Can we talk about this moment? Up until here, Sansa is guarded: walls up, careful about what she says and her outward impression. Even at the mention of Catelyn, she looks reluctant at best, still in that careful mindset.
But when Littlefinger mentions Arya, Sansa loses that poise for a moment; you can see her wrestling with herself, survival instinct against relief against fear. Catelyn is with Robb at the front, Sansa knows, she must be, but Arya is a different story: disappeared, dead, invisible, who knows?
And it is after this moment that Sansa asks Littlefinger to take her home. Not before.
So I don’t want to hear about the sisters not appreciating each other or not being close. This is love. This is a connection that outweighs kingdoms and loyalties and bloodshed. This is a girl who would break the rungs of the ladder she’s scaled so carefully in King’s Landing — at a moment’s notice — for a chance to see her sister again. (x)
I agree but… she’s ~scaled a ladder in King’s Landing~? I hope that’s not a reference to being a social climber, because any ladder of hers is a precarious, one-legged deathspiral made of razors. It’s not the social ladder, it’s the ladder of being allowed to exist at all. In the books, they are pretty much plotting her death and iirc they attempt to poison her at one point. So. It’s not like she’s leaving some carefully constructed life, she’s leaving a carefully constructed not-death, that she has to reconstruct every single time she opens her mouth or is looked upon. Exhausting.
Her mother and brother are in a position to die just as easily as she, but Arya… Arya slipping through the deathspiral to have a chance at living is something Sansa hadn’t hoped for. It’s not that it’s Arya and that she loves Arya so much more or has some ~sisterly bond~ that’s, btw, heretofore been nonexistant. It’s that Arya’s the only one of that family that seems to not be in the line of fire (I believe Sansa still thinks Bran is dead) and Sansa would very much like to be there, as well. I’m sure her joy for Arya’s life is real, but her decision at this new info to leave/save herself isn’t, imo, so easily distilled into the idea of their sisterly love. It’s the hope that she can disappear like that, too. Remember, Sansa’s refused imminent-death escapes before (The Hound) and is already plotting with Dontos to escape. Honestly, I think what we see here is hope that she can make it out of King’s Landing and not immediately get killed.
#what i love most is that they worked for it #like obviously we knew going in#that they are holmes and watson #they are meant to be partners #they are each other’s person #but the show didn’t just coast on that #it legitimately spent 16 episodes showing us #how they come to know each other and love each other and respect each other #so that when he finally makes this offer for real #when he articulates it #and she accepts#we believe it fully and completely and utterly #and we FEEL it
I don’t know what other people’s feelings are like. Does anyone else find this part as horrifying as I do? Or is it supposed to be sweet? Admittedly I am not a Marauders fan. OOOH UNPOPULAR OPINION OOH ugh whatever.
Oh, it’s definitely supposed to be horrifying. There’s no way to read this as sweet. I really, really don’t like Book 5, but in the context of the series, Book 5 is when shit begins to get Real. Cedric died in what the Powers That Be deem an isolated incident and shy from acknowledging that another war is coming, and otherwise that’s the unequivocal warning shot of the second war. Book 5, though? It’s Order of the Phoenix for a reason—yes, it’s about the new Order of the Phoenix gathering to fight Voldemort, but so much of the book is about looking back at the first Order and the real cost of going to war, the one beyond the body count, and why they have to defeat Voldemort, for real this time so he’ll never come back again.
Book 5 introduces That Photograph of the original Order, and has Mad-eye Moody introduce Harry to everyone according to the manner of their grisly demise, which is such a fucking Moody thing to do, but it’s such soldier thing to do. You can’t look at this photo of those people you fought with and whose bodies you found, whose kids you had to whisk out of the house before they were murdered, too (and sometimes you didn’t get there in time) without thinking of why you’re telling this kid anyway—Moody has to be one to tell him all this because everyone in the photo is too dead or too gone to speak for themselves.
