Origami Around
Not today Justin
todays bird
titsay
KIROKAZE
No title available
★
Janaina Medeiros
almost home
Monterey Bay Aquarium
Stranger Things
Keni
Andulka
Three Goblin Art
Peter Solarz
🪼
No title available
Mike Driver
No title available
Jules of Nature
seen from Türkiye
seen from Spain
seen from Malaysia
seen from Netherlands
seen from Russia
seen from Serbia
seen from Malaysia
seen from Ireland
seen from United Kingdom
seen from Malaysia
seen from United States
seen from Japan
seen from Singapore
seen from France
seen from Netherlands
seen from Poland
seen from United Kingdom
seen from United States
seen from Germany
seen from Türkiye
@fruityoatybar
we’ve all got that weird pretty big secret that we don’t really hide but like we don’t flaunt it like “My brother died of cancer” or “I’m gay” or “I tried to kill myself last year” or anything really and when you find out somebody’s big plot twist you know you’re in this friendship for the long run
A moment of silence for all the deep, complex, multifaceted characters that have been reduced to one-dimensional tropes by the fandoms that claim to love them.
can we also have a moment of silence for all the one-dimensional trope characters who have been inflated into deep, complex, multi-faceted characters by fandoms who give some writers way too much credit
Who the hell likes being stuck in a place where you can’t even smile?
Mei!! you know how to take care of me so well. i appreciate the love out of you!
“I don’t say homosexuality is an abomination, Sir, the bible does.”
Reblogging because (a) I can only hit the heart button once, (b) Martin Sheen spoke his lines with such certainty in part because he believed every word of what he was saying and (c) CJ’s face in these makes me want to laugh maniacally.
K, I'm just gunna say it. "Mother" is in no way as bad as "I'd like you to lie to me now".
HAhahahaahaa
i walked by my sister’s room singing, “it’s a nice day for a red wedding”
she threw a book at me
i guess she just doesn’t like billy idol
It’s already well established that Game of Thrones is, thematically, a good example of “exactly what it says on the tin”. The show is about the titular game. The quest for power in which being the ruler of the realm is seen by the various players as being the ultimate power. Of course, as has...
pixiv: シャボム
プリンセスのために…。
I MAY BE HYPERVENTILATING DUE TO TOO MUCH EXPOSURE TO AWESOME. OMG.
ho my god
Holy shit
JESUS FUCK THESE ARE THE BEST EVER
FUCKING CRYING
CAN I JUST POINT OUT THAT THIS IS WHAT LIVING WITH KATRINE IS LIKE —katie
OH GOD I CAN’T
“Pew pew pew” -church interior designer
Nothing can cure this homesick disease
I’ve been waiting my whole life for this
LISA IS A POLYAMOROUS BISEXUAL
THANK YOU FOR ALL THE SEPARATE FRAMES I HAVE WANTED TO SEE THEM FOREVER
GUYS
WHERE DID THE SAILBOAT GO
IT SAILED AWAY …
just click, i promise you its not what you’re expecting.
The first part of my psychology class extra credit powerpoint, the part on Doctor Who. (there was a thing so I edited and reposted)
~Love it~
I’m thinking of writing my own article on this as well, when I finish with Amy Pond/RIver Song/Clara.
I think the problem is that Steven Moffat doesn’t exactly know what makes a “strong female character.”
Aside from the lover/mother thing being a running trend with his ladies (aside from the three mentioned above, we also have Nancy in The Empty Child/Doctor Dances and Madame de Pompadour in The Girl in the Fireplace—Sally Sparrow is about the only exception since her motivation wasn’t centered around a boy, though even she had two love interests in the span of her one episode, with Lawrence Nightingale and the other dude), it seems to me like Moffat thinks “sassy, mouths off a lot” is what makes a female character strong. Like, as long as they have attitude, then they’re strong characters.
And I’ve noticed that in the fandom, too. When some friends and I were discussing the problems I had with Amy’s introduction in “The Eleventh Hour” (namely, the fact that while Rose, Martha, and Donna all actively helped to save the day in their introductory episodes, Amy quite literally “saved the day” by falling asleep and having the Doctor coach her through it—so in other words, instead of her helping him as the other companions did, he helped her), I had numerous people tell me things like:
“No, Amy’s strong, she doesn’t take any of the Doctor’s shit!”
“She tells him off all the time.”
“It’s Amy’s choice whether to be with the Doctor or Rory!!”
And that … that’s not really very comforting, because not only have all of the Doctor’s companions stood up and mouthed off to him when he’s crossed the line (out of the New Who companions of RTD’s era, the ones who argued the least were actually Wilfred Mott and Captain Jack Harkness; Rose, Martha, Donna, and Mickey all gave the Doctor earfuls plenty of times), but there’s more to being a strong character—and a strong female character, at that—than just being sassy. Telling the Doctor that he’s being an assface every now and then doesn’t make you a strong character. It makes you a character with a smart mouth, but when every single one of the other female characters this man has written has had a sassy mouth (Nancy, Reinette, Sally Sparrow, etc), that starts to stand out less and less as time goes on.
Oh, and before we go further? Being really violent doesn’t make you a strong character, either. Just because you have a gun and know how to use it doesn’t mean that you’re strong.
