this is the money garf. reblog for untold pasta and riches to come your way
No title available
taylor price
NASA
Peter Solarz
Misplaced Lens Cap
Sade Olutola
Today's Document
Monterey Bay Aquarium
he wasn't even looking at me and he found me
No title available
2025 on Tumblr: Trends That Defined the Year

No title available
Stranger Things
Sweet Seals For You, Always
Game of Thrones Daily
trying on a metaphor
todays bird
"I'm Dorothy Gale from Kansas"

@theartofmadeline
let's talk about Bridgerton tea, my ask is open
seen from United States
seen from United States
seen from Lithuania

seen from Germany
seen from United States
seen from United States

seen from Germany
seen from Türkiye
seen from United States
seen from United States
seen from United States

seen from Netherlands

seen from United States

seen from Brazil
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
@scipiosmith
this is the money garf. reblog for untold pasta and riches to come your way
Cinderella + Pastel Colors (requested by anonymous)
You must understand, my dear. On the stroke of twelve, the spell will be broken and everything will be as it was before.
"Well, there's one thing: they can't order me to stop dreaming!"
Cinderella | France | early 1870s
Unused Cinderella II Dress Designs by Lisa Temming
Theses dresses are absolutely beautiful, why didn’t you tell me about them?
These would have bee so good to see animated.
I'm experiencing a massive art block at the moment so here's an older artwork of my two favorite Disney ladies!
Based on this photo from one of the Disney parks:
From time to time, my mind keeps jumping back to that scene where the show showed the statue of Pyrrha.
Through the years, I have come to view the Two Gods Ozpin/Salem flashback episode as epitomizing the fundamental misunderstanding of what made the show what it was as well as the point the show broke beyond repair.
But the statue scene is the same.
I could fanon the "Jaune loots Pyrrha's stuff to make the anti-climactic Sword-Sword" because hey it would have been in character for Pyrrha to want her belongings to stay in the fight and to pave the way forward, even though doing that without asking her family is ultra disrespectful.
But the statue?
It's just there as a scene so the writing team can pat themselves on the back and divert critique by saying "See, we haven't forgotten her, here's closure, we respect her and honored her memory.".
And yet it's such a surface-level narrative honoring of a character. It doesn't add anything to the story or the character because once again, it's not about her or her family. It also feels messy with how scary and chaotic the world is supposed to be after the fall of Beacon.
Not to mention it goes against everything the character stood for.
If there was hell in the world and Pyrrha were to somehow end up there by mistake, her version of it would no doubt be the world filled with monuments dedicated to her, the champion of Mistral, the invincible girl, the unreachable star standing on a pedestal above all others, so utterly alone. It was her greatest fear in life, and she would hate that, because it would mean that in the end, she was nothing but her unreachable title of fame and legend. The girl inside that shell never mattered. Her struggles in Beacon to find a normal life and something genuine never mattered. Her sacrifice protecting that something genuine didn't matter.
And yet the narrative is fully convinced it is honoring her this way.
It shows such a fundamental misunderstanding of the show from the writing and directing standpoint that it almost feels as if it were the writers' complete lack of care and interest in the world they are making instead.
Actually, let's consider this for a moment.
The people of Mistral would think this is honoring her. But if the story was actually told better, then Jaune would have commented that this is not what Pyrrha wanted. He'd state she hated things like this. And I suspect that Pyrrha's mom or spirit or whoever this was who spoke to him would have agreed.
It would have made for a more interesting scene at the very least.
The problem is that it likely never even comes up in the writing process. There's no such intent there to explore anything like that to imply that. Her mother just being a passing by person also feels like a lack of interest in having characters confront what happened. There's no intent in exploring the monument as a negative.
Now for honouring her the show once again doesn't explore it. Pyrrha died on foreign land and circumstances of her death are unclear. The last time anyone saw her she was destroying an Atlas secret project on live TV. Her body evaporated too. So what is the exact intent of the statue? What is it honouring?
