hugintheraven said: Skye is the actual best. (Well, second-best, she's behind Simmons). I haven't delved into AoS fandom bc I'm sure people hate her and I just refuse to deal with that.



I don’t know the fandom much save for a few wonderful people (cough doctorcakeray cough). I have to admit, it took me a bit for her to grown on me to reach the point that I loved her.

Of course, everything in that show had to grow on me until it got super good.

(except agent may. she was always awesome)

[blushes and hides my face in my hands]

I liked AoS from the beginning.  Seeing the first episode premier at the SDCC panel probably helped, the actors and writers were so frikkin’ cute and the audience energy was great.  I eagerly watched every episode as it aired (it was the only show I did that with last year).  I understand all the criticisms of the show and have a few myself, but there’s also sooo much to love.  And by so much to love I mostly mean the ladies.


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randomthingsthatilike123 said: Ok, attempt #2, I remember seeing you post about Veronica Mars, any sorting head cannons about the characters?


(Note: in the way I’m using these terms, the primary is WHY you do things and the secondary is HOW)

Hufflepuff/Hufflepuff for Wallace Fennel. There’s a Puff tendency to make need-based calls—sticking by the person who needs you most, rather than the person you value most—and Wallace does that. Puff secondary, too, I think— Wallace wins his wars with kindness, decency, and friendly charm.  

You’re a marshmallow, Veronica Mars. Veronica is a Huffllepuff primary, too, but a burned one. She drops her friends to stand by her dad, but that’s as much about his perceived need as her loyalty. And when her friends need her—when anyone needs her—Veronica jumps to help, even if she shades it in her jaded, cynical grumble. Slytherin secondary—she’ll model anything to get her way, but she does seem to prefer to model Puff. I thnk she might have used to be all Puff. Maybe that’s why she gets on so well with Wallace.  

Hufflepuff Weevil, too. He’s got a burning sense of loyalty, commnity, and duty. He’s got a Gryffindor secondary (charges at things, is always himself), and a second, posturing level of Gryff modeling on top of that.  

Keith is some sort of idealist House. While he sometimes chooses to betray his ideals to help someone in need, he feels guilty about it in a way that Veronica, for instance, never would. Slytherin secondary? A bit of subterfuge hardly makes his heart skip a beat.  

Slytherin primary Logan, with a loud, combative Gryffindor secondary. He tries to pretend he’s Slytherin all through (his dad is a Slytherin/Slytherin who models Gryffindor— who pretends to have a Gryffindor secondary in order to play the part of the rash, rakish hero, and to give him something to blame his abuse on.  “I have a temper.” Aaron Echolls is disgusting). Logan got the loud, heroic, honest secondary his dad pretends to have.  

Lily- Slytherin/Slytherin who doesn’t even bother modeling. Lily’s selfish, morally dubious charisma is so refreshing to have in a character whose role sets her up to be the grieved angel. She’s the fridged innocent, the femme fatale, AND the manipulative, beloved best friend without any simplification or contradiction.  

Hufflepuff Duncan Kane— reacts strongly to perceived need, and sacrifices his own happpiness and future to do the right thing by the [spoiler]. I do think he’s probably happier now, out of the rat race. Secondary? Gryffindor maybe. What do you think? I never really jammed with Duncan.  

I think Mac might be our solitary Ravenclaw bastion. We’re a little loyalist heavy in this show. Mac’s got a Ravenclaw secondary, certainly: her methods are clever, strategic, full of technical skill. She feels like a constructed primary House to me: Ravenclaw or Slytherin. But she seems to have more of Ravenclaw’s detachment than Slytherin’s self-interest. Ravenclaw/Ravenclaw? Discuss?  

Piz is a Hufflepuff/Hufflepuff. He and Wallace get along for reasons, after all, and it follows Veronica’s pattern of having Puff boys who she adores but who she arguably uses to make herself feel like a better person. She keeps trying to claw herself back to the long-haired, softly-lit flashbacks!Veronica. She keeps trying to bury all her sharp curiosity, her mischievious ambition, and all her dangerous coping mechanisms back into a shell of sweetness and innocence that died with Lily.

Watching Veronica learn better— watching her come to embrace all her sharp edges once again, to bury herself in a world that needs saving, to remember that she is dangerous before she is kind— was one of the most rewarding movie tickets I have ever purchased.

