lives, a cultural touchstone, a truly universal reference point, something so many people have shaped their lives around, a foundation for all of the stories we would read and watch for the rest of our lives– for so many of us, the first books we ever loved

the extent to which so many of us can’t call ourselves “fans” of harry potter, because it would like being a “fan” of, like, having lungs.

it’s not even about liking it or disliking it. it’s just a part of us.

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one of the most important things to me about harry potter is its portrayal of happiness. in the harry potter world, happiness isn’t just a feeling—it’s a weapon. look at how harry and his friends fight: with riddikulus, laughter stymies a creature made of fear; with expecto patronum, the very memory of happiness beats back the grim forces of depression.

the weaponization of positivity stretches beyond that. fred and george weasley’s inventions, meant for laughter, turn into arms against umbridge’s regime. and after their departure from hogwarts, their joke shop becomes not only the single bright spot in diagon alley (literally & figuratively) but a hub of defensive magic. the whole weasleys’ wizard wheezes narrative serves as maybe the clearest example in the series that happiness can act as both shield and sword.

there is something deeply empowering in a depiction of happiness as something so tangible and usable. as a profoundly depressed person, i often feel myself scrounging for happy memories and clutching them close; i find myself grasping for laughter in the dark. the physicalization of expecto patronum is not a quantum leap from reality. the boggart’s laughter as combat fuel, the weasleys’ levity as not just a choice but a difficult and defiant one—it’s all familiar.

the series has its share of darkness, but it revels most in the light. it lets us believe that the act of joy is not small, trivial, or inconsequential. happiness is something not just to be lived—it is to be wielded, on your own behalf and the behalves of the people around you, to battle against the world’s heavier elements. harry potter teaches us this.

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lovestory

If there’s one thing you remember from tonight, remember what I’m about to say.  You need to look into the mirror in the morning and not tell yourself that you’re not special or you’re not good enough, or you’re not pretty, or you’re not awesome. I’m gonna tell you right now the things that you actually are not.

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max, furiosa and loneliness

In addition to all the things Fury Road is, it’s a movie about two lonely, damaged people who suddenly find someone else like them, when they were least expecting it.

I know this is part of why I instantly connected with these characters. Because I don’t live in a post-apocalyptic wasteland. I don’t have experiences of trauma and loss anywhere near as intense as what these characters have dealt with. But I know plenty about what it’s like to feel alone, even when there are people all around you.

When we meet Max, he’s gotten used to surviving alone. He’s used to doing everything by himself, for himself, because there’s no other option. He sometimes helps other people, but he’s not used to the idea that anyone would help him, let alone trust him, protect him or comfort him. 

It’s not at all surprising to me that Max’s weapons of choice are pistols and a sawed-off shotgun–weapons you fire with one hand. He’d need the other hand for driving, because he’s used to doing everything himself, alone. He’s not as good with a rifle, a weapon you need two hands to fire, because he’s never had anyone to drive for him while he shoots, or keep a lookout while he lines up a careful long shot. (Side note–let us just take a moment to appreciate that Furiosa’s hero weapon is a gun you have to shoot with two hands, and that she’s better with it than anyone.)

Max is both isolated and self-isolating. It’s easy for isolation to become a self-reinforcing pattern–to get so used to not having anyone that you think you don’t need anyone. Sometimes you actively push people away when they’re reaching out (”I’ll make my own way”), because the thought of getting used to needing someone else and then finding them not there–through horrible circumstance or their own choice–is too painful. Easier to just keep doing it all on your own. Keep those walls intact.

Furiosa has a different kind of loneliness. She’s constantly around people at the Citadel, but there is no one quite like her–no one who’s been both wife and warrior, victim and enforcer, no one who’s traversed the Citadel’s worlds of both women and men.

I’m sure there are plenty of War Boys who doubted her, scoffed at her, hated her as she climbed up the ranks. As a woman in a world of men (in a deeply misogynist society), she would have had to be not just as strong as all the boys, but stronger, harder, smarter, better at everything, more ruthless and vicious, more guarded and wary, more careful with her trust. You see it in how she fights. Go for the kill on every move. She could never afford to do anything less. 