Likewise the circumstances of it being built. Remnant just lost worldwide communications and everything is supposed to be very very bad right now. Even Mistral is supposed to be in a bad place since, reminder, that the show's point was to, through v4 and v5, build up to Haven attack and assault on Huntsmen and all that stuff. Why would they build a statue? Now there are ways it would make sense which would require exploring how people over there feel about what happened in Vale and the geopolitical aspect of their famous champion dying there and all circumstances surrounding her death but the show avoids that like it avoids dealing with any Fall of Beacon consequences. The statue being made is not a symbol of Mistral's people idolising her as a martyr in "us Vs them" kind of way or anything. It just is. It's manifested into the story without context, not as a moment of development but merely as a way for writers to "prove a point" to the audience.n
Well, if you take into account the headcannon that we both share about Pyrrha being the heir to the throne of Mistral, then I have a couple of answers to some of these questions:
Why would they build a statue? Because her mother paid for it herself, using her Old Money (capital O, capital M) to fund it herself, that's why Pyrrha's name is in big letters and 'one of many who fought at the Fall of Beacon' is in much smaller letters underneath.
I actually think this can work even without our headcanon, because Pyrrha's mom probably has a bit of money tucked away from Pyrrha's tournament winnings, possibly enough to pay for a statue by herself.
Alternatively, even if her mother didn't pay for it, it was funded by public subscriptions because Pyrrha was the Princess Without a Crown, the last of her line, and that matters in a kingdom that is obsessed with its history because of its unspoken sense that it doesn't have a future.
Certainly my Mistralians wouldn't give a damn about her destroying a top secret Atlesian military project. It's Atlas, who cares? This is Mistral, ancient and glorious, and they have had enough of listening to the northmen.
Of course, none of this is canon, especially not the Mistralian cultural chauvinism, and none of this is the writerly or storytelling intent, but I think that you can make it work, you just have to accept that it is a) not necessarily the most universally sympathetic thing they could have done and b) part of Pyrrha's tragedy - of course to accept that you would have to accept that Pyrrha's fate is a tragedy and not spend the scene cheerleading for it.
On your point about the loss of worldwide communications, I think it might have been fun, or at least interesting, if Pyrrha's fate was unknown in Mistral for that reason - as you say, nobody saw her die. I can imagine Pyrrha's mother or someone offering a reward for news of Pyrrha's fate.
It would probably turn into more angst for Jaune but it could be worked with, I'm sure.
Oh there are ways to go around it, but that's kind of my point here. Even if you do go around it, there's nothing within the show it would lead to. As far as the show is concerned, they "honoured Pyrrha" and that's it. The end of the story.
If you are creating a story for why the Statue is there (which is possible to do), you are instantly creating a story that the canon was never interested in telling.
If you are exploring her mother having financed building the statue you are in turn exploring the why and the relationship between her and Pyrrha, and where this leads story-wise. You are making her mother a character beyond "vague background character with similar hair colour".
If you are exploring why the Kingdom itself would want to build the statue, you are instantly worldbuilding Mistral itself beyond Haven, and that's also not something the show does or uses.
Even exploring how people at Mistral might feel about what happened to their champion opens up stories the that run in a polar opposite direction from what the show does because Mistral essentially had stopped existing as a place the moment the crew moves on to Atlas.
The show misunderstood the character herself. What's more, the show was not interested in telling the story around that character, her memorial statue, her family, or the Kingdom she hailed from. Nor was it interested in having characters actually come face to face with those story beats beyond giving a scene so they can tell the viewers that "look, the characters cared, we cared to honour her."
It's the microcosm of what's wrong with the show and why the show is so irreparable and, ultimately, unfixable.
P.S. As for Atlas, well, I'd disagree. I think Mistral would absolutely care about that. It adds to the mistrust. They don't know how or if Pyrrha died. Did Atlas take her out or kidnap her because of what she did to their secret weapon? Did Vale do something due to grievances since the Great War? Not to mention the White Fang were there, and Mistral were obviously very not fond of the Faunus? Likewise, Atlas would also care. Some random girl from Mistral, who is likely part of the nobility, just destroyed their creation. And then the Atlas forces get hacked? Is Mistral framing them or acting against them? There's no verifiable information, no communications channels. All each Kingdom has is hearsay from the students and civillians returning from the tournament, the recording of Atlas robots attacking everyone and WF being there, and the public broadcast of what happened in the tournament. Hilariously, the show is not interested in exploring any of that.
Yes, you're right. I was using 'who cares' in a rather narrower sense in that it wouldn't dampen their affection for her. She could slaughter a whole host of Atlesian robots live on television until the nuts and bolts were piled as high as the mountain on which Mistral sits and they would love her still because the works of Atlas have no claim upon their hearts or consciences.
But yes, more broadly I agree that they ought to care about what the hell is going on. In general everyone should probably care just what the hell is going on, but the Mistralians have more reason - or certainly feel like they have more reason - to care than most.