Psssst hi friends. This is my and peenguin's Hogwarts side blog sortinghatchats. We have fun! And we also have opinions. 

mccoydarling said: Please talk forever about Helen and ancient greek you are so enpoint


in the iliad helen speaks the last lament for hector. the only man in troy who showed her kindness is slain—and now, helen says, πάντες δέ με πεφρίκασιν, all men shudder at me. she doesn’t speak in the iliiad again.

homer isn’t cruel to helen; her story is cruel enough. in the conjectured era of the trojan war, women are mothers by twelve, grandmothers by twenty-four, and buried by thirty. the lineage of mycenaean families passes through daughters: royal women are kingmakers, and command a little power, but they are bartered like jewels (the iliad speaks again and again of helen and all her wealth). helen is the most beautiful woman in the world, golden with kharis, the seductive grace that arouses desire. she is coveted by men beyond all reason. after she is seized by paris and compelled by aphrodite to love him against her will—in other writings of the myth, she loves him freely—she is never out of danger.

the helen of the iliad is clever and powerful and capricious and kind and melancholy: full of fury toward paris and aphrodite, longing for sparta and its women, fear for her own life. she condemns herself before others can. in book vi, as war blazes and roars below them, helen tells hector, on us the gods have set an evil destiny: that we should be a singer’s theme for generations to come—as if she knows that, in the centuries after, men will rarely write of paris’ vanity and hubris and lust, his violation of the sacred guest-pact, his refusal to relent and avoid war with the achaeans. instead they’ll write and paint the beautiful, perfidious, ruinous woman whose hands are red with the blood of men, and call her not queen of sparta but helen of troy: a forced marriage to the city that desired and hated her. she is an eidolon made of want and rapture and dread and resentment.

homer doesn’t condemn helen—and in the odyssey she’s seen reconciled with menelaus. she’s worshipped in sparta as a symbol of sexual power for centuries, until the end of roman rule: pausanias writes that pilgrims come to see the remains of her birth-egg, hung from the roof of a temple in the spartan acropolis; spartan girls dance and sing songs praising one another’s beauty and strength as part of rites of passage, leading them from parthenos to nýmphē, virgin to bride. cults of helen appear across greece, italy, turkey—as far as palestine—celebrating her shining beauty; they sacrifice to her as if she were a goddess. much of this is quickly forgotten. 

every age finds new words to hate helen, but they are old ways of hating: deceiver and scandal and insatiate whore. she is euripides’ bitchwhore and hesiod’s kalon kakon (“beautiful evil”) and clement of alexandria’s adulterous beauty and whore and shakespeare’s strumpet and proctor’s trull and flurt of whoredom and schiller’s pricktease and levin’s adulterous witch. her lusts damned a golden world to die, they say. pandora’s box lies between a woman’s thighs. helen is a symbol of how men’s desire for women becomes the evidence by which women are condemned, abused, reviled.  

but no cage of words can hold her fast. she is elusive; she yields nothing. she has outlasted civilisations, and is beautiful still. before troy is ash and ruin she has already heard all the slander of the centuries; and at last she turns her face away—as if to say: i am not for you

"Like wildflowers; you must allow yourself to grow in all the places people thought you never would."

evwriting (via evwriting)

(via jebiwonkenobi)

Today, Google is celebrating the 80th birthday of Diana Wynne Jones (1934-2011), the author of the well known Howl’s Moving Castle and many other wondrous fantasy novels. Happy Birthday! I liked the banner so much, I decided to make a gif of it for everyone to use however they please. No watermark or anything, and I’ve looped it smoothly. (It’s also transparent …) 
Today, Google is celebrating the 80th birthday of Diana Wynne Jones (1934-2011), the author of the well known Howl’s Moving Castle and many other wondrous fantasy novels. Happy Birthday! I liked the banner so much, I decided to make a gif of it for everyone to use however they please. No watermark or anything, and I’ve looped it smoothly. (It’s also transparent …) 

(Source: dissembled-dreams, via andthentheresanne)

"You don’t test a gentle person the way that you don’t steep tea for too long. Submerge me and I will imbue, and what was sweet will be bitter. I will be strong on your tongue and unpleasant to the taste, and you’ll regret drowning me in your guile.

My gentleness is not for your taking."

n.t. (via aryasnow)

(via jebiwonkenobi)

"There is a crack in everything.
That’s how the light gets in."

— Leonard Cohen, Selected Poems, 1956-1968   (via quotes-shape-us)s a 

(Source: quotes-shape-us, via awkwardspiritanimals)

"No one ever tells you that people will leave your life, unannounced. Sometimes they leave the earth, sometimes they just leave you. Things continue. Tomorrow you will wake up and the sun will be kissing your eyelids and it will be a new day for you to drink too much coffee and reread an old book. You will be okay. No one ever tells you that, either. Days will melt together like some candle you burned down to scraps, and seasons will change. You will fall in and out of love with yourself more times than you’ll ever be able to count. It is important to take the time to appreciate your own fingerprints, your own skin. There will be days when it is all you have."

— Never forget to be kind to yourself.  (via withyourhalstondress)

(Source: uglyweirdgirl, via minuiko)


do you ever think of how harry, ron and hermione could barely handle a horcrux at 17/18 when they were taking turns being close to it

and ginny tried her hardest to fight off a horcrux (and occasionally succeeded) - which she poured her heart and soul into - so that she wouldn’t hurt anyone

at age 11

and just wonder why???


hate ginny???

(via myvisagewasted)