Night Vale’s Christmas tree. Assuming Santa risks flying over our little desert community~
can we just appreciate the freaking tentacles
MY DREAM CHRISTMAS TREE
COME TO ME
Night Vale’s Christmas tree. Assuming Santa risks flying over our little desert community~
can we just appreciate the freaking tentacles
MY DREAM CHRISTMAS TREE
COME TO ME
OH MY GOD MY HEART
Why did I scroll through it twice? brb crying
“There comes a point where Susan, who was the older girl, is lost to Narnia because she becomes interested in lipstick. She’s become irreligious basically because she found sex. I have a big problem with that.” - JK Rowling
Can we talk about Susan’s fabulous adventures after Narnia? The ones where she wears nylons and elegant blouses when she wants to, and short skirts and bright lipstick when she wants to, and hiking boots and tough jeans and big men’s plaid shirts when she feels like backpacking out into the mountains and remembering what it was to be lost in a world full of terrific beauty— I know her siblings say she stops talking about it, that Susan walks away from the memories of Narnia, but I don’t think she ever really forgot.
I want to read about Susan finishing out boarding school as a grown queen reigning from a teenaged girl’s body. School bullies and peer pressure from children and teachers who treat you like you’re less than sentient wouldn’t have the same impact. C’mon, Susan of the Horn, Susan who bested the DLF at archery, and rode a lion, and won wars, sitting in a school uniform with her eyebrows rising higher and higher as some old goon at the front of the room slams his fist on the lectern.
Susan living through WW2, huddling with her siblings, a young adult (again), a fighting queen and champion marksman kept from the action, until she finally storms out against screaming parents’ wishes and volunteers as a nurse on the front. She keeps a knife or two hidden under her clothes because when it comes down to it, they called her Gentle, but sometimes loving means fighting for what you care for.
She’ll apply to a women’s college on the East Coast, because she fell in love with America when her parents took her there before the war. She goes in majoring in Literature (her ability to decipher High Diction in historical texts is uncanny), but checks out every book she can on history, philosophy, political science. She sneaks into the boys’ school across town and borrows their books too. She was once responsible for a kingdom, roads and taxes and widows and crops and war. She grew from child to woman with that mantle of duty wrapped around her shoulders. Now, tossed here on this mundane land, forever forbidden from her true kingdom, Susan finds that she can give up Narnia but she cannot give up that responsibility. She looks around and thinks I could do this better.
I want Susan sneaking out to drink at pubs with the girls, her friends giggling at the boys checking them out from across the way, until Susan walks over (with her nylons, with her lipstick, with her sovereignty written out in whatever language she damn well pleases) and beats them all at pool. Susan studying for tests and bemoaning Aristotle and trading a boy with freckles all over his nose shooting lessons so that he will teach her calculus. Susan kissing boys and writing home to Lucy and kissing girls and helping smuggle birth control to the ladies in her dorm because Susan Pevensie is a queen and she understands the right of a woman to rule over her own body.
Susan losing them all to a train crash, Edmund and Peter and Lucy, Jill and Eustace, and Lucy and Lucy and Lucy, who Susan’s always felt the most responsible for. Because this is a girl who breathes responsibility, the little mother to her three siblings until a wardrobe whisked them away and she became High Queen to a whole land, ruled it for more than a decade, then came back centuries later as a legend. What it must do to you, to be a legend in the body of a young girl, to have that weight on your shoulders and have a lion tell you that you have to let it go. What is must do to you, to be left alone to decide whether to bury your family in separate ceremonies, or all at once, the same way they died, all at once and without you. What it must do to you, to stand there in black, with your nylons, and your lipstick, and feel responsible for these people who you will never be able to explain yourself to and who you can never save.
Maybe she dreams sometimes they made it back to Narnia after all. Peter is a king again. Lucy walks with Aslan and all the dryads dance. Maybe Susan dreams that she went with them— the train jerks, a bright light, a roar calling you home.
Maybe she doesn’t.
Susan grows older and grows up. Sometimes she hears Lucy’s horrified voice in her head, “Nylons? Lipstick, Susan? Who wants to grow up?” and Susan thinks, “Well you never did, Luce.” Susan finishes her degree, stays in America (England looks too much like Narnia, too much like her siblings, and too little, all at once). She starts writing for the local paper under the pseudonym Frank Tumnus, because she wants to write about politics and social policy and be listened to, because the name would have made Edmund laugh.
She writes as Susan Pevensie, too, about nylons and lipstick, how to give a winning smiles and throw parties, because she knows there is a kind of power there and she respects it. She won wars with war sometimes, in Narnia, but sometimes she stopped them before they began.
Peter had always looked disapprovingly on the care with which Susan applied her makeup back home in England, called it vanity. And even then, Susan would smile at him, say “I use what weapons I have at hand,” and not explain any more than that. The boy ruled at her side for more than a decade. He should know better.
Vain is not the proper word. This is about power. But maybe Peter wouldn’t have liked the word “ambition” any more than “vanity.”