It was clear, even to the crowds unlearned in the ways of the grimm who gathered in the square, and no doubt beyond the square as well, that the Valish had known — they must have known — that the grimm were gathered about their city in great numbers.
They had known, and yet, they had done nothing. They had let the people of Mistral come to their city, the students of Haven, scions of ancient families, the hopes and expectations of Mistral's future, they had let them place their heads in the jaws of a monster. And now, the jaws were trying to slam shut.
Curses were raised against the name of Vale, its leaders, its people; more curses would be raised by far if anyone of note were found to have fallen in this battle. The death of Phoebe, the destruction of the Kommenos family, had passed little regarded in the general enthusiasm for Pyrrha's triumph, amidst Phoebe's own unpopularity and the low regard into which the Kommenos family had fallen since the Great War. But if Arslan Altan should perish, or Jason and Meleager, or gods forbid, Pyrrha herself … such a roar of fury would rise from the streets as would make the White Tower tremble.
I had a piece written where I considered incorporating the statue details into the AU, but eventually decided against it because it didn't align with the timeline.
She carried a bouquet of flowers, like she had always done. The woman would snatch them off the local market in the morning—today it had been roses, last week lilies, before that some other colour fresh off the gardens for the taking. The flowers held no purpose, no meaning. She didn't bother giving any to this pitiful ritual of hers. Was there ever a point to any of this anyway? To the fighting and the suffering, to the history taught parent to child, to the last breath of the dying men crawling atop the mud, grasping for the banners they could no longer glimpse? Why come here, to the marble and the metal that would never hear the words she so wanted to say? Maybe because the silence would provide her something so scarce these days—that serenity and peace that the nightmares had replaced, the loop of the tournament recording playing on repeat on the TV. Symbols were born to serve the dead, yet they'd only arise to charm the living. She wasn't one for the glory of the past despite her blood, but her family oh so wanted her to be. Since she had been a child, every day of her life had been a tale or a photograph, a ceremony to teach the back-then-young-her of the history coursing through her veins. They didn't notice that the woman had grown weary of the posturing and the empty gestures, longing for a future rather than the past. Years later, the woman would tell herself her family name wouldn't define her—that she was her own person in a world born anew from the ashes of war. A new beginning, a new path free of tradition and superstition! Surely there had to be a place for her beyond the crown of thorns some would place atop her head. She'd find it, she'd grasp for that chance to be herself and to bring her family something that wasn't the cup filled to the brim with grievances and tears. How ironic it had been that she ended up denying her daughter the same dreams, driving a rift between them wider than any ocean could ever hope to be. But the fact that this apparition of ivory and gold now loomed over the square had to mean something more. The songs, the tales, and all of the bloodshed—they weren't merely the relics of bygone days. Those coming here weren't nobodies, the kowtowing bastards with no past or the future, doomed to forever be marked by the sins of their fathers. No, they were just as good as those idiots beyond the seas. Better even. Greater. Many people would feel that way, even if she wouldn't. They'd cheer and they'd roar until the mirage of her daughter had cast the shadow over all those visiting this square. A better idol, a memory, a better view than a city razed to the ground, they had never been to. An idea, a martyr they could relate to, projecting their hopes, sating the itching scar etched into this Kingdom that would never heal. As she placed the bouquet, the woman gazed at the statue, at its features, the metal so unwieldy to capture her daughter's face. Maybe because this wasn't a statue of her daughter, no. The visage gazing upon this city held no warmth, nor a smile or laughter that only a mother could recognize. What would greet her every week had merely been a ghost of the past, a pied piper assuming her daughter's form. A memorial to something that had no name or form, born of pride and glory and all the familiar cheers before the fall. The champion of Mistral took a stand in a war she would never win as she burned away in a land far away. A true hero. Yet even that sacrifice could never hope to compare to the once-fire still smoldering inside the hearts of those who rose and fell with the names of their Gods and Kings upon their lips.
Oh, that's beautifully written, incredibly powerful, it captures the mother's grief and despair incredibly well.
Just to make sure I understand it, though, she's saying that the purpose of the statue, and the symbology that she has allowed to grow around Pyrrha's memory, is to channel the potential grief of Mistral that would otherwise ferment a war with Vale into other channels?
From time to time, my mind keeps jumping back to that scene where the show showed the statue of Pyrrha.