And that’s the other thing we get in Book 5: the survivors of the first war. By Book 5, we’ve met Remus, Sirius, and Peter, but Book 5 has the Longbottoms at St. Mungo’s. Shit, dude. Harry’s parents are dead and never to return; Neville’s parents are still very, very much alive, yet not at all the famous Aurors they were when they were taken out, and not even capable of recognizing, let alone caring for, their son.
Then there’s Sirius. It’s impossible to see until the above moment in the movie and this point in the story that Sirius is as much a casualty of that first war as the Longbottoms. By the time of the fight in the Department of Mysteries, Sirius has been hiding in 12 Grimmauld for more than a year, only allowed out when he transforms into his extremely distinctive animagus form (a bear-sized black dog and Moody reprimands him for coming along to see Harry off because SIRIUS-IS-THE-DOG-STAR BLACK, YOU ARE FOOLING LITERALLY NO ONE), so he can’t even leave the house anymore. He can’t run missions like the rest of the Order, either; it’s him locked up in the house he thought he had escaped forever when he ran away as a teenager, with the portraits of his ancestors shrieking abuse at him all day long while everyone else has a life. Sirius’s life is back somewhere in 1979, when he and his bff James were handsome, popular 19-year-olds living off family money by day and cackling through their spying adventures at night, while their friends were plucked off one-by-one in murders that disgust even a grizzled one-eyed Auror 20 years later.
So, it’s subtle. I don’t have the book in front of me so I can’t remind myself of Harry’s reaction in the narrative, but this little glance of “uhhhh what just happened”—that’s the brief realization that even though your godfather really means well and you would love nothing more than to live with him in some nice house and you two will be the only family you’ll ever need—Harry, he doesn’t even know who you are right now.
ALSO: SIRIUS BLACK IS STILL AN ASSHOLE. THEN AGAIN, SURPRISE: BEING SENT TO AZKABAN FOR TWELVE YEARS AND LIVING AS A DOG FOR MOST OF IT TO KEEP YOUR SANITY IS NOT THE BEST CURE FOR BEING A DICK!!!!
Gotta reblog for the awesome absurdical action. That penultimate paragraph! Swooninggg.
I AM a Marauders fan and I dearly love Sirius but yes, this ought to be upsetting. It’s only sweet in and so far as his devotion to James is one of the things that he’s able to hold onto, and that’s some serious bromance, but it’s meant to be very dark, very sad. I imagine not being able to be of real help to the Order and also being grounded in his bad-memories childhood home doesn’t help with his regression either.
BUT ALSO this isn’t in the books. There, Sirius says, “Nice one! Now I want you to get out of—” and then “Harry, take the prophecy, grab Neville, and run!” which actually is exactly what Harry does while Sirius covers for him — so it’s much more responsible — and then we don’t see him again until Harry looks around and sees a few duels going and Sirius says, “Come on, you can do better than that!” and is sent through the veil.
One of my top five HP film moments. I maintain that the movies are at their best (though, also: worst) when they deviate from the books, and this is heartbreaking and cringeworthy and so spot on for Sirius+James and how much Harry reminds everyone of his parents :\ Poor Sirius had the pause button pressed on his life and never had the chance to get his mind caught up when it all unpaused.
Both these comments are rhetoric and not policy, so shouldn’t be taken too seriously, but the underlying ideas here are very important to me.
When the President says that higher education is an economic necessity, he is absolutely correct. If you look at the industrialized economies that are struggling around the world, they line up very closely with higher education rates. (Look at Portugal, for instance.)
So, like, “the U.S. experienced a fairly large growth in population from 2000 to 2009. During the period, the population increased 8.68% — the 12th highest among OECD countries. Meanwhile, the rate at which the share of the population with a tertiary [post high school] education is growing has slowed to an annual rate of 1.4% — the lowest among the 34 OECD countries. Just 71% of funding for educational institutions in the country comes from public funds, placing the U.S. sixth-lowest in this measure.” [source]
So we already have one of the lowest rates of public investment in education in the industrialized world, and the lowest rate of growth in post-secondary education.
