i have so many things to say about the confrontational pie scene but to surmise: while i may somewhat understand s1lvie's frustration over mobius' overall seemingly flippant attitude, i do not actually think mobius deserves to be framed as though he did not care abt the state of things simply because he chose not to seek how his life was like on the timeline. mobius' interest to not see how his life was like is well within his right, something he gave viable reason not to pursue, and, most importantly, will not have swayed him either way to fight for the life he has now and/or what the tva could stand for when the multiverse war is on its way. s1lvie's undermining his efforts was not okay when mobius opened season two with him wanting to safely monitor and defend new branches against strong, unsure voices like dox

WARNING: This post will ruin you. Like Medusa; look at your peril.

But here is is. It’s the one you’ve all been waiting for.

Kirk bod appreciation #7: The RIDICULOUSLY BEAUTIFUL FACE. A highly technical and academic review.

This is a rather nebulous one. And not, on the face of it (pardon the pun) very philosophical, as it’s essentially about Kirk being stupidly pretty. This post probably will (it will) descend into just screaming and sobbing, but there will be, I promise, *some* meaningful insight into the meaning of ‘beauty’ and textual analysis of its role herein.

Beauty is subjective. But look at him. It’s not just being aesthetic, but it’s the *way* he’s aesthetic. Here I might repeat myself a bit, but stay with me. I may have mentioned before once hearing him described as ‘beautiful in the way women are often described as beautiful’. He is PRETTY. He is indeed often conveyed in the way the women stereotypically (not necessarily rightly) are on screen: perfect, smooth skin; soft, big eyes; luscious lips (his body is sensually curvaceous and furthermore it’s emphasised). He’s not androgynous though. He’s masculine. And yet I still sense what was meant in describing him as ‘beautiful in the way women are often described as beautiful’. He is a rather uncommon form of gender fuckery. He is a form of stereotype-subversion not commonly acknowledged. He seems to be everything at once, ALL THE GENDER; combines whichever traits he desires from those categories, and yet is undeniably a man and masculine whatever the ingredients. HOW IS THIS POSSIBLE, one might wonder. The fact of the matter is, that it IS. And it teaches us something.

The FUCK. nO. You are not allowed to be that pretty, and you are NOT allowed to look at her like that. We’re trying to have a SENSIBLE DISCUSSION here.

Sorry, that was a non-sequitur / nothing to do with what we learn by Kirk’s embodiment; I was just ambushed by my own gif. Only the control of a Vulcan. ONLY that could possibly withstand this onslaught. And even that won’t hold up forever AS WE WELL KNOW

God.

This is going well, as you can tell.

OK. So, it’s claimed he has Eyes and Stupidly Long Weakness-Inducing Eyelashes. You know, from all that fanfic that goes on about ‘big, sparkling eyes’ and him fanning his ‘long, copper eyelashes’. I mean, yeah right, tropey mc tropeface -

IT’S TRUE. HE IS LITERALLY AN ANIME PRINCESS.

There are some moments where he just BLINKS and, how to describe it...how does a BLINK have that effect. It’s NOT ALLOWED.

...I’m sorry. It IS allowed. All of it. I am not shaming you your beauty. Never change, Jim. Never.

OK. I’m ok. 3 pics down, we can get through this -

Oh you are joking. Stop.

I don’t understand how anyone can be so beautiful. Life is a lie. Reality is fake -

- you did NOT just turn your big anime eyes on Spock. You do know this is why he ran away to PURGE ALL HIS EMOTIONS?

And for that matter, you know when Kirk looks his most beautiful? Literally WHEN HE’S LOOKING AT SPOCK. Spock talks some bollocks and Kirk just sparkles like a fucking angel:

Unbelievable. But utterly undeniable.

Sigh. Moving on.

Oh - someone once suggested I talk about The Lips. Lips are so wonderful aren’t they. So many wonderful things they can do.

And Kirk’s. They’re there in every picture: perfect, rosy, soft and madness-inducing. My advice is just...don’t think about them. But since I’ve been asked to draw attention to them, well, you’ve just sealed your fate. Scroll down at your peril.

I WARNED YOU.

I am pulling NO punches.

I’ve seen this great meme going around:

Excuse me though....CUTE?

That’s the understatement of the 23rd century.

Try impossibly beautiful, mind and body: heart of solid gold, soul deep in love with you. Those eyes and all their passion burned into your memories a thousand times over, along with - maybe, suggestibly, idk I’m extrapolating from all the goddamn tension - even the one unforgettable time he laid between lily-white sheets and gave himself to you; every gift of the mind, body and soul - and your ostensibly-forced Vulcan conditioning, that completely ignored how incompatible one part of you was with it, caused so much dissonance that you thought the only possible course of action for you both to survive was to BREAK UP, tear yourself from this beauty and love and sweetness to PURGE ALL EMOTIONS because nothing, nothing equipped you for this; you were set up specifically to fail, and fail hard in the face of transcendental love and beauty by those who rejected such things and didn’t understand you and could never imagine this for you and who instead of helping your beautiful neurodivergent brain flourish taught you to repress and caused you pain and shame and Gol was so hard and Kirk was so sad, so very sad and depressed and hurt and yet he couldn’t stop loving you with a bond so strong he called to you across the stars and Gol was all for naught yet you still didn’t know how to live like this, it was torture, torture until the mind meld with the living machine flashed your BIOS and you knew, love.exe was suddenly running with no errors and he came after you and held you and you held hands and, and -

.

*sobbing*

.

just...give me a moment

.

YOU WONDER WHAT THE SUBTEXT (FRIKKIN’ MAIN TEXT) OF STAR TREK: THE MOTION PICTURE WAS ALL ABOUT???

The pain?? The angst?? The two logical entities seeking contact, love, THIS SIMPLE FEELING? That fucking moment when spock walks on the bridge and the only way he can control himself is to be SUPER Vulcan, while his love gazes at him with those EYES, fucking huge and glittering and hurt and loving?? Is it so much a mystery what memories these two are carrying, what’s behind the searing tension???????

Love him. Love him Spock. Take him in your arms and love him. He’s for you. All for you. Fucking hell guys. The fuck. This movie.

.

ok.

ok I can do this

CAN U NOT

those damn eyes I swear

It’s obviously not all just superficial physical beauty. What IS beauty? Narratively we do sometimes find this ‘prettiness’ enhanced and emphasized like the old vaseline lens to set the tone of a scene (he’s vulnerable and delicate, or someone’s indeed in love with him so we see their ‘lens’ on him); but it is somewhat intangible and nebulous and changeable. I don’t think aesthetic beauty, if one deems it so, on its own, would be enough for the likes of Spock (indeed, no woman could charm him thusly); it's about something deeper. It’s about who he is. Who he is inside: the beautiful AND the imperfect. How his good and bad - how his ‘all’ -  chimes with Spock’s 'all’. The Enemy Within deals with this, and shows how Spock loves all of Kirk, wants him complete, with both his light and shadow. The beauty of all of us is this totality and variance, not one intangible quality.

I’ll bet Spock’s parents knew immediately. Can you imagine Sarek trying to be a total bitch over Kirk, having heard the rumours and just wanting to have one more thing to reject Spock over, immediately projecting onto Kirk as some blow-up pretty-boy and how Incredibly More Disappointing My Son Is for being Obviously In Love With Stupid Illogical Human Doll Face Bubble Butt Bimbo Captain, and Amanda’s like, stfu, let me remind you Kirk is actually a Fucking Amazing Highly Decorated Starship Captain who Saves Your Life and don’t you DARE resent him just because he’s got tits/ass/tum/lips that won’t quit and is obviously the freakin’ sun Spock orbits. Mr ‘I married a human but that was special because it was logical’ or some bullshit. How is Kirk an illogical choice? I mean literally, Spock is a Science Genius™ on the federation’s FLAGSHIP whose well-matched Genius Captain™ understands him, accepts him, brings the best out of him, helps him fulfil his whole potential and is in love with him in the deepest and purest way and will be his bonded soulmate for ALL OF TIME and that fucking sour-faced bih at the start of that ep, ffs.

Of course Amanda stays in touch with Kirk, adores the fuck out of him, sends him old Vulcan lit on t’hy’la bonds (yes sarek, a T’HY’LA bond, so revered freakin’ poets write about it) etc because frankly her son could do FAR FUCKING WORSE.

FAR. FUCKING. WORSE.

Don’t...just don’t slip the bod into the equation, the face is enough for one post. We’re all in therapy for this already, let’s not relapse.

Oh, what’s the use. I’m gonna die. This is it. This is like the Monty Python joke that is so funny it kills you. This man is lethal. I need to stop this thread and purge all my emotions

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

That’s it. I’m dead. You’re dead. We’re all dead.

I hope, however, seeing this post was worth it. See you at Gol everyone.

.

.

The Forbidden Texts, DO NOT READ:

Kirk bod appreciation #6: The Curves. The Front. The...chest. AND THE AMAZING GREEN WRAP

Kirk bod appreciation #5: The Paws

Kirk bod appreciation #4: The Curves. The Back. Poetry in motion.  

Kirk bod appreciation #3: Season 3 (Part 1)

Kirk bod appreciation #2b: The Gluteus Maximus

Kirk bod appreciation #2a: The Gluteus Maximus

Kirk bod appreciation #1: The Tum

Here, have 4.5 pages of rambly Tuon meta. I wrote this to try to get a handle on Tuon’s character, and to develop the theoretical framework for a redemption arc for her. I’m hoping posting this doesn’t cut my motivation to actually write it...