Through the years, I have come to view the Two Gods Ozpin/Salem flashback episode as epitomizing the fundamental misunderstanding of what made the show what it was as well as the point the show broke beyond repair.
But the statue scene is the same.
I could fanon the "Jaune loots Pyrrha's stuff to make the anti-climactic Sword-Sword" because hey it would have been in character for Pyrrha to want her belongings to stay in the fight and to pave the way forward, even though doing that without asking her family is ultra disrespectful.
But the statue?
It's just there as a scene so the writing team can pat themselves on the back and divert critique by saying "See, we haven't forgotten her, here's closure, we respect her and honored her memory.".
And yet it's such a surface-level narrative honoring of a character. It doesn't add anything to the story or the character because once again, it's not about her or her family. It also feels messy with how scary and chaotic the world is supposed to be after the fall of Beacon.
Not to mention it goes against everything the character stood for.
If there was hell in the world and Pyrrha were to somehow end up there by mistake, her version of it would no doubt be the world filled with monuments dedicated to her, the champion of Mistral, the invincible girl, the unreachable star standing on a pedestal above all others, so utterly alone. It was her greatest fear in life, and she would hate that, because it would mean that in the end, she was nothing but her unreachable title of fame and legend. The girl inside that shell never mattered. Her struggles in Beacon to find a normal life and something genuine never mattered. Her sacrifice protecting that something genuine didn't matter.
And yet the narrative is fully convinced it is honoring her this way.
It shows such a fundamental misunderstanding of the show from the writing and directing standpoint that it almost feels as if it were the writers' complete lack of care and interest in the world they are making instead.
Actually, let's consider this for a moment.
The people of Mistral would think this is honoring her. But if the story was actually told better, then Jaune would have commented that this is not what Pyrrha wanted. He'd state she hated things like this. And I suspect that Pyrrha's mom or spirit or whoever this was who spoke to him would have agreed.
It would have made for a more interesting scene at the very least.
The problem is that it likely never even comes up in the writing process. There's no such intent there to explore anything like that to imply that. Her mother just being a passing by person also feels like a lack of interest in having characters confront what happened. There's no intent in exploring the monument as a negative.
Now for honouring her the show once again doesn't explore it. Pyrrha died on foreign land and circumstances of her death are unclear. The last time anyone saw her she was destroying an Atlas secret project on live TV. Her body evaporated too. So what is the exact intent of the statue? What is it honouring?
Likewise the circumstances of it being built. Remnant just lost worldwide communications and everything is supposed to be very very bad right now. Even Mistral is supposed to be in a bad place since, reminder, that the show's point was to, through v4 and v5, build up to Haven attack and assault on Huntsmen and all that stuff. Why would they build a statue? Now there are ways it would make sense which would require exploring how people over there feel about what happened in Vale and the geopolitical aspect of their famous champion dying there and all circumstances surrounding her death but the show avoids that like it avoids dealing with any Fall of Beacon consequences. The statue being made is not a symbol of Mistral's people idolising her as a martyr in "us Vs them" kind of way or anything. It just is. It's manifested into the story without context, not as a moment of development but merely as a way for writers to "prove a point" to the audience.n
Well, if you take into account the headcannon that we both share about Pyrrha being the heir to the throne of Mistral, then I have a couple of answers to some of these questions:
Why would they build a statue? Because her mother paid for it herself, using her Old Money (capital O, capital M) to fund it herself, that's why Pyrrha's name is in big letters and 'one of many who fought at the Fall of Beacon' is in much smaller letters underneath.
I actually think this can work even without our headcanon, because Pyrrha's mom probably has a bit of money tucked away from Pyrrha's tournament winnings, possibly enough to pay for a statue by herself.
Alternatively, even if her mother didn't pay for it, it was funded by public subscriptions because Pyrrha was the Princess Without a Crown, the last of her line, and that matters in a kingdom that is obsessed with its history because of its unspoken sense that it doesn't have a future.
Certainly my Mistralians wouldn't give a damn about her destroying a top secret Atlesian military project. It's Atlas, who cares? This is Mistral, ancient and glorious, and they have had enough of listening to the northmen.
Of course, none of this is canon, especially not the Mistralian cultural chauvinism, and none of this is the writerly or storytelling intent, but I think that you can make it work, you just have to accept that it is a) not necessarily the most universally sympathetic thing they could have done and b) part of Pyrrha's tragedy - of course to accept that you would have to accept that Pyrrha's fate is a tragedy and not spend the scene cheerleading for it.
