ok guys. i have to be so real with you. luke saying annabeth is like a little sister to him was not just added for the tv show he says that in the book ("she would never... i mean, she's like a little sister to me" (page 223))
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I do feel like the way Kyoshi was written in the Avatar reboot was lowkey influenced by the fandom's perception of her. Cause like in the original show she's really just portrayed as a pragmatist who's willing to kill if necessary. Like Aang is conflicted about killing the Fire Lord and she's like "well if I were in your position I'd do it but that's just me. Good luck." And then people started making memes where she's like a murderous psychopath who thinks extreme violence is always the solution. And it was funny at first cause it was just exaggerating for comedy but now everyone thinks she was actually like that in the show when she really wasn't. And then in the remake her introductory scene is her angrily yelling at this 12 year old that he needs to stop being a little pussy and be a ruthless warrior or whatever and the only explanation I can think of is that someone in the writer's room maybe looked at a few too many of those memes.
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You know what absolutely kills me about this? Sand doesn't even look surprised. He isn't teary or wide-eyed. It's a look of pure disappointment. The kind that says he knew this would happen from the start, and he's utterly powerless to stop it.
While seeing Sand breaking down in tears would have been devastating, there's something very achy about this reaction. It's hard to put into words.
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keep thinking now about the idea of the ancient greek stage building as a doorway into death, which is separated from the stage (the space of the living) by the screen of the skene. cassandra calls it as much ("the gates of hades") when she enters the house of atreus. by convention characters cannot die on stage but must exit, usually into the skene, to be killed. cassandra's just extra explicit about it because of her foresight, but every entry into the stage building is a step into death. and then some people come back out of it!!!
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the more i think about Oppenheimer the more disappointed i get because at its core it’s such an interesting story to tell. like the whole manhattan project catapulted the entire world into a new atomic era that we could never go back from whether we were ready for it or not. and the fallout from the project not only changed and devastated the lives of hundreds of thousands of people (including of course the victims in hiroshima and nagasaki + the people living in new mexico where they tested the bomb) and the continued generational trauma of the bombs. also just the general mass panic and fear that the Cold War instilled into every citizen in the states who were literally waiting to one day be just annihilated by a nuclear attack. the whole creation of the atomic bomb had so much impact on the world. so doing a deep character study of both oppenheimer and his colleagues on the moral ambiguity of their work in the project and the outcome of it is such a great movie concept. but the film didn’t feel like that at all. instead Nolan gave us the watered down story that he’s best at and spent almost three hours forcing us to watch whether oppenheimer had to lose his disneyland government fast-pass due to his communist ties or not (spoiler: he does) and how strauss doesn’t like him because he got his feewlings hurt once. all the other scientists and physicists were given one or two minutes of screen time and were really just names to a face. the actual bombs creation was given a sidelong glance and trivial explanation at best. and of course to tie it all off the main female side characters were either naked/having sex for 80% of their screen time or was given the character depth of a piece of tissue paper
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