She would have had to build her own coping mechanisms, find ironclad ways to contain all her trauma and pain so it didn’t derail her when she needed to be on point, which was always. When she meets Max, she’s able to see very quickly that under his aggression is pain and fear, and that the aggression will stop if she soothes what’s underneath. Of course she sees it. She recognizes it.

Furiosa builds a crew of War Boys around her as Imperator, and it’s possible she trusts them and cares about them, and maybe even loves them. But at the end of the day, she is not their equal. She’s their leader. She’s the one who has to make the hard decisions, to think of the big picture, the mission and the team. She has to be the strongest person on the rig, because she’s the boss, the commanding officer, and ultimately, she’s responsible for them. She can never risk falling apart. Alone in the desert, Max can spend days swimming in flashbacks and damage no one but himself. Furiosa doesn’t have that option.

Being a leader is isolating. Always being the strongest person around is isolating, too.

If you’re always the strongest person around, you have no one to be vulnerable with. You are always taking care of other people, and it’s not so easy to let someone take care of you, to let your guard down completely. Because you’re the strongest, you’re in charge, there are things that only you can do, and everyone knows it.

When Furiosa returns to her people, she finds that she is no longer entirely like them, although she was never completely of the Citadel either. She’s trapped between worlds, alone. I think she’s a little afraid to tell them all the things she must have done in Joe’s service, afraid they will not understand, afraid they will judge her or pity her if she tells them. Even though maybe they wouldn’t.

But Max understands all about guilt and horrible choices, and does not feel himself in a position to judge anyone, and has as little use for pity as she does. Max knows what it’s like to be the strongest person around–to be depended upon to take care of other people, and to sometimes fail them.

And suddenly, these two lonely people find themselves beside someone who can have their back. It’s dizzying to suddenly find someone who is just as strong as you are, and just as broken. Someone strong enough to protect themselves, and also sometimes you. Which means you are allowed to be vulnerable once in a while. Someone who knows what gun you need and can hand it to you, loaded, before you ask. Someone who doesn’t flinch when you wake up from a nightmare, who doesn’t ask you to explain, just knows to remind you you’re safe. Someone who can watch over you. An equal. A partner.

And that is simultaneously an unbelievable relief and the most terrifying thing imaginable.

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I’ll be taking my cool, new stamp for a spin at tomorrow’s signing in Portland. Unfortunately there is almost never enough time to do drawings for everyone, and my drawings at signings are inconsistent, to say the least, and… well, not as cool as a stamp! I made this from the line art I drew for an upcoming print (stay tuned for that), featuring the original translation & calligraphy for “Avatar” from the first series logo by S. L. Lee, PhD.

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i’ve found my new bellarke song. replay ad infinitum.

“Time” by Mikky Ekko

Well the streets are empty where we used to run And the cars are all on fire Yeah we fall like leaves in the garden of Eden, Eden

Now remember how it felt being in the sun When I heard the ancient choir In the dead of night like an angel singing, singing

Hey, time doesn’t love you anymore But I’m still knocking at your door Honey we can run forever If forever’s what’s in store Oh time to take me home

On a tree in the garden I carved your name In a word that spelled desire Like an ocean deep where the waters heaving, heaving And your love pours down like a waterfall And I can’t escape the tide Here’s my hand baby, take it or leave it, leave it

'Cause time doesn't love you anymore But I’m still knocking at your door Honey we can run forever If forever’s what’s in store Oh time to take me home, home, home

Now we’re too young to recognize that nothing stays the same I Promise I won’t be the one to blame

'Cause time doesn't love you anymore But I’m still knocking at your door Honey we can run forever If forever’s what’s in store Oh, time doesn’t love you like I love you So take me home, home

Let me hear you say, Let me hear say

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Anonymous asked:

Could you talk about Hellboy II and why you enjoy it so much?

hellboy ii is the ornate grotesque poetry of del toro’s early work grown big and bold and silly and earnest. it’s a mythic epic but at the core of it there’s a warm heartfelt story about what it is to be a monster in the world.  

one of these monsters tells a room full of terrified humans, let this remind you why you once feared the dark. in del toro’s work, the enchanting and ungentle world of faerie presses up against ours, so near and so sinister; he finds equal wonder and terror in what hides in plain sight and crawls out of the dark places, awful and bristling. it’s hinged between finding the human in the monstrous, and revering the monstrous as that which is radically, gorgeously, horrifyingly not-human. 