On your point about the loss of worldwide communications, I think it might have been fun, or at least interesting, if Pyrrha's fate was unknown in Mistral for that reason - as you say, nobody saw her die. I can imagine Pyrrha's mother or someone offering a reward for news of Pyrrha's fate.
It would probably turn into more angst for Jaune but it could be worked with, I'm sure.
Oh there are ways to go around it, but that's kind of my point here. Even if you do go around it, there's nothing within the show it would lead to. As far as the show is concerned, they "honoured Pyrrha" and that's it. The end of the story.
If you are creating a story for why the Statue is there (which is possible to do), you are instantly creating a story that the canon was never interested in telling.
If you are exploring her mother having financed building the statue you are in turn exploring the why and the relationship between her and Pyrrha, and where this leads story-wise. You are making her mother a character beyond "vague background character with similar hair colour".
If you are exploring why the Kingdom itself would want to build the statue, you are instantly worldbuilding Mistral itself beyond Haven, and that's also not something the show does or uses.
Even exploring how people at Mistral might feel about what happened to their champion opens up stories the that run in a polar opposite direction from what the show does because Mistral essentially had stopped existing as a place the moment the crew moves on to Atlas.
The show misunderstood the character herself. What's more, the show was not interested in telling the story around that character, her memorial statue, her family, or the Kingdom she hailed from. Nor was it interested in having characters actually come face to face with those story beats beyond giving a scene so they can tell the viewers that "look, the characters cared, we cared to honour her."
It's the microcosm of what's wrong with the show and why the show is so irreparable and, ultimately, unfixable.
P.S. As for Atlas, well, I'd disagree. I think Mistral would absolutely care about that. It adds to the mistrust. They don't know how or if Pyrrha died. Did Atlas take her out or kidnap her because of what she did to their secret weapon? Did Vale do something due to grievances since the Great War? Not to mention the White Fang were there, and Mistral were obviously very not fond of the Faunus? Likewise, Atlas would also care. Some random girl from Mistral, who is likely part of the nobility, just destroyed their creation. And then the Atlas forces get hacked? Is Mistral framing them or acting against them? There's no verifiable information, no communications channels. All each Kingdom has is hearsay from the students and civillians returning from the tournament, the recording of Atlas robots attacking everyone and WF being there, and the public broadcast of what happened in the tournament. Hilariously, the show is not interested in exploring any of that.
Yes, you're right. I was using 'who cares' in a rather narrower sense in that it wouldn't dampen their affection for her. She could slaughter a whole host of Atlesian robots live on television until the nuts and bolts were piled as high as the mountain on which Mistral sits and they would love her still because the works of Atlas have no claim upon their hearts or consciences.
But yes, more broadly I agree that they ought to care about what the hell is going on. In general everyone should probably care just what the hell is going on, but the Mistralians have more reason - or certainly feel like they have more reason - to care than most.
It was clear, even to the crowds unlearned in the ways of the grimm who gathered in the square, and no doubt beyond the square as well, that the Valish had known — they must have known — that the grimm were gathered about their city in great numbers.
They had known, and yet, they had done nothing. They had let the people of Mistral come to their city, the students of Haven, scions of ancient families, the hopes and expectations of Mistral's future, they had let them place their heads in the jaws of a monster. And now, the jaws were trying to slam shut.
Curses were raised against the name of Vale, its leaders, its people; more curses would be raised by far if anyone of note were found to have fallen in this battle. The death of Phoebe, the destruction of the Kommenos family, had passed little regarded in the general enthusiasm for Pyrrha's triumph, amidst Phoebe's own unpopularity and the low regard into which the Kommenos family had fallen since the Great War. But if Arslan Altan should perish, or Jason and Meleager, or gods forbid, Pyrrha herself … such a roar of fury would rise from the streets as would make the White Tower tremble.
From time to time, my mind keeps jumping back to that scene where the show showed the statue of Pyrrha.
Through the years, I have come to view the Two Gods Ozpin/Salem flashback episode as epitomizing the fundamental misunderstanding of what made the show what it was as well as the point the show broke beyond repair.
But the statue scene is the same.
I could fanon the "Jaune loots Pyrrha's stuff to make the anti-climactic Sword-Sword" because hey it would have been in character for Pyrrha to want her belongings to stay in the fight and to pave the way forward, even though doing that without asking her family is ultra disrespectful.
But the statue?