So what makes a strong character, especially a female one, in my opinion? Well …
Having a life outside of male characters, for one—especially the main one. Please raise your hand if you have ever criticized Bella Swan because her life revolved around Edward Cullen and/or (depending on the book) Jacob Black. Now put your hand down if you don’t think it’s a problem that the most important people in Amy’s life are the Doctor and Rory Williams. Sure, Amy isn’t just a blank slate character, but her parents are imagined back into existence and she doesn’t even seem to care. They don’t play a very integral role in the plot at all, even as side characters, and neither does the aunt that gets a mention once or twice, that she supposedly lives with as a kid. Frick, at least Charlie Swan has some key appearances in the Twilight series. Amy’s parents and aunt get shown briefly at her wedding, I believe, and then not really again after, because the only characters Moffat felt were relevant to Amy’s story were the Doctor (main male character), Rory (boyfriend/husband), and River (daughter). As for her job, well, she’s a kissogram. And that’s fine if that’s what she chooses to do, but clearly it’s not something she was passionate about as she later drops it to be a model (unlike Martha with her medical degree, as she later uses that in UNIT—and sure, that’s not what she was originally going to do, but it’s an understandable leap considering what she went through during the Year That Never Was). Meanwhile, you have River, and she does have parents—but her parents are Amy and Rory, who are with the Doctor, so that doesn’t help her have a life outside of the Doctor, either. She does later become a professor, but again, that’s due to the influence the Doctor has had on her. And then you have Clara, who is heavily played up as a love interest to the Doctor (which I mean, I ship them as well, so I’m not complaining too much there), whose parents are dead, and who has some kids that she nannies. So she’s a bit better, and it seems like Moffat’s learning, and then you learn that—as mentioned above, her entire existence hinges on her saving the Doctor. She exists to save him. Her life, in other words, revolves around him. These ladies’ lives revolve around the men in them. We almost had a winner with Clara, and then lost it. And that’s a problem to me.
And before I go further, let me just say that this is a problem not only for the lady characters, but also for the supporting cast, and the supporting cast is important to tell a fulfilling narrative. Rose Tyler came packaged with her mother, Jackie Tyler, and her kinda-sorta boyfriend Mickey Smith (best friend Mickey, really, if we’re going to be honest). Jackie and Mickey gave Rose a reason to return to London periodically. They shaped her character because although she no longer had a shop job to return to, she felt incredibly guilty for making her mother worry for a year and for making Mickey go through all those police questioning sessions, and it was clear that these three people cared for each other dearly. Rose did choose to keep traveling, but it’s very, very clear that she intends on keeping better contact and that she’s going to come back for visits (which she does).
And on top of that, Jackie and Mickey got some of the best character development in New Who’s run, imo. Jackie went from being an overprotective, suspicious woman who didn’t care for change and wasn’t open to the Doctor’s world at all to being a fiercely protective, loyal, brave woman who was willing to hop across dimensions if it meant keeping her daughter safe. Mickey went from being a somewhat cowardly boy who was complacent with his mediocre life to being a courageous, clever man who was willing to travel the world if it meant defending it from any threat. Seasons one and two were great not only because of Rose, but because of the development we saw in the side characters of Jackie and Mickey as well.
And we got Martha with her medical degree and her family (and her family played a pivotal role in the dealings of season three), and Donna with her mother and her grandfather, Wilfred Mott, who becomes a companion himself. Rose, Martha, and Donna were not only fleshed out as real, breathing characters because of their families, jobs, and lives, but their families helped flesh out and impact the narrative and make the story more emotional and compelling.
By removing that element, Moffat is not only making Amy, River, and Clara suffer, but he’s making the narrative suffer as a whole. I think that this is not only because he thinks sassy = strong without anything else added, but also because while Russell T. Davies focused the story of Who on the companions, Steven Moffat focuses the story of Who on the Doctor. RTD’s Doctors got full arcs, yes, but seasons one and two are definitely about Rose and her story. Season three is about Martha. Season four is about Donna, and the End of Time is about Donna and Wilf to an extent as well, as much as it’s about the Doctor’s impending regeneration. Russell T Davies fleshed out his companions and made them people because they had stories to tell, because the Doctor—for all his brilliance—was not the hero of these tales. (Also note that while he didn’t get to do quite the same for Jack in DW, that’s what Torchwood is for.) The companions were the stars. The companions were the heroes. The companions look like giants to the Doctor because they are the reason for the show.
It’s not so in Moffat’s Who. In Moffat’s Who, it’s about the Doctor’s pain, the Doctor’s tragedy, how the Doctor deals with this and how he experiences that, and what the companions offer him. The “mystery wrapped in an engima” that they are, riddles for him to solve or lovers for him to caress in scenes of sassy flirtation. They are side characters to his story, whereas it can be easily argued that it was the other way around in RTD’s era. And I think that’s where the biggest difference comes in.
So … this was a long, rambling mess that got away from my original point, but I think this new epiphany still stands. Moffat writes the Doctor as the most important person in the universe. RTD wrote the companions as if they were the most important in the universe. YMMV on which is better, but, well … I think we know where my opinion stands on this.
And I still maintain that Moffat’s writing suffers in direct response to his approach.
*appreciative, highly impressed applause*
Damn. That commentary fully expresses a lot of the things I feel about Moffat’s Who, and does it really well. I am doing a slide on what Moffat thinks is a ‘strong female character’ and I could never put my feelings into words half as well as this. I salute you, that was a brilliant piece of commentary.
its painfully true