so hellboy ii is unlike any superhero film you’ve ever seen. it’s beautiful. it brims over with imagination until its seams buckle. the monsters are viscerally weird and awful and exquisite and disgusting: the ancient dynastic elves that become stone and fall to dust when they die, the carnivorous hordes of tooth-fairies that chew the bones and nails and teeth right out of you, the angel of death with cracked leathery flesh and six wings covered in eyes, the troll market under brooklyn bridge. in its inverted mythos, monsters are natural, and the earth was given to them; humans are the late perverse warmongering beasts with holes in their hearts that can’t be filled. (it’s an allegory for environmental devastation—monsters become the revenge of nature against the humans who plundered its riches. it’s a lament for the ancient things driven to extinction, which will never be seen again, and which rage before they die.)

it doesn’t have the genius and bitter grace and nightmarish urgency of pan’s labyrinth; instead, it has breakneck chaos and sly wit and lurches of delight and a scene where two heartsick monsters get drunk and talk slurringly about what they’d do for love (i’d die… and do the dishes) and sing barry manilow. 

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Avatar: The Last Airbender — Last Agni Kai/The Phoenix King

the single most heartbreaking piece of music to ever be music ever ever ever ever ever ever

I remember when this came on and I was expecting some huge battle music, but then the strings came in and the drums did too, and I realised that ending battle was this sad, terrible thing that wasn’t supposed to be happening, and I just kinda sank into my couch at that point…

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One thing that I think is wonderful about the Southern Raiders scene where Katara uses bloodbending is that Zuko sees Katara use this amazing and terrifying power to literally control another human, and he says nothing. He never even tries to bring it up. He just accepts it as part of who Katara is, another piece of herself that she unconsciously revealed to him without realizing. A piece of herself that was so dark and frightening that it reduced her to tears when she first used it and made her vow to never do so again. Zuko has every right to be scared witless of this girl who once threatened to kill him if he even put a nonexistent hair out of place on the Avatar’s bald head, a girl who could kill him by simply squeezing her fist and bursting his heart like an overripe piece of fruit. The truly amazing thing is that he isn’t though because he trusts Katara implicitly with his secrets and his emotions and his life. He knows that even in all of her fury she would not turn it against him. Maybe even a part of him knew that she couldn’t kill Yon Rha, but she just had to prove to herself that she was better than her mother’s murderer.

The other amazing thing is that Katara trusts him too though she might not be as aware of it at this point as he is of his trust in her. All this anger and rage and hurt that she has cooped up for most of her life in order to put on a brave face for her brother, father, grandmother, and lastly, Aang, she reveals to Zuko raw and unfiltered. It has always been this way between them. She never held back anything from him even when they were fighting, even when they were mortal enemies. Katara was painfully open with him when she wasn’t with anyone else. This comes to a head in the Southern Raiders when they are finally able to put their enmity aside and work together. She completely lets go. She doesn’t hold back. She doesn’t keep a single thing secret, she let’s all of her ugly feelings rise to the surface without hesitation. Maybe it’s because she always felt like she could be her true self with Zuko or possibly because she saw so much of herself in him. Maybe it’s a mixture of both. Either way, there is a bond between them that has been established since season 1 that has no equal within the series. So in a way, Zutara exists in the sense of a deeply personal, intimate, and unrivaled bond whether it is canon or not.

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He told me to look at my hand, for a part of it came from a star that exploded too long ago to imagine. This part of me was formed from a tongue of fire that screamed through the heavens until there was our sun. and this part of me — this tiny part of me — was on the Sun when it itself exploded and whirled in a great storm until the planets came to be. And this small part of me was then a whisper of the earth. When there was life, perhaps this part of me got lost in a fern that was crushed and covered until it was coal. And then it was a diamond millions of years later — it must have been a diamond as beautiful as the star from which it had first come. Or perhaps this part of me became lost in a terrible beast, or became part of a huge bird that flew above the primeval swamps. And he said this thing was so small — this part of me was so small it couldn’t be seen — but it was there from the beginning of the world. And he called this bit of me an atom. And when he wrote the word, I fell in love with it. Atom. Atom. What a beautiful word.

The Effect of Gamma Rays on Man-In-The-Moon Marigolds by Paul Zindel (via allyourdissapointments)

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