Who is Tuon? Tuon Athaem Kore Paendrag, High Lady, Daughter of the Nine Moons; now the Empress of Seanchan (at least on the westlands side), Fortuona Athaem Kore Paendrag. To borrow some phrasing and framing from @websandwhiskers: She’s the pinnacle of Seanchan culture and an extremely functional tool of the state; responsible (both personally and institutionally) for psychologically and physically torturing people and enslaving them; she also has some compelling moral and personal qualities that she and the state have not yet managed to quash, which kind of makes it all worse, ethically speaking. She’s a villain whom the original narrative neither sufficiently condemns nor sufficiently redeems, married to one of the Big Damn Heroes in a match that’s both very odd couple and very complementary.

She respects people who stand up to her, as long as they aren't 'disrespectful' in the process- and the 'disrespect' is very situational, she'll accept things in private or in non-court settings that she can't let slide in court without losing face and therefore power. She cares very much about the legitimacy of authority, because it correlates positively with stability and is ingrained in her self-image, but she has an autocrat’s idea of what is legitimate. She assumes you know your own self-worth in relation to hers and are prepared to both display it and back it up. She has also internalized that other people's challenges of her are opportunities for her to prove her strength and fitness to rule, and she probably low-key seeks to provoke reactions now as validation/training, for herself and others.

She has rigid moral standards within the context she was raised in, and punishes herself first for perceived failure because if she does it first, perhaps she can avoid someone else doing it, with deadlier results. She has never been allowed to be less than perfect by her culture's standards- she can be (and has been) odd, but she cannot be flawed- and possibly expends all of her natural empathy on others instead of herself, because she can't afford that kind of indulgence herself, but she knows she owes it to lesser beings?

And as @websandwhiskers pointed out, she does have a lot of empathy within allowable contexts, and I think she is willing to push the envelope compared to her peers as long as she/the empire isn't directly threatened. That's what the kiss after Mat let the poisonous snake go was about. The snake was poisonous but not attacking, and not likely to attack unless someone escalated the situation, and Mat deescalated it. No harm, no foul. Mat responded to a fraught situation both logically and mercifully, in the way she imagined she would have if she had been in his shoes and known he same facts he did, and she rewarded him.

She’s competent and charismatic; I hesitate to say that she inspires loyalty in underlings because honestly with the damane it’s brainwashing (eurgh). But Selucia and Karede are both really into her, personally, even when there are societal inducements not to play favorites. Mat is loyal to her, though honestly Mat is loyal to like... anyone he’s responsible for, so maybe it’s more relevant to say that Mat genuinely likes her; at least, he likes the person he thinks he can coax out of her, and in terms of the persona she has more typically, I think he responds well to her competency and self-possession. The ability to project those things is probably a big part of what goes into charisma.

She thinks that the people who oppose her just don't have all the facts. She doesn't like to admit she's changed her mind; it looks like weakness; she's fine identifying it in others but not herself. Ideally she would pretend things have always been the way she now knows they are, and if she can't, she goes for the "Yes [fact], but [here's what I've decided is now germane to the argument at hand]." redefinition of the problem. She always thinks she’s right, though she does tend to leave some space between when she’s decided something and when she promulgates the decision, to allow for opposing arguments.

I think the original relationship Tuon has with omens is that she uses them to look for external justification from the universe for decisions she's already made. (I mostly like Sanderson's Tuon POVs, but I also I think Sanderson sometimes used omens as a 'make Tuon do OOC things for the plot' card.) Tuon's running dialogue with omens also shows that she's always observing the world and interpreting her effect on it and its effect on her. She loses her composure with omens when they are more concrete and less subject to her control (via interpretation), as with Lidya's fortune.

It makes sense that she's super controlling. It was how she was raised, and aside from having loyal/brainwashed companions (who are, themselves, a form of distributed control), being controlling is obviously the only thing that makes her feel safe. It's still interesting how it extends into a dialogue with the Pattern itself. Like Mat, she wants to survive and she wants to go her own way, and also like Mat she's caught up in the Pattern a little more tightly than others. I think she and Mat have both subconsciously decided that the only way to deal with what the universe wants you to do, when the universe is that powerful, is to say "Fine, I didn't really want to do that other thing anyway, let's learn how this path works and play to win."

She knows she makes bad decisions when angry, and I think in general she distrusts strong emotions, or at least tries to hold them at arms' length so they don't form part of her judgment. She's very very good at compartmentalizing, but as a result sometimes emotional stuff will come up and blindside her a little because she doesn't prioritize it or see it as a natural part of her decision-making. I think her emotions do influence her, usually subconsciously, but she's obviously a Thinking type. (Mat is also a compartmentalizer, but more somatic/emotionally focused; he's got his feelings directly wired into his body and together they make decisions that his brain then evaluates a second later, with running commentary that he never expresses to anyone else. They are both comedically un-self-aware, although Tuon is even less self-aware than Mat is, since at least on some level Mat knows he's been repeatedly traumatized even if he tries to pretend he isn't, while Tuon still thinks that her childhood was completely fine.)

Within the original narrative, I think her POVs are always a bit mysterious and her actions are always a little surprising. What’s impressive about that is that this is basically *always* true no matter what setting she’s in and what she’s doing. When you’re in her head you see her thought process ticking away, but RJ and Sanderson both have her constantly withholding important contextual details in her POVs, like Lidya’s prophecy (the hints are there and come out in bits and pieces, but she doesn’t reveal everything and slot it into context until 2 books later). Like with reading Mat, you’re aware that she obviously has reasons for what she’s doing and you even see her decision-making process, but because you’re missing the details, she remains opaque even though you’re in her head. (Mat’s decision-making process is more clear to the reader, but somewhat opaque to himself and definitely opaque to those around him.)

Meanwhile the things Tuon does share via narration or via action are always kind of buck-wild for the reader because her entire deal is such a culture shock. She’s obviously surprising Mat & co, but what’s weird is that she also seems to be constantly surprising her fellow Seanchan. Her scenes with her peers are usually punctuated with shocked murmuring in the background. They have trouble anticipating her, both because she keeps her cards close to her chest, and I also think because she’s a slightly different person from the one who lived her entire life in a cloistered murdersphere in Seanchan, and if she wasn’t a different person after leaving home, she’s definitely one after her kidnapping. But I think she is a fundamentally different person after leaving home, because of the structural parallels she has with Mat.

In Mat’s first POV chapter, he wakes up in Tar Valon with partial amnesia and a much stronger sense of self-preservation than he had before. As everybodyhatesrand points out (crediting but not tagging them since I feel like they wouldn’t appreciate being tagged in Tuon apologia), we have never been in pre-dagger!Mat’s head. We have never been in dagger!Mat’s head. Everyone in the books, throughout the books, is like “At least Mat’s still the same!” and yeah, he does do and say more or less the same things before and after the dagger. But we had to take it on faith that his personality is more or less intact pre- and post-dagger because we, the readers, only know post-dagger!Mat’s inner monologues. The Mat we inhabit in book 3? He’s been broken. The continuity between his old life and his new life has been disrupted (and will continue to be disrupted, including with an actual literal timeline reboot!) He immediately starts off to fix himself, others, and then eventually the world, so it’s motivating, but the hits really just keep coming...

Like Mat, Tuon’s first POV only appears after she’s left the traumatic environment that shaped her. We don’t know what travelling across the sea did to her sense of self (and we can’t really know since we don’t have that in-Seanchan-baseline), though we do know she’s changed after travelling with Mat (aside from catching feelings, I think she learned that the Seanchan are not always in possession of all the facts), and we know what becoming Empress did to her (she doubled down on duty and lost a lot of personal flexibility). I think there are major structural parallels between Mat and Tuon’s POVs because they’re both broken people who try their very best to act as if they are not broken. In Tuon’s case I think she just doesn’t know how broken she is. In Mat’s case, he knows, but he’s doing a weird balancing act of integrating lessons learned (healing!) while also, like, frantically trying to ignore or drown out the emotional cost of trauma (not healing!)

By the end of the series I think Tuon knows, but is not letting herself actually think, that being made damane is a) a real possibility for her, specifically, and b) that it is not, in fact, something she would willingly choose for herself even to serve the empire. I think this is different from the more intellectual disgust of the idea of herself channeling; that's abstract, and she imagines there's an actual choice for the person with the spark between channeling and not channeling, or possibly that there's an actual choice between learning to channel vs not learning to channel if you have the spark inborn. (We know that the actual choice if you have the spark is 'learn to channel properly or die'.) Tuon's out there like "If I were a marath'damane I would simply choose not to channel. RIP to marath'damane but I'm different".

She's never been a marath'damane in the sense of someone who started channeling involuntarily, and isn't interested in imagining herself as one, at least not when confronted by someone who is succeeding in making her angry. So even if you made her choose, as a theoretical marath'damane, between dying and learning to channel properly, I think she'd consider 'learning to channel properly' as 'becoming a murderer' and therefore the choice would be between dying and becoming a murderer. There's a clear argument to be made in that idiom that the marath'damane is 'becoming a murderer' in self-defense, which would have a different moral tenor (manslaughter vs murder). But Tuon strikes me as the type to say in an argument (and probably believe) that "The end result is the same & I would die before compromising my principles.”