Susan is a young woman in the 50s and 60s. Frank Tumnus has quite the following now. He’s written a few books, controversial, incendiary. Susan gets wrapped up in the civil rights movement, because of course she would. It’s not her first war. All the same, she almost misses the White Witch. Greed is a cleaner villain than senseless hate. She gets on the Freedom Rider bus, mails Mr. Tumnus articles back home whenever there’s a chance, those rare occasions they’re not locked up or immediately threatened. She is older now than she ever was in Narnia. Susan dreams about Telemarines killing fauns.
Time rolls on. Maybe she falls in love with a young activist or an old cynic. Maybe she doesn’t. Maybe Frank Tumnus, controversial in the moment, brilliant in retrospect, gets offered an honorary title from a prestigious university. She declines and publishes an editorial revealing her identity. Her paper fires her. Three others mail her job offers.
When Vietnam rolls around, she protests in the streets. Susan understands the costs of war. She has lived through not just the brutal wars of one life, but two.
Maybe she has children now. Maybe she tells them stories about a magical place and a magical lion, the stories Lucy and Edmund brought home about how if you sail long enough you reach the place where the seas fall off the edge of the world. But maybe she tells them about Cinderella instead, Sleeping Beauty, Rapunzel, except Rapunzel cuts off her own hair and uses it to climb down the tower and escape. The damsel uses what tools she has at hand.
A lion told her to walk away, and she did. He forbade her magic, he forbade her her own kingdom, so she made her own.
Susan Pevensie did not lose faith. She found it.
Sanders Introduces Single-Payer Bill in Senate Sen. Bernie Sanders on Monday introduced the American Health Security Act, which would require each state to set up a single-payer health care system and undo the private insurance exchanges that have plagued Obamacare. Meanwhile, state-led efforts in Vermont, Massachusetts and elsewhere could sweep the country statehouse by statehouse as soon as lawmakers see the advantage of a single-payer system. “As the president fully understands, the rollout has been a disaster, the website has been a disaster,” said Sanders. “But the truth is, even if all of those problems were corrected tomorrow and if the Affordable Care Act did all that it was supposed to do, it would be only a modest step forward to dealing with the dysfunction of the American health care system,” Sanders told The Daily Beast. LINK
I would be behind this 100%. While I have supported The Affordable Care Act as a step in the right direction, it was never “ideal” and was very much a compromise because single payer wasn’t plausible at the time.
You want to get rid of Obamacare? Replace it with this.
you should probably watch this, and then spread it like wildfire, js
her coldest shoulder could still keep me warm. s
holy fucking shit her voice though
I understand that I’ve reblogged this a few times in the last few days… But first of all I’m pretty proud of this cover.. Secondly, I want this shit to go viral so Mary can find me and love me and sing w me, and thirdly, it’s my fucking blog I do what I want bye
Ugh, she’s just awesome.
if you don’t love this cover i will hate you forever!
She looks so genuinely happy while singing this, so adorable and her voice is so fantastic. Love love love.
Such talent!! A beautiful human being, a beautiful voice and incredible performance. I wish her all the success in the world!!!
Omg her voice is amazing
"Not much. We’re heading home"
"Ram the Blade ship."
"Out of quarters, certain people keep forgetting that the SleazeTroll shows up right after the Nether Fjord. So certain people keep loosing the game— and loosing our quarters."
"Okay, this is unexpected."
"Are you going to come and protect up, you big strong m-a-a-a-n? You think we’re helpless just because—"
"I love you."
"I’d appreciate it if they did walk with us, I know you’re not afraid of anything Rachel, but I guess I am."
"He doesn’t hate you, Jake. He never did. His heart was broken, that’s all. And you know, Tobias never had anyone. No one before Rachel. No mother, really, no father he could ever know. Rachel was the first and only person who ever loved Tobias."
<Do not move. I stunned you to see what you are. But if you move, I will destroy you.>
A comma splice walks into a bar, it has a drink and then leaves.
A question mark walks into a bar?
Two quotation marks “Walk into” a bar.
A gerund and an infinitive walk into a bar, drinking to drink.
The bar was walked into by a passive voice.
Three intransitive verbs walk into a bar. They sit. They drink. They leave.
THANKS FOR TEACHING ME THINGS THAT ENGLISH CLASS HAS FAILED TO ACKNOWLEDGE
Watch the entire “Let It Go” scene from Frozen featuring Idina Menzel performing as Elsa.
If you don’t wanna go see Frozen, this is the best 3:39 of the movie (except the short that plays beforehand). What a jam.
goosebumps every time!
Oh god Sarah you are so right
This character is basically Elphaba and Let it Go = No Good Deed
Biggest difference? Idina’s voice does not match this character or it’s expressions.
A voice so strong was not meant for a character so cotton candy soft. ESPECIALLY WHEN THEY DIDN’T MAKE HER EMOTIONAL RANGE LARGE ENOUGH TO MATCH THE INTENSITY OF THE MUSIC??? The song is good, yeah. But the energy in the scene from this character design makes me cringe. It’s fucking Rapunzel trying to sing a song from Wicked fucking fuck what.