This is a real long-term and structural problem for the US economy, because the only future growth available to industrialized nations is in jobs that require education. If we only offer higher education to people who can afford it, we will lose to the many nations where university education is more highly subsidized, because they’ll have better educated workforces that will earn more and in turn pay more in taxes, which will allow future generations to be better educated still.
Both parties would like to take political credit or assign political blame for the unemployment rate and the pace of growth etc. But the truth is, government doesn’t have a lot of say in that stuff (unless of course they screw things up so royally that there’s a debt default or something). A lot of the government’s role in economic growth is much longer term—it’s stuff like infrastructure and long-term political stability and creating a better-educated workforce.
A way more eloquent version of what I tried to say to my father the other night when we discussed how manufacturing jobs will soon be largely robotic.
What’s so fucking funny about this was that Odin screaming at Loki wasn’t even scripted. Anthony Hopkins just made it up right there on the spot.
So Tom was probably thinking holy shit did Anthony Hopkins just HWARGH at me??
is there a lisa evans fanclub yet or
#a day in the life of loki laufeyson #7:00 slap bitches with my pimp cane #7:30 replace thor’s shampoo with glue #8:00 go shopping for pudding #9:00 fill hiddleston’s current place of residence with copious amounts of said pudding #10:00 blow shit up #11:00 blow shit up #12:00 destroy everything #1:00 lunch time! #2:00 resume bitchslapping
I think the main, horrifying thing about these airbrushed pictures being distributed, is there has been a lot of media hype calling this beautiful girl fat. It’s like, the media refuses to let her be proud of her body. They’ve even changed her face shape, making her almost unrecognisable. We always rant about how airbrushed photos affect us, but imagine how they must affect the people being airbrushed. Imagine feeling super confident and good about yourself after a photo shoot, and then seeing the end result and realising you weren’t good enough for the magazine. It must be crushing.
I remember, when my friend was practising photo shopping, she took a photo of my face and airbrushed it without my permission or even warning me. Personally, I found the un-airbrushed photo of myself more attractive, since it looked like me, but the airbrushed version was so disheartening. She’d changed the shape of my nose, elongated my face and taken out the scars by my eyes and the scar on my chest from my operation. She only did it as light hearted practice for her art exam, but it crushed me. She didn’t realise, and perhaps the photo-editors don’t realise, that by airbrushing out all the little imperfections on my face she made me feel like I wasn’t good enough. The little scars and freckles and the bump in my nose were all things that made me, me, and she took them away.
Similarly, by changing Jennifer Lawrence’s body, they’re telling her that no matter how successful she is, no matter how talented she is, she will not be good enough because of the things about her that make her who she is.
And I just find that sad.
Couldn’t have said it better.
Bless this post!
hold on - they actually airbrushed her? seriously? are you kidding me? jennifer has a body that the majority of women would DIE for. why should she have to fit a damn mould? i swear, the media makes me sick.
This is just fucking sad. Because…God, she’s lovely—she’s got firm, strong-looking arms and thighs, a round, full face. She looks healthy. But apparently the title of The Hunger Games got taken a little too literally and she can’t be attractive unless she looks like she’s starving.
Love this post! So much! So so much. But I have to step into my role as ruiner of things and clarify that GQ did not do this. This must be fan made, which makes it almost more sad. EXCEPT that the resulting gif demonstrates so fantastically the gross powers of Photoshop, which makes me think this has to have been purposefully put out in the world for just such reasons. <3
[edit: obligatory Hottie With A Body comment, because damn.]
“A girl cannot tell a man when exactly he must do a thing.”
perhaps a man should have chosen a girl less prone to shenanigans.
#his face is the best #like he’s just saying to himself #look at what you’ve done Jaqen #you’ve given a little girl the power to murder anyone #oh how could that have possibly gone wrong #i am a grown fucking man being yelled at by this tiny lady person #Maybe I should’ve finished college #but ‘a man has said’ or whatever the fuck #SO I GUESS IT’S MURDER TIME #but here let me huff indignantly first #just so you know you’ve inconvenienced me #look at your life Jaqen #look at your choices