It's just there as a scene so the writing team can pat themselves on the back and divert critique by saying "See, we haven't forgotten her, here's closure, we respect her and honored her memory.".
And yet it's such a surface-level narrative honoring of a character. It doesn't add anything to the story or the character because once again, it's not about her or her family. It also feels messy with how scary and chaotic the world is supposed to be after the fall of Beacon.
Not to mention it goes against everything the character stood for.
If there was hell in the world and Pyrrha were to somehow end up there by mistake, her version of it would no doubt be the world filled with monuments dedicated to her, the champion of Mistral, the invincible girl, the unreachable star standing on a pedestal above all others, so utterly alone. It was her greatest fear in life, and she would hate that, because it would mean that in the end, she was nothing but her unreachable title of fame and legend. The girl inside that shell never mattered. Her struggles in Beacon to find a normal life and something genuine never mattered. Her sacrifice protecting that something genuine didn't matter.
And yet the narrative is fully convinced it is honoring her this way.
It shows such a fundamental misunderstanding of the show from the writing and directing standpoint that it almost feels as if it were the writers' complete lack of care and interest in the world they are making instead.
Actually, let's consider this for a moment.
The people of Mistral would think this is honoring her. But if the story was actually told better, then Jaune would have commented that this is not what Pyrrha wanted. He'd state she hated things like this. And I suspect that Pyrrha's mom or spirit or whoever this was who spoke to him would have agreed.
It would have made for a more interesting scene at the very least.
The problem is that it likely never even comes up in the writing process. There's no such intent there to explore anything like that to imply that. Her mother just being a passing by person also feels like a lack of interest in having characters confront what happened. There's no intent in exploring the monument as a negative.
Now for honouring her the show once again doesn't explore it. Pyrrha died on foreign land and circumstances of her death are unclear. The last time anyone saw her she was destroying an Atlas secret project on live TV. Her body evaporated too. So what is the exact intent of the statue? What is it honouring?
Likewise the circumstances of it being built. Remnant just lost worldwide communications and everything is supposed to be very very bad right now. Even Mistral is supposed to be in a bad place since, reminder, that the show's point was to, through v4 and v5, build up to Haven attack and assault on Huntsmen and all that stuff. Why would they build a statue? Now there are ways it would make sense which would require exploring how people over there feel about what happened in Vale and the geopolitical aspect of their famous champion dying there and all circumstances surrounding her death but the show avoids that like it avoids dealing with any Fall of Beacon consequences. The statue being made is not a symbol of Mistral's people idolising her as a martyr in "us Vs them" kind of way or anything. It just is. It's manifested into the story without context, not as a moment of development but merely as a way for writers to "prove a point" to the audience.n
Well, if you take into account the headcannon that we both share about Pyrrha being the heir to the throne of Mistral, then I have a couple of answers to some of these questions:
Why would they build a statue? Because her mother paid for it herself, using her Old Money (capital O, capital M) to fund it herself, that's why Pyrrha's name is in big letters and 'one of many who fought at the Fall of Beacon' is in much smaller letters underneath.
I actually think this can work even without our headcanon, because Pyrrha's mom probably has a bit of money tucked away from Pyrrha's tournament winnings, possibly enough to pay for a statue by herself.
Alternatively, even if her mother didn't pay for it, it was funded by public subscriptions because Pyrrha was the Princess Without a Crown, the last of her line, and that matters in a kingdom that is obsessed with its history because of its unspoken sense that it doesn't have a future.
Certainly my Mistralians wouldn't give a damn about her destroying a top secret Atlesian military project. It's Atlas, who cares? This is Mistral, ancient and glorious, and they have had enough of listening to the northmen.
Of course, none of this is canon, especially not the Mistralian cultural chauvinism, and none of this is the writerly or storytelling intent, but I think that you can make it work, you just have to accept that it is a) not necessarily the most universally sympathetic thing they could have done and b) part of Pyrrha's tragedy - of course to accept that you would have to accept that Pyrrha's fate is a tragedy and not spend the scene cheerleading for it.
On your point about the loss of worldwide communications, I think it might have been fun, or at least interesting, if Pyrrha's fate was unknown in Mistral for that reason - as you say, nobody saw her die. I can imagine Pyrrha's mother or someone offering a reward for news of Pyrrha's fate.
It would probably turn into more angst for Jaune but it could be worked with, I'm sure.
Please, no...
It's so sad to see them beat the dead horse, and I am almost terrified to think of what completely insensitive to the real world thing they will come up with, considering the Vacuo setup...