I think in the confrontation with Egwene she probably internally justified not putting the collar on because there was a Seanchan audience and because the taunt came from an escaped damane, even though the actual reason was fear that it would work. She’s letting the circumstances invalidate the argument so she doesn’t have to think about it. I think if she were to let herself think about the authentic emotional response- and she probably has, I feel like she does a postmortem on all of her public discomposure- she would consciously know that her instinct was that it would work on her, and furthermore she would know that she does not want to be damane, even if the Empire would require her to be.

If she followed out the chain of reasoning, she’d know that if she were a damane, if she were actually leashed, she would be forced to channel. She’d know because she’s taken great pleasure in training and breaking damane, and she knows how to get damane to channel and how to break them. Therefore, if she were damane, she would know that she would need to be broken, and she knows how she would go about breaking herself. She probably thinks that her last act of free will would be to suicide if she possibly could. But I think that what she’s AFRAID OF is that she would actually convince herself that being the very best damane is all she wants out of life. And that's the scary, universe-ending thought she's avoiding the consequences of, because a) it’s about breaking herself (as Cadsuane points out, no one can easily think about breaking themselves) and b) the fact that she would need to be broken and that she doesn’t like the idea is a sign that she’s not the perfect avatar of the Empire that she thinks she should be.

I think becoming damane has been added- in the bare abstract- to her mental list of the price of failure. It's a very fundamental loss of control and identity, where all she has is resignation and brainwashing that- best case scenario- she does to herself. She's scared of it in a way she was not before, now that it's been made personal. Like Mat, she's going to shove that down deep and ignore the bad scary implications as long as she can, up until the point that they actually disable her or otherwise bleed out into her intellectual or physical world in ways that aren't as ignorable.

But while Tuon thinks she would die before compromising her principles, and even more secretly is extremely afraid that she *wouldn't*, I also think that like Mat, if it came down to it she would transform herself radically to survive *as herself*.

She’d realize that she has other principles, more human ones, underlying her socially acceptable and externally imposed principles of enforcing hierarchy and maintaining personal integrity. (Parallels to dagger!Mat being exorcised?) I think her basic motivations are that she should survive, that she should retain as much control/power over her own fate as possible, and that she should make decisions from a place of empathy rather than anger or fear. I think she would also realize that she does in fact value some principles over others. She would redefine the meaning of ‘personal integrity’ to separate it from what the state wants.

If she knew what was really driving her socially acceptable principles, and that there was a difference between what she really, fundamentally wanted & what she had been told to want, with encouragement she could prioritize the organic, primal ones and apply those to the external world. If she is a person, then everyone else is a person, and she should want for them what she wants for herself. I think she might get to the point of realizing there is an alternative path (of what looks like selfishness) but I don't think she's going to let herself be selfish (in this healing, positive way) without external prompting/confirmation, so this is probably where friends, positive role models, and finally omens come in.

Motivation and Emotion

Theories of Motivation

When Charles Darwin came up with his theory of evolution, many psychologists attempted to use it to explain all human behaviours through instincts that were weeded out through natural selection. There is still a debate about how much of our behaviour is decided through instinct, but it is agreed that many human behaviours are not.

Drive Reduction Theory

You’ll notice the creative naming of most of these theories. This theory is that our behaviour is controlled by physical needs. A drive is an impulse to act in such a way that satisfies an unfulfilled need to reduce that drive: you’re driven to eat a sandwich when you’re hungry. Every drive is your bodies attempt to maintain homeostasis or internal balance. When your brain determines that it doesn’t have enough glucose, that triggers a series of signals which eventually cause you to feel hungry to replenish glucose reserves. There are primary drives and secondary drives. A primary drive is a biological need, such as sex. A secondary drive is a learnt need like money.

Arousal Theory

Arousal theory states that we are constantly seeking an optimum level of arousal (not just sex. Get your mind out of the gutter.) Every person has a different optimum level of excitement someone with a high optimum level may be drawn to high thrill activities like rollercoasters or skydiving. That level also changes based on activity. We may do great at an easy task when extremely aroused, but not so well on a more difficult one. The relationship between arousal and performance is modelled by the Yerkes-Dodson curve.

Another theory of motivation similar to arousal theory is the opponent-process theory of motivation (Yes, it’s the same name as the opponent-process theory of colour vision. Psychologists hate us and want us to do poorly on exams.) This theory tends to be used to explain addiction. People are usually at a baseline (normal) state. We may do things that move us away from that baseline state, such as having a pint. Initially, that action may be pleasurable, but eventually we feel an opponent-process, a motivation to return to our normal baseline state. An alcoholic may get sick of feeling drunk and want to quit drinking, but due to withdrawal it’s made extremely difficult, and moves us away from our natural baseline. That alcoholic may have a godawful hangover without alcohol, so he is motivated to return to the baseline state of feeling all right, motivating him to have more pints to feel normal again.

Incentive Theory 

Incentives are stimuli we are drawn to due to learning- we learn to associate stimuli with rewards or punishment- for example, you could play Halo for 3 hours the night before an exam, but you learn to associate that with poor marks, motivating you to crack open a textbook and revise so that you get high marks.

Maslow’s Hierarchy of Needs

Humanist Abraham Maslow states that not all needs are equal. Our needs can be modelled as a pyramid, detailing which needs we want to satisfy before the others. To model, imagine a man trapped on a desert island with a few other survivors. 

Physiological Needs: Needs like hunger, thirst, and sex. Say you arrived and you were extremely hungry. Before he can think about anything else, he’d likely start hunting down some food, and some water.

Safety Needs: The need to feel safe and out of danger. The island gets scary, especially at night, so the man constructs a hut that completely shelters him from the creatures that may roam the island.

Belongingness and Love Needs: The need to be accepted and belong somewhere. With the bottom two needs satisfied, the man may start trying to befriend the other survivors to try and form a community with them.

Esteem Needs: The need to gain approval and recognition. With his new community, the man may want to feel like he has a purpose with the new community- he may feel connected to his identity as the fisherman of the group that everyone recognises and appreciates. 

Self Actualisation: With all of his other needs met, the man is now fully capable of fulfilling his unique potential. 

While this theory explains a lot of human behaviour, there are many behaviours it doesn’t explain. Many poor parents go hungry in order to save enough money for their children to enjoy small luxuries. People are constantly putting their own lives at risk in order to save others; Malala Youzafi risked her life to speak out about women’s education in Pakistan.

Hunger Motivation 

Some human behaviours can be deceptive in their complexity. Why do we get hungry? Because we need food- but that’s not always the case. For example, people tend to eat junk food like crisps while watching films despite not needing those crisps to feel full, and despite not feeling hungry at all. 

Biological Basis of Hunger

There are several known biological cues which trigger hunger. By putting balloons into research subjects stomachs, and deflating and inflating them, researchers found that when the stomach is full we feel less hungry. The hypothalamus also plays an important role in hunger. By stimulating different animals brain, it was found that different parts of the hypothalamus are acting in opposition to controlling hunger. The lateral hypothalamus, also known as the hunger centre causes animals to eat when stimulated. The ventromedial hypothalamus, also known as the satiety centre causes animals to stop eating when stimulated. These two regions of the brain balance each other out.

The set-point theory is one theory that explains how the hypothalamus picks the correct impulse. The hypothalamus has an optimum body weight it wants to remain at. When our weight goes down, it lowers our metabolic rate (how quickly our body uses energy) and tells us to eat. When it goes up, it raises our metabolic rate and tells us to stop eating. Some researchers feel that psychological factors like learning and cognition are more important in weight maintenance. Along with that, the brain is analysing glucose and insulin levels to determine if food needs to be eaten.

Psychological Factors 

Some reasons we get hungry have nothing to do with physiology. Some research has shown that some people (appropriately dubbed externals) are motivated to eat by external food cues and presentation of food and less motivated by internal food cues. An external food cue would be watching people eat Mcdonalds in an advertisement. An internal food cue would be feeling stressed and wanting to eat to feel better. Everyone responds to both to greater or lesser extents. The Garcia effect drastically affects what foods make us hungry. If you eat something and feel sick soon after, it makes it extremely difficult to stomach that food again. One time, when I was younger, I ate some ham, and soon after came down with the flu, and was puking my guts out. Logically, I knew that the ham had nothing to do with my sickness, but for a long time after I couldn’t even look at ham without flashing back to that sickness. Our culture also has a massive effect on what we find more appetising. I’m from England, so food that sounds appetising to me (beans on toast for example) may sound completely unappetising to readers not from there.

Eating Disorders 

(Trigger Warning for discussions of different kinds of eating disorders. I’ll put a picture of my pet rat at the end of this section if you need to skip it. If you feel like you need help, please click this link for a list of hotlines with trained professionals on the other end of the line who can help you or someone you know through a crisis: https://www.bulimia.com/topics/eating-disorder-hotline/) 

Another extreme example of hunger motivation not matching up with physiology is eating disorders. 3% of adolescents are diagnosed with one type of eating disorder, and disordered eating habits have become a massive problem in American culture. The three most common eating disorders are as follows:

Bulimia- Bulimia is characterised by periods of binging and then periods of purging (or non-purging in the case of non-purging types). Bulimics tend to eat massive amounts of food (although this is not always the case) and then purge it in any way they can, whether that be by throwing up, using laxatives, intense exercise, or fasting.

Anorexia-Anorexia is characterised by starvation. Anorexics tend to deal with a condition known as body dysmorphic disorder (although bulimics tend to suffer from it as well) where the brain obsesses over perceived “fat” even going so far as to having sufferers see themselves as larger than they are. Anorexics will starve themselves, or eat hardly anything for long periods of time.

