(Reblogged from amy8benson)

I think one of the reasons the Harry Potter Epilogue was so poorly received was because the audience was primarily made up of the Millennial generation.

We’ve walked with Harry, Ron and Hermione, through a world that we thought was great but slowly revealed itself to be the opposite. We unpeeled the layers of corruption within the government, we saw cruelty against minorities grow in the past decades, and had media attack us and had teachers tell us that we ‘must not tell lies’. We got angry and frustrated and, like Harry, Ron and Hermione, had to think of a way to fight back. And them winning? That would have been enough to give us hope and leave us satisfied.

But instead. There was skip scene. And suddenly they were all over 30 and happy with their 2.5 children.

And the Millennials were left flailing in the dust.

Because while we recognised and empathised with everything up to that point. But seeing the Golden Trio financially stable and content and married? That was not something our generation could recognise. Because we have no idea if we’re ever going to be able to reach that stage. Not with the world we’re living in right now.

Having Harry, Ron and Hermione stare off into the distance after the battle and wonder about what the future might be would have stuck with us. Hell, have them move into a shitty flat together and try and sort out their lives would have. Have them with screaming nightmares and failed relationships and trying to get jobs in a society that’s falling apart would have. Have them still trying to fix things in that society would have. Because we known Voldemort was just a symptom of the disease of prejudice the Wizarding World.

But don’t push us off with an ‘all was well’. In a world about magic, JK Rowling finally broke our suspension of disbelief by having them all hit middle-class and middle-age contentment and expecting a fanbase of teenagers to accept it.

Also. Since when was ‘don’t worry kids, you’re going to turn out just like your parents’ ever a happy ending? Does our generation even recognise marriage and money and jobs as the fulfillment of life anymore? Does our generation even recognise the Epilogue’s Golden Trio anymore?

STARTED WATCHING ORANGE IS THE NEW BLACK

MET SUE FOR THE FIRST TIME

AM SO SO PREPARED TO LOVE HER.

elucipher:

kleinecharlotte:

The Sao Francisco Church, Brazil (x)

(Reblogged from soyonscruels)

Sometimes I just want to drop everything and open up a queer bookshop. Like, a little place somewhere with big sofas and wood panelling and coffee, that’s a safe space for queer people.

(can anyone here make coffee? I like the way I do mine, but apparently it’s strong enough to strip paint off wood so.) Yes this is a request for you to run off to live in a quaint fanfic with me.

Finished Chapter 13. Deleted 6000 words. Onwards and upwards my friends.

wolfstargazing:

tentaclestestified:

seraphimkin:

censwh0re:

everyone check your music apparently the new U2 album downloaded onto everyone’s iPhone hahhah I’m dying

image

IT’S HERE

WHAT THE FUCK ITS ON MY COMPUTER

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(Reblogged from queenofthepiskies)

xyzdjhfsjkdhfd said: how do you feel about scottish independence?

soyonscruels:

FIRST AND FOREMOST: i feel it is up to the scots. this is their decision. every state has the right to self-determination and it is guaranteed under several UN resolutions. i think they should have had this referendum a very long time ago.

HOWEVER: i do not trust the SNP and i never have. they don’t have any answers. it is absolute madness to be at this point and have almost nothing sorted out. the currency issue has no answers, there are numerous EU issues, and the question of funding is totally unanswered. i would be very wary of following a leader who is so slippery and who talks in nothing but empty emotional rhetoric off such a dramatic precipice. i would probably not feel this way if this was something that had been carefully planned over a decade or so, with a fully realized state envisioned and answers to all these questions were a matter of public record.

SECOND HOWEVER: i still think this isn’t best for scotland, aside from my belief that i think alex salmond is a snake oil salesman. the barnett formula gives scotland a staggering amount of money. and a disproportionately large amount, too, which i know for a fact because my dad used to help calculate it— but this is not a criticism! that’s socialism! to each according to their needs, etc. england will be just fine if scotland leaves, because it produces most of the money in the UK. scotland… i worry… would not. 