Also, sweeping everything under the rug and acting like Team RWBY are all fine now (and thus don't need characterization they still haven't received since V3), and vaguely religious experiences in GMOD land "fixed" them from the evils of having flaws.
Is this simply related to the V10 news or has something more specific come up about it?
I've drawn so many different variants of Cinderella's pink dress, so I thought, why not draw her in the OG pink dress?
*EVERMORROW
I think I may or may not have mistakenly written Nevermorrow. My bad!
(Same anon who talked about RAIN nods in Evermorrow)
No worries, I've heard plenty of misspellings - usually "Evermore", but the best one I've seen so far is "Evermarrow"
Okay, but 'Evermarrow' as the name for a Marrow/Ace Ops centred rewrite would be so atrocious it would swing right back around into fantastic.
This was an important point in my Lilo and Stitch post, but I've seen other people completely misconstrue the criticism around Nani's choice so here we go
Going to college and raising your sister are NOT mutually exclusive choices. While she wouldn't be able to go to California, being Lilo's official guardian does NOT prevent Nani from getting a degree to achieve part of her dream
Nani is allowed to have her own life and dreams, but it needs to be remembered that Lilo is an important part of that
There is no reason why it had to be a choice
The original already had Nani gain a bit more freedom after Jumba and Pleakley become part of the family. They could've just expanded Nani's character by stating that now that she has more people in her life, she's decided to reconsider going to college in addition to taking care of Lilo because they're willing to share some of the responsibility
I keep focusing on this point for a reason. Nani didn't need to pick one over the other. She could've had both. And keeping custody is not just a piece of paper. It's to make sure that no one else can just move Lilo to the heart of Texas and force Nani to watch that happen because she has no legal right to her safety or well-being. Whether or not her adoptive family would do that is irrelevant. It's the principle of protecting your family
Better ending: Cobra Bubbles, and/or Nani's old surfing coach help her get a scholarship to a Hawaiian university on a work/study program. She gets to attend classes and get a paycheck as a coaching assistant. Jumba, Pleakley, David, and new neighbor offer to take turns watching Lilo so Nani has the time to do it. Having Stitch is extra protection. She is never forced to surrender custody because the support system around her allows her to HAVE IT ALL
And Nani should be allowed to have it all
People aren't mad because Nani went to college but because they made it seem like Lilo was the burden holding her back. Pass it on
This. This. As someone who works at a university a hundred times this.
I genuinely believe that we are trying to do better than we historically have by young people with caring responsibilities that mean they can't have what is still thought of as the stereotypical student experience- never mind the fact that's not do typical anymore - and it would have been great to showcase that. I daresay it would have been a much more helpful message for people in Nani's position (no portal guns needed) and if you want a message about benign, trustworthy authority figures then it gives you that, too.
here's the thing.
a young woman suddenly saddled with raising her younger sibling who ultimately has to accept that she isn't up to the task and it'd be better for her sibling to live in a stable and loving home with a family friend, leading to a bittersweet ending where the siblings remain in contact and still love each other, but must accept living apart at least for the time being, could be an interesting and compelling character.
but that character isn't nani pelekai.
I'm not an American, but I do work in the Higher Education sector, and I feel like the answer to 'my caring responsibilities mean I can't go to college like I wanted' isn't 'better find a way to shuck off those caring responsibilities!' but for colleges and universities to be more supportive of students with caring responsibilities, whether that's in the form of financial support, sympathetic timetabling, the tutor cutting you some slack on deadlines or attendance, and so forth.
That's something universities have been historically pretty bad at, so it isn't something the original movie could have depicted even if it had wanted to, but I feel like we are trying to do better on that front, so if the remake really did want to end with Nani going to college, a couple of lines at the end about how, say, Agent Bubbles has persuaded a university on Hawaii to take another look at her situation and they've offered her a support package that enables her to complete her studies while still taking care of Lilo (I'm not a scriptwriter, I'm sure there's a way to get the idea across efficiently) especially with the help of Pleakley and David and non-evil Jumba.
And it might send a message to young people in these difficult situations that there is help out there.
I'm still figuring religious stuff out myself but could anyone who wants to please pray for/do whatever you do to connect to a higher power for my cousin? She's having twins and they're three months early. Just, anything to send out an ask that she and her babies will be ok, thank you.
When Pyrrha's semblance evolves and she starts doing stuff like this