Binge eating disorder- A harmful narrative surrounding eating disorders is the lack of conversation about the other end of the scale. Those suffering from BED tend to have recurring episodes where they eat massive quantities of food, often eating to the point of discomfort, and feeling a loss of control.

EDNOS/OSFED- (Eating Disorder Not Otherwise Specified or Other Specified Feeding or Eating Disorder). Not everyone suffers from the 3 main eating disorders. This diagnosis encompasses people who deal with disordered eating, but can’t quite be diagnosed into one of the 3. Some examples are purging disorder, night eating syndrome, and atypical anorexia nervosa.

The emphasis a culture places on weight tends to influence rates of eating disorders. It’s likely for this reason the US has some of the highest rates of documented eating disorders.

Sexual Motivation

Here’s the part of the discussion I’m sure you were waiting for once I mentioned arousal (you dirty-minded bastards.) Sex, like everything else has biological influences and psychological ones. 

The Sexual Response Cycle 

William Masters and Virginia Johnson were responsible for documenting the 4 steps in the sexual response cycle in adults (and I’m sure they had fun doing it.)

Initial Excitement: This is the point where blood rushes to the genitals. The clitoris will swell and the penis becomes erect. Heart rate and breathing rate also increase, and the skin may become flushed.

Plateau Phase: This is the point where genitals secrete fluids to prepare for sex. The heart rate and breathing rate also continue to rise.

Orgasm: Genitals begin to contract- heart and breathing rate continue to rise even further and men typically ejaculate. The release of neurotransmitters like endorphins and dopamine contribute to a sense of euphoria in both men and women.

Resolution Phase: Respiration and heart rate return to normal, and men enter a refractory period. Women, however, can enter back into the cycle immediately.

Psychological Factors

Hormones don’t strictly motivate sexual desires. One elusive aspect of sexuality is sexual orientation. Sexual orientation is an extremely (and unfortunately) controversial aspect of sexuality. Researchers like Alfred Kinsey (who developed the Kinsey scale which tracks the variety of human sexual behaviours) haven’t been able to push back against many of the rumours that exist about less “traditional” sexualities. There is little known about what causes sexual orientation, but no correlation has been found between trauma in childhood, parenting styles, relationship with parents, or masculinity and femininity and sexuality. Twin studies have found a genetic influence- one identical twin is likely to be gay if his twin is, and hormones in the womb may influence orientation. 

Social Motivation

Humans aren’t robots. We experience more motivation outside of satisfying our needs for sex and food. Why are you reading this Tumblr post instead of reproducing, for example? 

Achievement Motivation

One theory that attempts to explain more complex behaviours is a desire to master complex tasks and knowledge and to achieve personal goals. Research has found that people with high achievement motivation are consistently motivated to challenge themselves more than others, constantly setting the bar a little higher. This motivation varies between people and between activities. Clearly, I’m extremely motivated to do better in my classes since I’m sitting at my desk at midnight writing this- but I know how to cook 5 meals, and only 3 well because I have no motivation to do better at cooking.

Extrinsic/Intrinsic Motivation 

Another way to think about social motivation is where the push is coming from. Extrinsic motivators are rewards we get for accomplishments outside of us (treats, high marks, salary etc). Intrinsic motivators are internal rewards like enjoyment or satisfaction. Are you reading this Tumblr blog because you want to get an A in your psychology class, or because you’re interested in psychology? Research into this form of social motivation tends to benefit managers and other leaders- studies show that advantageous behaviour we want to continue persists when influenced by intrinsic motivation. Extrinsic motivation tends to be more short-lived.

Management Theory

Studies looking into different management styles have found 2 main attitudes which affect how good managers are at their jobs.

Theory X: Managers believe employers will only work if rewarded for good work and punished for bad. 

Theory Y: Managers believe employees are intrinsically motivated to do good work so policy should foster this motivation.

Theory Y has shown promise in promoting a better work environment and longer employee satisfaction.

When Motives Conflict

When discussing motivational conflict, psychologists tend to split them int 4 categories. Approach-approach conflict occurs when you have to pick between two good outcomes (Do I want to get ice cream or do I want to get brownies?) Avoidance-avoidance conflict occurs when you have to choose between to negative outcomes (Should I clear out the garage or deep clean the bathroom this Sunday?) An approach-avoidance conflict occurs when one event has both negative and positive features. (Even though I’m lactose intolerant, should I have some ice cream?) Finally, there’s multiple approach-avoidance conflicts. This is a situation where people are forced to pick one of multiple situations all with good and bad aspects about it. (Should I attend University A, B, or C?)

Emotion Theories

James-Lange Vs Cannon-Bard

One of the older theories of emotion came from psychologists William James and Carl Lange, who states that we feel emotion because of biological changes caused by stress. This theory was eventually challenged by Walter Cannon and Philip Bard who found that similar physiological changes occur due to drastically different emotional states- sometimes your heart races when you’re terrified or when you’re really excited. Cannon felt that the thalamus was both responsible for the biological change and the cognitive experience of emotion. When the thalamus receives signals informing us about our environment, it sends signals both to our cortex and the autonomic nervous system, making the physiological change and the conscious experience of emotion occur at the same time.

Two-Factor Theory

Stanley Schachter’s two-factor theory does a much better job of completely explaining emotion than both James-Lange and Cannon-Bard’s theories do. He thought that both our physical response and our cognitive label combine to form an emotional response. He found that people who are already stimulated will experience emotions more intensely than those who aren’t already stimulated. 

Nonverbal Expressions of Emotion

Our nonverbal methods of communicating how we’re feeling have been found to be universal. Most every culture has the same basic facial expression to express happiness, sadness, anger, fear, etc. Research into sociobiology suggests that our facial expressions are actually a part of our genetics.

Stress

Stress and emotion are inherently linked. Psychologists tend to use stress to understand motivation and emotion along with help deal with problems caused by it. Stress can refer to life events (stressors) or our reaction to those stressors (stress reactions) 

Measuring Stress

Thomas Holmes and Richard Rahe were the first to design an instrument that could measure stress. They used a social readjustment rating scale (SRRS) to measure stress using Life Change Units (LCUs). Someone taking this test would report a change in their life, such as having a new baby and each change would be assigned a different LCU. Different events were ascribed different LCU levels based on their intensity and their positivity- being married counts for more LCUs than being fired does. This method is not as widely used anymore as we now have more sophisticated ways to measure stress that include individual perception of events.

Selye’s General Adaptation Syndrome

Hans Selye’s general adaptation syndrome (GAS) is a description of the general response humans and animals have to a stressful event. His GAS Theory moves through the following stages:

Alarm Reaction: Heart rate increases, blood diverts from other parts of the body to the muscle, sympathetic nervous system is activated

Resistance: The body stays physiologically prepared. Hormones are released to ensure this preparedness lasts- spending too long in this stage can cause the body to exhaust itself.

Exhaustion: The parasympathetic nervous system is activated and returns our physiological state to normal. We are most vulnerable to disease in this stage especially after spending an abnormally long amount of time in the resistance stage.

Perceived Control

Studies have shown that a perceived lack of control contributes to stress. Rats who were given control over the duration of an electric shock were less likely to develop ulcers- patients given control over their morphine dosage tend to report better pain control. The feeling of a loss of control the COVID-19 outbreak has caused has massively contributed to the spike in mental health cases occurring as people are stuck in their homes. 

Seveneves by Neal Stephenson

My Overall Thoughts - 3.8/5

- The moon blew up without warning and for no apparent reason. -

To say that Neal Stephenson wrote a novel entitled Seveneves would be misleading. What Stephenson did with Seveneves is write an elaborate world-building exercise in the form of an historical account, sprinkled with a few moments of story. Now, from a technical and world-building perspective, Stephenson has written a masterpiece. The speculation offered: What might humanity do in the face of certain apocalypse…if they had two years to prepare? is thoroughly thought through and played with. It is, of course, debatable what humanity would do if we were forced to evacuate the planet in order to survive. But the ideas offered and acted upon through the cast of characters in this work is believable and—necessarily—faulty. Plans never go as you hope. Everything that can go wrong will. Politics weasels in a screws up otherwise perfectly laid plans. 

I cannot say that I enjoyed Seveneves. I really didn’t. I was intrigued, yes. Educated. Interested until the end. But it wasn’t a fun read. It was dense and technical and while I appreciated it, I didn’t really pick it up expecting to have fun. 

To compare it to other works of his: It is as dense as Anathem without any of the character development or anticipation of the climax. If you read and loved Snowcrash like I did, don’t pick up this book and expect anything like that. While I have yet to read Cryptonomicon (it’s on my list!) I understand the level of technicality and intensity to be somewhat similar. 

Mild spoilers follow under the cut.

Character Development - 2.5/5

This is where Stephenson suffers the most. I really shouldn’t even say “suffers” because I thoroughly believe that his choice to only mildly develop his characters was a conscious one. Where there are many character-driven books out there (and they tend to be my favorite), this book isn’t about that. It’s about the science and the speculation and WHAT IF. The characters were really just vehicles for exploring the what ifs. It’s not my favorite element of this book, the lack of character development, and I found myself clinging desperately to every moment of character delving there was. I’d read about an emotion and squeal with delight because I felt connected…even though it would be something minor, something that wouldn’t make me bat an eye in other books.