THIRD, SLIGHTLY MORE SELFISH, HOWEVER: i worry that scottish independence would rip the political left of the UK apart. the last two labour prime ministers were scottish, the last two labour chancellors of the exchequer. the caledonian mafia is a legitimately important facet of the left, and i’m very scared of losing it. solidarity is sticking together and fighting the good fight. i understand completely the horror and impatience of the scots with consistently getting a government they didn’t vote for, because the north east of england has been red since being red was possible. my region never voted for thatcher. but i don’t think the answer to this is fucking off. i think it’s to get mobilised, really mobilised, for the first time since 1997. it’s to get out there and fucking slaughter them. my hope, my secret, probably in vain, hope, is that a NO result is returned but all that anger and frustration stirred up remains. we need to get productively angry. you don’t want a conservative government? then let’s keep them out. forever. it’s time to do more than just vote. it’s time to actively, consistently engage with your democracy, and try and force change actively. it’s time to take our country back.

i want scotland to be prosperous and fair and inclusive and just. i really, really worry that the independence option as it stands could not promise these things. i do not think a continuation of the union can promise these things either! i just think it’s a lot more likely.

(Reblogged from thecitysmith)
caterinasforzas:

what to wear when…in a fairy tale ballad.

examples: the laidly worm of spindleston heugh, der zauberlehrling (the sorcerer’s apprentice), o guerreiro de solteira (the maiden warrior)

ballads, the old story-songs still performed in anglo-american cultures, [can be seen as] popular märchen in rhyme…transformation and enchantment, and supernatural beings such as fairies and ghosts, infuse the narratives of these ballads and contribute to the action of the plot, as these elements do in traditional fairy tales. many of the supernatural folk ballads have the typical fairy tale happy ending in which the hero or heroine achieves disenchantment and/or the promise of a happy union with a beloved other, and often the restoration to human form is effected by the lover, a motif common to the animal bride/animal groom cycle of tales…ballads share themes and motifs with fairy tales…while fairy tales posit an impossible other world in which fairies serve as godmothers and talking frogs are taken as a matter of course, traditional ballads (even the supernatural ones) are set in this ordinary world…the scottish ballad of tam lin [is about] the human knight who is freed from serving as a fairy tithe to hell by a mortal girl brave enough to face the power of the queen of fairies in order to save her lover. [janet] provides a welcome relief from the more commonly known passive heroines such as sleeping beauty and snow white. the appeal of [the fairy tale ballad of tam lin] seems to lie as much in the strong-minded female character as in the fairy enchantments…that it is the female who saves the man in this story both makes the tale an interesting inversion of the traditional male hero motif…ballads, like fairy tales, use stock characters and are relatively unconcerned with character motivation and character development…when the oral ballad story was generically transformed into the literary fairy tale, key changes were initiated: a smoothing out of the narrative voice and a coherent plot, stronger characterization and a more defined setting, and an idealization [of] romantic love that is characteristic of fairy tales.

post 808 of an infinity-part series

caterinasforzas:

what to wear when…in a fairy tale ballad.

examples: the laidly worm of spindleston heugh, der zauberlehrling (the sorcerer’s apprentice), o guerreiro de solteira (the maiden warrior)