This was really lazy, Disney.
Elsa is an Elphaba copy
i think the big problem with the emotional range is the fact that they literally went out of their way to not make her face contort with the emotional waves of the song, because they wanted to make her stay “pretty”. if you watch Idina Menzel sing, well, pretty much anything, but especially her songs from Wicked, she is EMOTING. she is earnestly performing ev-ry sing-le syll-a-ble. she’s not “attractive” when she does it, but that doesn’t matter, because you’re not looking at her for her face, you’re looking for the feeling.
if you watch the video, the song kills, but the disconnect comes from the fact that elsa isn’t emoting. and this goes right along with all the problems of the production. it’s quite obvious the animators don’t care enough, because you have this intense song being sung by this powerhouse of a performer, and they aren’t trying to make the match; it’s all halfhearted.
and elsa, if you ask me, is a poor-man’s elphaba, because she’s not emoting. when i listen to wicked, i respond, because i hear the emotions and i remember seeing how it was performed; i cried during defying gravity because of the performance. when i watch elsa, i can see menzel in my mind’s eye performing it in the recording booth, and the difference between the two is jarring.
toni is always better at saying what I want to say so reblogging again
and you know what? It’s sad when the most emotional part of the song happens when you can’t see the character’s face:
THAT STOMP WAS THE MOST EXCITING PART OF THE WHOLE SCENE WHEN THIS SHOULD HAVE BEEN:
SHE IS LIFTING A GODDAMN SHOW PALACE
THAT SHOULD HAVE BEEN FUCKING COOL
LOOK AT HER. AND LISTEN TO THE MUSIC. AND CRINGE AT THE UNCOMFORTABLE DISPLACEMENT OF IT ALL WITH ME
“when i watch elsa, i can see menzel in my mind’s eye performing it in the recording booth, and the difference between the two is jarring.”
Y E S
((also this was the only song scene in the movie that actually made me feel anything….and now that I see it out of context it’s really mediocre, but compared to everything else, it was amazing and I called it “phenomenal” in my liveblog @_@))
The last shot is particularly guilty. Her weird bedroom eyed sexy face seemed kinda outta place.
Although I still loved the sequence, I gotta agree with a lot of this commentary. Also, the camera placement of some of the shots was odd. The very first one where it sweeps over the mountain above her was obviously supposed to be epic, and show off the landscape, but it was kinda… boring. There wasn’t a lot to look at and the slowness of the camera move and length of the shot felt awkward. I think it’d have been better if the camera started low and moved upward to reveal this massive mountain, with Elsa’s tiny frame walking away in the distance.
Another shot I didn’t like was her “transformation” scene. Her changing her dress should have been an epic, emotional moment but instead we got this awkward distant bird’s-eye shot. Putting the camera above the character is one of the quickest ways to disengage the audience emotionally. The camera should have been close, maybe sweeping upwards as her dress changes and then pulling out to reveal her face so the audience can connect, and then she could twirl and show her cape forming as a final touch. I was expecting some awesome transformation scene and what I got was kinda blah.
I agree. I feel like they could’ve pushed this scene a lot more. They could’ve put more movement/straining into her when she’s using magic, ESPECIALLY when she’s building the ice castle. She just frolics around and magical things happen around her. She really needed more face distortions on those powerful moments too, so that the emotion comes through to the audience more.
Her transformation scene bothered me a bit too, not only for the above reasons but also… WHERE THE HECK DID THE COLLAR OF HER ORIGINAL DRESS GO!? It just disappears.
all of this commentary is wonderful!! the song i really like, and the sequence of building the castle is easily the coolest in the entire film. but there was still so much further that they could have pushed Elsa herself in her animation and design.
Strength is being able to crush a tomato.
Dexterity is being able to dodge a tomato.
Constitution is being able to eat a bad tomato.
Intelligence is knowing a tomato is a fruit.
Wisdom is knowing not to put a tomato in a fruit salad.
Charisma is being able to sell a tomato based fruit salad.
Last night I thought I kissed
the loneliness from out your belly button.
I thought I did, but later you sat up,
all bones and restless hands, and told me
there is a knot in your body that I cannot undo.
I never know what to say to these things.
“It’s okay.” “Come back to bed.”
“Please don’t go away again.”
Sometimes you are gone for days at a time
and it is all I can do not to call the police,
file a missing person’s report, even though
you are right there, still sleeping next to me
in bed. But your eyes are like an empty house
in winter: lights left on to scare away intruders.
Except in this case I am the intruder and you
are already locked up so tight that no one
could possibly jimmy their way in.
Last night I thought I gave you a reason
not to be so sad when I held your body like
a high note and we both trembled from the effort.
Some people, though, are sad against all reason,
all sensibility, all love. I know better now.
I know what to say to the things you admit to me
in the dark, all bones and restless hands.
“It’s okay.” “You can stay in bed.”
“Please come back to me again.”