It’s interesting in that way, that because of the thin character focus, I appreciated every bit of what development there was on a very deep level. 

Story Structure - 3/5

On the one hand, everything that happened followed a relatively logical course. On the other, there’s not a simple story arc to point out. If you zoom out completely, you get this arc: Moon blows up (inciting incident), humanity struggles to figure out how to survive (rising action), humanity almost fails (climax), humanity doesn’t fail (resolution). But that doesn’t seem right. And it doesn’t really space itself out in the book in a way that would follow the proper “arc” shape. I mean, the listed climax and resulting resolution happens with over 200 pages left in the book. 

On the other hand, you have this really detailed account of some historical events and throughout the clinical, detailed account, you have a few sprinklings of stories. There’s a story involving Dinah and her relationship. There’s a story about Doob and his family. There’s a story about Julia and her…general seeding of dissension. There’s a story about Aida and the Swarm. There’s a story about Kath Two and her job as a scout. But none of those help move the main narrative forward. Not really. They were all too small. Every individual story is a microscopic part of the main story arc. 

*Major Spoilers in this paragraph!* One of the major complaints I have heard about Seveneves is that it doesn’t have an ending, that it just arbitrarily stops. Some people complain that it doesn’t keep going, others complain about the last third of the novel existing at all. However, upon finishing the novel I felt it ended incredibly well. There was a distinct sense of hope. And while the book does not really follow a traditional story arc, the “account” of this book ends, sensibly, once all branches of the human race have reunited. The Agent leads to division: the Spacers, the Diggers, and the Pingers; the conclusion of the story happens when all of humanity has come back together in (something resembling) harmony. I, personally, have no problem with that.

Tone/Style - 4.5/5

For what Seveneves is, Stephenson writes it well. He wrote exactly the book he wanted. Hard science fiction isn’t really meant to appeal to the masses, so the thick technical narration isn’t really a problem for its genre. Let me be clear: this book isn’t for everyone! Plenty of people, even long-time Stephenson fans, disliked it. That’s fine. I can see why. But that doesn’t mean it isn’t a masterful piece in its own right. 

World Building - 5/5

Well, since this book (especially the final third) is literally about building a world, I’d say this one scores pretty high. While we open in a familiar Earth, we end over five millennia later to find a new set of human races as well as biologically engineered animals and planets. Even the atmosphere is man-made. It’s a fascinating look at how our world could become something utterly unrecognizable, both physically and culturally. Honestly, this book could be of great benefit to any serious worldbuilder who is willing to dedicate the time. 

Representation/Diversity - 4/5

Characters from various nations and cultures are represented and make up a large chunk of them “main cast.” There are also several LGBT characters. 

Content 

Some language and mild sexual content and conversations. Most everything, including sex, is handled very clinically.

My Final Thoughts

I totally see why this novel got so-so reviews. However, I found it impressive and fascinating. I recommend it to hard sci-fi readers and people who find the science and worldbuilding of novels equally interesting to the character and story. I’ll probably read something utterly ridiculous next to help shake up my very overloaded brain. Be prepared for a review of something silly coming soon!

Arplis - News: Telling Stories in the Dark

This is a guest post from Elizabeth Brooks. Elizabeth grew up in Chester, England, studied Classics at Cambridge, and now lives on the Isle of Man with her husband and two children. Her debut novel, The Orphan of Salt Winds, was described by BuzzFeed as “evocative, gothic and utterly transportive.” Her second novel, The Whispering House will be published in the U.S. by Tin House on March 16th, 2021. You can find her on Twitter @ManxWriter. Content Warning: Mental illness and suicide My sister knew how to tell a story, and she had an appreciative audience in me. I can picture us now: my 7-year-old self, sitting up in bed, hugging my knees, while 10-year-old Rachel delivered her latest installment in a loud whisper from the adjacent attic bedroom. Sometimes excitement got the better of her, the whisper rose to a babble, and Mum or Dad called up the stairs, “You two! Go to sleep! Now!” For a few wriggly, resentful minutes we were silent, but when the coast seemed clear Rachel would resume, with caution. When I think about those storytelling sessions now, the happiness and humour are still there, but they are complicated by the fact that Rachel died by suicide at the age of 28, having suffered years of mental illness. I wish I could remember one of Rachel’s stories from beginning to end, but I’m left with a muddle of impressions, scraps of detail. I know she relished telling stories about spoiled, bullying girls, of a similar age to us, whose crimes escalated until they got their comeuppance, and that she liked to end each episode on a cliff-hanger, leaving me begging for more. Rachel didn’t just make stories up, she also wrote them down. There were stacks of notebooks in her bedroom, crammed with novels at various stages of completion— children’s stories, family sagas, romances, diaries and poems. I was two and a half years younger than Rachel, and I began writing out of a desire — half deferential, half competitive — to emulate her. It was a struggle to keep up. I rarely seemed able to complete a chapter, let alone a book. I kept waiting for a tidal wave of words and images to sweep me away, but it never did. Whilst I was fussing about how to detach page one without ruining the aesthetics of my new notebook, Rachel’s pen would be flying. She would be biting down on the tip of her tongue, her shoulders rigid with concentration, a cup of tea cooling at her side. One day she’d be a published author; I was sure of that. In as far as we were Little Women, she was Jo. I wish there was a name for the condition that destroyed my sister, so that I could describe it in a single word and expect you to understand. It began in childhood and worsened through adolescence and adulthood. Depression was a part of it, but by no means the whole. Schizophrenia comes close, but isn’t quite right. Whatever it was, it made her hate and harm herself. It drove her to run away from home, cut her arms with razor blades and starve herself of food. Sometimes it had her in floods of tears, sometimes she could hardly move for the sheer, dragging weight of it. Medication was a matter of trial and error, and although there were pills that helped a little, others did more harm than good. Counselling was useful, but didn’t get to the heart of the problem. Nothing ever did. As far as writing was concerned, as far as anything was concerned, Rachel was at the mercy of her illness. One day she might be manically, exhaustingly creative; another day she might be too numbed to lift a pen. There were also times — and it’s important I don’t forget this — when the clouds lifted and she was allowed to be herself, for a while. One of Rachel’s less successful night-time stories strikes me as darkly comic, in retrospect. If that sounds heartless, it’s not meant to: mental illness has its absurdities, interwoven with its cruelties, and it would be dishonest to pretend otherwise. I forget how old she was at the time, perhaps 11 or 12? Rachel began with her main character waking up one morning, but rather than launch him headfirst into his story, she proceeded to describe everything — everything — he did, from the moment he swung his legs out of bed. “He found his slippers under the chair, and he put his left foot in the left slipper, and his right foot in the right slipper, and then he went over to the door and took his dressing-gown off the hook and put his left arm in the left sleeve…” I managed to bite my tongue until our man finally made it downstairs, only to discover that his dishwasher needed emptying. “So he opened the dishwasher and took a mug out and put it away in the cupboard, and then he went back to the dishwasher and took another mug out and took it to the cupboard…” At this point I snapped, and Rachel got upset, which made me even angrier. I told her she was being weird, and that her story was boring. In my defense, I was little, and Obsessive-Compulsive Disorder was not part of my vocabulary. We grew up together, but as my life unfurled, Rachel’s contracted. The stages I passed through — school, university, marriage, children — were typical enough, but set alongside what she was going through they seemed extraordinary, to the point of unfair. She ought to have been doing these things too, or something equally good, not wasting away in psychiatric wards, or overdosing on anti-depressants, or running away from home in a futile effort to escape herself. We both continued to write, but the further we got from childhood, the more difficult it became to show one another our work. I was too embarrassed to share my navel-gazing attempts at poetry, or bits and bobs of prose, and Rachel’s writings, too, grew ever more private. Whenever she was well enough to put pen to paper, she tended to write diaries rather than fiction, seeking relief from her distress by pouring everything onto the page. I believe that’s what she was doing, anyway: I didn’t read her notebooks then and I couldn’t bear to read them now. Rachel died of an overdose in 2005. It was around the same time, when my children were tiny, that I began to write more seriously. It took me a long time to work out what I wanted to write about, and longer still to find an agent and publisher, but I did in the end. The sense of achievement was real, yet it was tinged, as all those other “ordinary” life events had been tinged, with guilt. The logical part of my brain knew I’d done nothing wrong, but there was a sub-logical part, which wasn’t — still isn’t — so sure. How come I’d fulfilled the dream that was Rachel’s, long before it was mine? Had there only been room for one Jo March in the family? Could I, with my greater resilience, be said to have ‘won’ over my more fragile and sensitive sister? There’s no point getting hung up on such questions — and I don’t — but I’m conscious of them simmering away, out of sight. It’s because of Rachel that I became a writer in the first place, and it’s partly because of her that I settle on the subjects I do. All my novels concern the ways in which people, including ‘normal’ people, are essentially mysterious. I seem drawn to create characters whose vivid internal lives drive them to commit strange, often extreme, acts. Storytelling is, in part, an attempt to shed light on darkness. When something seems impossible to understand, it is instinctive to stare hard into the chaos and search for patterns and structures there. A narrative framework may do nothing to alter life’s harsh realities, but it’s comforting to have one, all the same. When Rachel died, I felt numb. I could come up with no adequate response in the immediate aftermath; what had happened seemed so pointless and cruel. Fifteen years on, it still seems pointless and cruel, but writing has helped me to face it. I have never fictionalised my sister’s story, as such, but I have explored mental illness, the impact of suicide, and the complexities of sibling relationships. Putting these things into words, and shaping the words into stories, is healing. Maybe Rachel’s stories — maybe mine, maybe everyone’s — are flashlights sweeping the darkness, making sense of a frightening world, albeit in brief, fragmentary glimpses. This makes me hope that my residual guilt really is misplaced. Perhaps becoming a writer was not, after all, a private ambition that divided us, but a joint quest that unites us still. !doctype> #OurReadingLives #GuestPost #Writing