ballads, the old story-songs still performed in anglo-american cultures, [can be seen as] popular märchen in rhyme…transformation and enchantment, and supernatural beings such as fairies and ghosts, infuse the narratives of these ballads and contribute to the action of the plot, as these elements do in traditional fairy tales. many of the supernatural folk ballads have the typical fairy tale happy ending in which the hero or heroine achieves disenchantment and/or the promise of a happy union with a beloved other, and often the restoration to human form is effected by the lover, a motif common to the animal bride/animal groom cycle of tales…ballads share themes and motifs with fairy tales…while fairy tales posit an impossible other world in which fairies serve as godmothers and talking frogs are taken as a matter of course, traditional ballads (even the supernatural ones) are set in this ordinary world…the scottish ballad of tam lin [is about] the human knight who is freed from serving as a fairy tithe to hell by a mortal girl brave enough to face the power of the queen of fairies in order to save her lover. [janet] provides a welcome relief from the more commonly known passive heroines such as sleeping beauty and snow white. the appeal of [the fairy tale ballad of tam lin] seems to lie as much in the strong-minded female character as in the fairy enchantments…that it is the female who saves the man in this story both makes the tale an interesting inversion of the traditional male hero motif…ballads, like fairy tales, use stock characters and are relatively unconcerned with character motivation and character development…when the oral ballad story was generically transformed into the literary fairy tale, key changes were initiated: a smoothing out of the narrative voice and a coherent plot, stronger characterization and a more defined setting, and an idealization [of] romantic love that is characteristic of fairy tales.

post 808 of an infinity-part series

(Reblogged from punkdraco)
caterinasforzas:

what to wear when…in a portuguese fairy tale.

examples: the blood brothers (irmãos de sangue), a menina com a rosa em sua testa (the maiden with the rose on her forehead), o falso e o verdadeiro príncipe (the false prince and the true)

[the symbolism of bloodshed in portuguese histórias da carochinha is] central to a syntax of enchantment and disenchantment…the valuation of only one side of the female cycle has introduced the abjection and fear that men feel for the other, menstrual or virginal side of the female cycle or the bleeding in childbirth. the snakes, monsters and dragons that the heroes of the fairy tales must fight and overcome before they can unite with their brides on the wedding night represent this fear symbolically…the discourse in most of the fairy tales is masculine; women are most often silent objects of dispute or mediation in male adventures, but even then it is possible to discern them as muffled organizers, the presence that determined the path of the male adventure. in the feminine tales [like a serpente ajudante, a rainha orgulhosa, a menina do chapelinho vermelho, a garota que ajudou o herói voar, a moça e o bicho, etc.], this syntax is given conscious wording…the double standard meaning of the bloodshed [is that] woman’s blood shed in menstruation, defloration or childbirth is mostly regarded as defiling, pollutive, dangerous, but men’s blood shed in battle is considered sacred, purifying. and blood sacrifice has been and is the most powerful means of affirming male genealogy and solidarity…if we invert the discourse and listen to the feminine voice, it is easy to see that the quality of the blood depends on the frame of the gendered interpretation which has for so long been masculine.


post 637 of an infinity-part series

caterinasforzas:

what to wear when…in a portuguese fairy tale.

examples: the blood brothers (irmãos de sangue), a menina com a rosa em sua testa (the maiden with the rose on her forehead), o falso e o verdadeiro príncipe (the false prince and the true)

[the symbolism of bloodshed in portuguese histórias da carochinha is] central to a syntax of enchantment and disenchantment…the valuation of only one side of the female cycle has introduced the abjection and fear that men feel for the other, menstrual or virginal side of the female cycle or the bleeding in childbirth. the snakes, monsters and dragons that the heroes of the fairy tales must fight and overcome before they can unite with their brides on the wedding night represent this fear symbolically…the discourse in most of the fairy tales is masculine; women are most often silent objects of dispute or mediation in male adventures, but even then it is possible to discern them as muffled organizers, the presence that determined the path of the male adventure. in the feminine tales [like a serpente ajudante, a rainha orgulhosa, a menina do chapelinho vermelho, a garota que ajudou o herói voar, a moça e o bicho, etc.], this syntax is given conscious wording…the double standard meaning of the bloodshed [is that] woman’s blood shed in menstruation, defloration or childbirth is mostly regarded as defiling, pollutive, dangerous, but men’s blood shed in battle is considered sacred, purifying. and blood sacrifice has been and is the most powerful means of affirming male genealogy and solidarity…if we invert the discourse and listen to the feminine voice, it is easy to see that the quality of the blood depends on the frame of the gendered interpretation which has for so long been masculine.

post 637 of an infinity-part series

(Reblogged from sarahtaylorgibson)