Arplis - News source https://arplis.com/blogs/news/telling-stories-in-the-dark

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Greetings: -This blog is R18+ because of NSFW. Being upfront. -You can call me Rave. They/Them pronouns. I am 25+ (Timezone is The Future™) -If you interact with me, I will assume you have read these rules in full. (And vice versa if I interact with you.) -This blog is Indie & Private. (No RP group affiliation. If you follow me I’ll check out your blog, but I won’t follow everyone back.) -FF7 characters preferred, but I will consider crossovers. Anons are welcome! -Regarding OCs, I will only be interacting with OCs of current mutuals. Any interactions outside of this are purely at my own discretion. Do not request otherwise. (I used to just be selective with OCs but recently I’ve had a difficult time with an OC mun not respecting that and pushing interactions.) -No drama / rudeness / hostility. I will not publish asks stirring trouble, and will block people if need be. -I lose track of Tumblr IMs easily, so if you are IM only and I seem like I’ve forgotten our convo, hmu again so I get a refreshed notification.) -Discord is available for mutuals. Please, I prefer it over Tumblr IMs!

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Ships -Where to even start. Uh. So ironically I’m not particularly looking to ship on this blog since he’s not a primary muse of mine. But ships will be considered within a plot context. -My Corneo is primarily hetero. He won’t knowingly fuck a guy, but he will appreciate a pretty boy, and he’s not above wanking off to, or with other men. Maybe if he were drunk enough he’d fuck a guy. -In general as a person I am a Multi-Shipper. If for some disturbing reason you ship your muse with Corneo, you’re welcome to tell me. But ask first rather than presume. He’s got a rep for one-night-stands with his brides of course, but I will still be selective threading. -Romantic involvement however he is much more selective, so there will be chemistry required. -UNLESS STATED OTHERWISE: ALL SHIPS, EVEN WITHIN A VERSE, EXIST IN SEPARATE MINI ALTERNATE VERSES. -Please do not pre-establish a relationship with my muse without discussing it with me. Talk to me first if you are interested in that.

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Memes: -I will try to respond to memes / asks! Mutuals, Non-Mutuals, Anons all welcome. -Please don’t take it personally if I don’t answer your ask, sometimes things just don’t click. -Starter-memes, unless I pm you and discuss otherwise, generally these are for smaller-format threads. Just to balance out my lengths of things and make it easier for me to get something back to you.

Reply lengths: -I’m occasionally prone to writing larger Multi-Para starters. It’s just my nature. I don’t expect you to match it. Please don’t be intimidated. (But also, typically my average reply length tapers off after the starter for a more reaction-based format. -Multi-Para style is my main tendency writing with an average of 2-4 para replies. Shorter semi-para may occur at times, particularly in dash commentary or shitpost threads.

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Recap: "Game of Thrones" - 7.02 'Stormborn'

Be a Dragon.

  EW – Game of Thrones delivered on its promised faster pace of season 7 with an episode so crammed with major events, reunions, a riveting battle, deaths, and twists that it almost played like a season finale — yet this is only episode 2! After last week’s foreboding and stately premiere, “Stormborn” floored the narrative pedal, with nearly every scene delivering some kind of major consequence for our characters, setting the stage for a cross-section of battles and major power-player meet-ups. We start with:

  Dragonstone: It was, quite literally, a dark and stormy night. Daenerys unexpectedly grills Varys about his loyalty because, let’s face it, on paper, his resume admittedly doesn’t sound very reassuring. That he’s a far bigger fan of King Robert than he was of her father doesn’t help either. “Incompetence should not be rewarded with blind loyalty,” shoots back Varys, in what sounds like a rare bit of modern political commentary from GoT. “You wish to know where my true loyalties lie?” he continues. “The people.” Tough to argue with that, and Dany doesn’t — though also threatens to burn him alive if he ever betrays her.

  Hey, speaking of burning people alive, here’s Melisandre! She was last seen banished by Jon Snow and told to head south for killing Shireen. She went south all right, straight back to her former home that she used to share with Stannis Baratheon. I wonder if she still has some clothes there she wants to pick up.

  The Red Woman is brought before Dany. She fills her in on the prophecy of Azor Ahai — a messianic figure in her Lord of Light religion; lived thousands of years ago, forged a flaming sword which he used to defeat evil; he’s prophesied to be reborn as the Prince That Was Promised, etc. etc.

  Or perhaps it’s Princess That Was Promised? Experienced translator Missandei corrects Melisandre’s prophecy description.

  Melisandre explains she thought Stannis was The One. Then she thought it might be Jon Snow. Now she’s not ruling out Dany either. For being some powerful Lord of Light sorcerer, Melisandre’s less confident in her Azor Ahai theory than most Game of Thrones fan blogs. Not to mention, Stannis would be so pissed if he died because of a grammar mistake.

Matchmaker Melisandre successfully gets Dany’s curiosity up about Jon Snow. Tyrion notes that he’s a decent man. She has Tyrion pen a letter to the King in the North requesting to see him and ordering him to “bend the knee” (and the Jon-Dany shippers lean forward). As much as I’d love to see Dany and Jon Snow meet, anything that Melisandre suggests based on prophecy I’m inherently wary about.

  Winterfell: But not as wary as Sansa! Jon gets Tyrion’s letter — yeah, just like that. I’m pretty sure Westeros is now using FedEx instead of birds. There’s a subset of fans who always pay very strict attention to how much time characters should realistically take to get from one place to another (they’re still annoyed about Varys getting from Dorne to Meereen so fast last year). But if you try to apply your own Waze travel time estimates to characters in Westeros you’re going to go nuts. It’s probably best to just roll with it and appreciate that we’re not seeing a lot of horse-riding and campfire scenes this season.

  Jon talks to Sansa about whether he should go and see her. Sansa says he shouldn’t do it, because Sansa is wrong about everything now (I kid — if we didn’t know Dany, we’d be rather wary about meeting her too; after all the fatal Stark blunders in recent years, “pulling a Stark” is probably Westeros slang for getting yourself stupid-killed).

  At first, Jon is talked out of going. But then he gets another r-mail, this from Samwell, informing him that tons of precious dragonglass can be found at Dragonstone (which sounds like one of those facts that you hear and immediately feel stupid for not knowing it already).

  Given the chances of scoring loads of White Walker kryptonite, Jon tells the lords in the Great Hall his plan to meet Dany. Everybody hates this idea, especially Sansa, who channels Admiral Ackbar to trap-warn him. Even cute Lyanna Mormont, who everybody loves every time she speaks, yells at Jon for knowing nothing.

  Jon won’t be swayed. Frankly, he probably wants to get the hell out of there and have some new adventures anyway. He’s been looking miserable moping around Winterfell making tough political decisions while Sansa explains how stupid he is.

  He does leave Sansa in charge, though, which seems to please her. One suspects this decision disappoints all the lord-bros who hang around that hall drinking all day because you know she’s going to make some changes around there.

  Before he goes, Jon pays a visit to the family crypt. In slinks Littlefinger, who starts purring sweet nothings in Jon’s ear, and you can see him getting increasingly annoyed. Don’t think for a second Jon hasn’t noticed the conniving twerp’s smirking and eye-rolling in the back of his class.

  Then Littlefinger creepily goes, “I love Sansa as I loved her mother,” which triggers the protective big brother in Jon to slam Baelish up against the wall and warn him to never touch his sister. Now it’s the Jon-Sansa shippers who lean forward (you pervs).

  Jon Snow mounts up and takes off. We’re not sure if he’s ever going to see Winterfell again. But we’re confident now that Jon will meet the Dragon Queen who is also — we are led to assume from last season’s Bran-guided flashbacks — his aunt. This seems pretty important. Can’t Bran send Jon a letter since everybody else is sending him letters?

  The Citadel: Ser Jorah isn’t doing so well. His greyscale has spread and the maesters aren’t very helpful. Sam tries to convince the grumpy Arch-Maester to let him try some radical treatment, but he won’t approve anything without several phases of successful FDA trials and suggests Ser Jorah just go kill himself. He explains this along with a bunch of facts and logical reasoning but I’m really starting to hate this guy despite being played by congenial Jim Broadbent; he’s like the epitome of an Ivory Tower out-of-touch elite.

  Sam tries to cure Ser Jorah anyway because he’s awesome and believes in actually trying to do things. What follows is one of the grossest scenes in Game of Thrones, which is saying quite a bit. Sam peels off the greyscale with a knife in a procedure that looks super painful and pus-squirting disgusting. (I wonder why Sam doesn’t give the man some Milk of the Poppy; surely they have some of that laying around?) Sam finishes, but it’s unclear if this experimental Dr. House M.D-evil operation was successful. Perhaps every episode this season will have Sam tacklin some new revolting task, like a Westeros edition of Dirty Jobs.

  Riverlands: Arya stops by a tavern and runs into a character we never expected to see again — Hot Pie! He’s arguably the luckiest person on the show. Everybody else is scheming and plotting and fighting and dying, while Hot Pie just continues riding out the action and making his meat-filled pastries You would think this is the last dish Arya would crave after chopping up Freys and baking them into a pie herself, but hey, a girl’s gotta eat.

  Hot Pie also has a side gig as a Game of Thrones recapper, and he fills Arya in on seasons 2 through 6 (he does a decent job, though I would have thrown in Tyrion’s trial and Oberyn Martell’s arc because those parts were really cool). Arya is unsurprised about Cersei’s season finale mass-murder plot, while Hot Pie marvels at Arya, who’s now all hardened and gulping wine. “You’re pretty,” he coos, and Arya looks slightly struck; she’s not used to getting compliments.

  But it’s learning that Jon Snow is back at Winterfell that really throws Arya for a loop. You can see her brain-gears turning: Hmm, murder Cersei or return to my home and reunite with my family after being kept apart for years? … That’s a toughie.

  Later, Arya is accosted by wolves, but not just any wolves. Is it…? It is. Nymeria! Her long-lost direwolf who bit Joffrey that she was forced to chase off in the first season. They regard each other. “I’m finally going home; come with me,” she pleads. But Nymeria just looks at her impassively like a dog at a human who doesn’t have any snacks. Nymeria and her pack turn away.

  “That’s not you…” Arya says, which is such a great line. Because the direwolf is Nymeria (and Arya knows it) but it’s also very much not Nymeria, because so much time has passed and the direwolf has changed so much. So has Arya, as we just saw in the scene with Hot Pie. The scene not only answers a long-time fan question but, even better, is used as a metaphorical mirror for Arya. As the episode’s writer Bryan Cogman says in this week’s interview with Williams about this scene, “they’re both lone wolves” (interview links are at the end of the recap).

  So Arya continues her journey home. You know if she actually makes it to Winterfell, she’s going to be super pissed if Jon is gone and she’s stuck with Sansa.

  King’s Landing: Cersei summons her lords for something she’s not typically very good at: trying to win people over that she considers beneath her. It’s a bit like Hillary Clinton trying to hang out with local voters in a swing state diner; this isn’t really her thing. Present are Randyll and Dickon Tarly — Samwell’s jerk father and his sorta-okay brother — whom we first met last season (Dickon was recast, by the way: Freddie Stroma played him in season 6; Tom Hopper stepped in for season 7). I love that Jaime mistakes Dickon’s name for Rickon, as if even Jaime Lannister have a tough time keeping all these damn character names straight.

  Cersei smartly brands Daenerys as the return of homicidal Targaryen crazy, just like ol’ Mad King Aerys II. Sure Dany’s got a huge army and three dragons, but she’s also nuts and will kill everybody if they don’t stand up to her. Cersei is basically doing a negative campaign ad: Vote Lannister or the Targaryen Will Burn You Alive. Of course, Dany hasn’t hurt anybody in Westeros (yet) while Cersei blew up a Sept full of church-goers and her daughter-in-law. If anybody has been playing the role of Mad Queen around these parts, it sure ain’t Dany.

  Mad scientist Qyburn takes Cersei down into the dragon skull room. This gorgeous set is a terrific treat for readers of George R.R. Martin’s novels. This room is described in detail in the very first A Song of Ice and Fire book, A Game of Thrones. The show didn’t have the budget to portray this in the first season, but it does now.

  Qyburn reveals they have a dragon-killing secret weapon, a large spear-firing crossbow-like device that, if aimed just right, can pierce through a dragon’s eye into its brain — sorta like how that guy in the disappointing Hobbit trilogy took out Smaug. Cersei just found a way to potentially even the playing field.

  Dragonstone: Daenerys has a strategy meeting with her advisors, the Greyjoys, Olenna, and Ellaria Sand. Hot-headed Ellaria wants to wipe out Cersei in King’s Landing, but Tyrion has warned against that strategy. He’s thinking that sending dragons to nuke a city probably isn’t the wisest course of action to rally the great houses to their side, and Dany agrees.

  Instead, this is the idea: Strike the Lannister stronghold of Casterly Rock with the Unsullied and Dothraki army, thereby seizing Cersei’s homeland while she’s holed up in the Southern capital. Also, send the Greyjoys and Ellaria to lay siege to King’s Landing to starve out Cersei into surrendering (thereby avoiding the apparently lousy PR optics of having “foreign” forces attack the capital).

  This sounds like great plan! Too bad it all goes to hell in just a few minutes. But great!

  Olenna and Dany share a nifty scene together where she warns the queen against putting too much faith in clever men like Tyrion. “Commoners won’t obey you unless they fear you,” she warns. “The lords of Westeros are sheep. Are you a sheep? No. You’re a dragon. Be a dragon.” Olenna is an upper-crust blue-blood who believes you need to govern with strong-arm tactics and crush your enemies at any cost. Dany is trying to break the wheel as a reformist. But Sansa would totally retweet everything Olenna is saying.

  As Tyrion said, Dany in “the great game” now. But the same could be said for nearly all our favorites. After six seasons of watching characters try to rule — and fail miserably — the core cast have gradually all stepped up into leadership roles to make the big decisions. We wonder if they’ve learned the right lessons.

  Meanwhile, Missandei and Grey Worm might never see each other again. This leads to an extremely touching scene whereby stern Grey Worm finally opens up emotionally to Missandei about his feelings for her. “You are my weakness,” he says. Missandei appreciates that, but also wants more than nice words — she wants to get physical. The Unsullied commander is hesitant. This is like being asked to joust without a lance, so to speak. But he overcomes his shyness to lay with her. As Nathalie Emmanuel says in our interview, “amongst this chaos they’re like this beacon of something sweet and pure and beautiful.” We hope they are as satisfied as they can be given the limitations involved.

  Greyjoy Ship at Sea: We get a moment with the Sand Snakes bragging about who they’re going to kill. This moment plays a lot better after you know what’s about to happen. Then it’s Ellaria and Yara flirting in a cabin. Theon tries to leave, but Ellaria wants to make him stand there and watch. Poor Theon, everybody always wants him to be an awkward voyeur for some reason.

  Then… disaster. Euron has found them. What follows is a thrilling sequence from director Mark Mylod. One of my favorite things about GoT action scenes is they’re always unique from one another; this frantic fiery ship battle plays like nothing we’ve seen on the show before. The energy feels like a reflection of Euron, who gets one helluva entrance: His ship The Silence pierces the side of the Greyjoys’ vessel, then a manic screaming Euron rides its jaw-like walkway that clamps down on the ship, both preventing the ship from escaping and providing a way to board.

  It’s apparent from the outset that the Greyjoys are being overrun. Euron is a bloody nightmare of psychotic rage-joy. Ellaria and her daughter Tyene are captured below decks, and Ellaria’s request for death is denied while Obara and Nymeria fight Euron (yes, the Sand Snake played by Jessica Henwick is named Nymeria… only Game of Thrones would have two characters with pivotal sequences in the same episode who are both named Nymeria).

  Their fight is raw and brutal, with Euron turning their signature weapons against each other, piercing Obara with her spear while strangling Nymeria with her whip. Two of the three Sand Snakes are down, their bodies left to decorate the ship.

  Euron also captures Yara despite her Glow-like flying pro-wrestling leap down on top of him. Theon spots them, and Euron tries to bait him into attacking. Euron has no fear. Theon is full of fear. Hot Pie and Nymeria the direwolf aren’t the only long-lost characters to return this week. Reek is back. And Reek does what Reek does — he flees, jumping over the side. Yara is heartbroken at the betrayal. But it was probably Theon’s wisest move given Euron’s fighting skills. Theon rushing at Euron would totally be pulling a Stark.

Recap: “Game of Thrones” – 7.02 ‘Stormborn’ was originally published on Glorious Gwendoline

Geekade Top Ten: Neil Gaiman Long Form Fiction

It’s a great time to be Neil Gaiman. His latest book, Norse Mythology, debuted on the New York Times’ bestseller list. American Gods, based on the novel of the same title, debuts on TV next month. And a filmed adaptation of Good Omens is finally in development at Amazon, with the author at the helm. So what better time, then, to celebrate some of his work? Neil Gaiman is a God among book geeks, considered by many, myself included, to be their favorite author. Any entity with so passionate a fan base is bound to be extremely sensitive about a ranking concerning said entity. So it is with great trepidation that I approach this task and ask you all to remember that, while I am doing my best to be objective here, at the end of the day, these are my opinions. I am as entitled to them as you are to yours. Let’s not fight, let’s just love Neil Gaiman and every word that comes out of his brain.

Categorizing Gaiman’s work is tough because his oeuvre is so expansive and varied. I had to limit this somehow and the easiest way was to eliminate his children’s picture books , which I HIGHLY recommend. They are all charming and fun, gorgeously illustrated, and provide excellent alternatives when gift-giving that most parents haven’t seen before and will be glad of the breath of fresh air. I always give Blueberry Girl or Instructions at any baby shower that requests a book instead of a card. I’d say even if there are no children in your life, if you love Neil Gaiman, you’ll enjoy looking at these and possibly donating a copy or two to your local library. In the same vein, his short fiction is out. I am also excluding Norse Mythology by the logic that a retelling is a different animal than long form fiction. (Also I haven't read it yet...sorry). On the other hand, I have decided to include some of his longer juvenile fiction and YA work to round out the list because YA writing is as legit as any work of “adult” fiction. Fight me. Sandman is also in here; although it is a graphic novel, there is enough writing there to qualify it as long form fiction. Also, this series is a gateway drug for many comic fans becoming Gaiman fans; it’s too important not to include. As the man himself wrote, “Sometimes you wake up. Sometimes the fall kills you. And sometimes, when you fall, you fly.” So, here we go.

10. Fortunately the Milk - FtM is definitely a juvenile book, but in a much longer form than a picture book. This grand tale, suitable for middle grades readers, tells of wild adventures a Dad gets caught up in, all while out on a mundane errand like buying more milk to go with breakfast. The set up is relatable enough to children to be believable and the fantastic and funny mishaps Dad encounters will crack them up and keep them reading. It’s an excellent way to introduce young readers to the work of a parent’s favorite author.

9. Stardust - Stardust is a love story, Gaiman style. Its most masterful achievements are the fantasy world of Faerie and the rich, non-traditional characters. It provides a lovely twist that flips a traditional fairy tale narrative on its ear. It’s more lighthearted than most of his other works, which isn’t to say it isn’t good, but it is a bit out of his lane. Additionally, many readers find the lead character Tristan grating, thus knocking it this far down on the list. But on a list of works of this quality, good things fall to the bottom. Still very much worth the read.

8 - Coraline - This is Gaiman’s take on a parable, warning of the dangers of wishes. It is at the same time for kids and not for kids. It’s a young adult story, I suppose, but appeals to older adults as well. Gaiman’s guilty many times over of writing unique, realistic children and  putting them in strange and creepy circumstances. He walks the fine line between condescension and understanding, making the characters relatable while still reminding us, often painfully, of our own youth. This story ranks here only because it is a good, but not the best, example of his ability to do so; it’s a rating of the story against other of his stories, not on its own merits, which are excellent.

7 - Ocean at the End of the Lane - Like most of Gaiman’s work, this is a beautiful, dark work of genius. It’s a captivating story of long-forgotten memories unearthed by a visit to a mysterious place from the narrator’s childhood. It’s a book to read to remind you what it’s like to be a child, encouraging you to revisit unexplained, mystical experiences of youth from an adult perspective. As one Goodreads reviewer aptly put it, “In short, it is a Neil Gaiman novel.” It’s not his best or best-known work, but it’s definitely representative of him. It makes a good recommendation for readers who don’t know, but are interested in, his work and for those who know some of his work, but are unfamiliar with this fairly-recent release.

6 - Anansi Boys - This not-quite sequel to American Gods tells the story of Fat Charlie and Spider, children of a deceased God and brothers who never knew each other in their father’s lifetime. Gaiman’s talent for taking a small part of a larger story and blowing it up into its own narrative is part of what makes him such a master. This novel is an excellent example of his ability to create rich worlds and fully fleshed out characters. It also shows off his knack for incorporating mythical elements from oral storytelling traditions of cultures other than his own. It’s a fun, fast read, not quite up to the caliber of some of his greater works, but that’s hardly a criticism.

5 - Neverwhere - This is a great work of modern urban fantasy with possibly Gaiman’s most relatable protagonist, an office worker thrust into a fantastical world beneath the streets of London. It’s a story most of us would imagine (or have imagined) ourselves in, written as only Gaiman can and a world we want to spend far more time in, even after the story is over. As a standalone story, it’s a good entry point into the author’s work, but reader beware, it will leave you wanting more.

4 - The Graveyard Book - Yes, this children’s book is placed awfully high up on the list, but it has won some of the most prestigious awards in literature (notably the Hugo award and the Newbery medal) and quite deservedly so. For one thing, Nobody Owens is a phenomenal protagonist and for another, this is just such a remarkable, fun, exciting story as only Gaiman can tell it. It has the potential to become scary at just about every turn, but thanks to the author’s humor and talent, it never really does. This is truly one to be enjoyed by readers of ALL ages and for that reason, it deserves high placement in the NG canon.

3 - Good Omens - It gives me serious pain not to rank this number one. Not only is it my favorite of Gaiman’s books by far, it is my favorite book, period. But this is a list of his best books, not my favorites, not to mention it’s a co-write with beloved, recently-departed fantasy author Terry Pratchett. Still, if you’ve missed out reading this one, and I find even many diehard fans have, do yourself a favor and correct that IMMEDIATELY. This book is as insightful as it is hilarious. It is a foundational book for me, in terms of my sense of literary appreciation, my humor, and my religious belief system. It’s a tale of the apocalypse gone awry. You can bet your ass I got some serious side-eye when I introduced it in my 10th grade English class as my favorite book, which is kind of the best praise I feel I can give for it and if you understand what I mean, then this book is for you.

2 -Sandman series - If you haven’t already wanted to hang me up by my toenails because you disagree with my opinions,  you’re probably about to. This series is...not for me. Don’t get me wrong, it’s good. It’s great. It’s a masterpiece in the field of the graphic novel. But that’s a medium I’ve never been a huge fan of and I suppose that’s why I never connected with it. The fact that I believe it should be ranked this highly in spite of that missing connection speaks to its outstanding quality. If you love Gaiman, you probably love this series and I’m not going to tell you you’re wrong. But I can’t give it the top spot because it’s not what he does best.

1 - American Gods - This is what he does best. This is storytelling at its finest. This is Gaiman, pulling from legends of old, seasoning them with his dry British wit, crafting a fascinating tale, setting it in a universe that sits just kitty-corner to our own, and drawing his audience in, such that they don’t want to leave, even after the last page is turned. It’s no wonder that fans have been clamoring for an on-screen adaptation for years, one they’ll finally lay eyes on next month, and heaven help the show’s creators (see what I did there?) if they fandom doesn’t approve. If you’ve been living under a rock and have therefore never read any Neil Gaiman and you’re wondering what his best, most representative work is? Look no further.

Now if you’ll excuse me, I’m going to disappear to an undisclosed location and stay off social media for a month to avoid the wrath from holders of differing opinions. I know not everyone will agree with me, but if we’re all talking about, celebrating, and reading books by our favorite author, that’s really the most important thing, right?

Colorado Poet Series: Interview with Alyse Knorr

The local literary scene is, one must remember, a community.  (One you can be a part of, by the way, whether you’re a writer or reader!) In fact, after I interviewed the poet Elizabeth Robinson who connected me with fiction writer David Hicks, and it was David Hicks who recommended that I reach out to poet Alyse Knorr.

It was my pleasure to read two of Alyse Knorr’s poetry collections, Copper Mother and Mega-City Redux for the purpose of this interview. These collections of poetry and prose respectively are both delightfully dense and unusual explorations which perpetuate insightful cultural commentary within each of their respective narratives.

First, a little bit about Alyse:

Alyse Knorr is an assistant professor of English at Regis University and editor of Switchback Books. She is the author of the poetry collections Mega-City Redux (Green Mountains Review 2017), Copper Mother (Switchback Books 2016), and Annotated Glass (Furniture Press Books 2013), as well as the non-fiction book Super Mario Bros. 3 (Boss Fight Books 2016) and the poetry chapbooks Epithalamia (Horse Less Press 2015) and Alternates (dancing girl press 2014). Her work has appeared in Alaska Quarterly Review, Denver Quarterly, Columbia Poetry Review, The Greensboro Review, and ZYZZYVA, among others. She received her MFA from George Mason University, where she co-founded Gazing Grain Press.

Now, about Copper Mother (Switchback Books 2016):

“Through a startling mixture of forms and language, Copper Mother generates an unusual love story—of loving one’s world so tremendously that that world must be shared, at enormous risk and with unprecedented ingenuity and effort. The ‘Friends’ of Knorr’s universe bring their gentle curiosity to human heroics and frailties, and the humans—we humans—are redeemed by our eagerness to share our naked selves and by Jane, who bravely matches the terrors of mortality with a selfless faith in our capacity to love. Sincere even in its playful and fantastic moments, Knorr’s poetics emerges from a deep groove of mourning all that we have to lose and will certainly lose, every day and on the last day, perhaps most of all ‘our mothers, tired/and lovely and floral and gone.’ In that mourning, though, runs an illimitable current of open-hearted reverence that is the best of humanity and beyond its possession—that craving for contact ‘[t]his world wishes across/space’ to whomever might accept our greeting and the belief that we are already together with loved ones, those we’ve lost and those we haven’t yet met, in the slippery fullness of time.” – Elizabeth Savage, author of Idylliad

And finally, about Mega-City Redux (Green Mountains Review 2017):

In 1405, Christine de Pizan, the world’s first professional writer, published an allegorical work called The Book of the City of Ladies, in which she imagined constructing (with the help of her fairy godmothers Reason, Rectitude, and Justice) a walled city where women could live safe from sexism, misogyny, and gendered violence. Six hundred years later, we still need such a city. Mega-City Redux charts a road-trip search for this mythical city today, with the help of 21st-century feminist heroes Buffy the Vampire Slayer, Xena Warrior Princess, and Dana Scully from The X-Files. Mega-City Redux is essential architecture built from ‘sword, suit, stake, and pen’ – feminine, marvelous, and mega-tough.”

– Mel Nichols, author of Catalytic Exteriorization Phenomenon

  From here, we dialogue:

1. Your most recent projects, Mega-City Redux and Copper Mother inhabit unique worlds while following somewhat strange, utterly unpredictable narratives.  How did the seedling ideas for these works germinate into their final works? Can you describe the creative decision-making process which led to their unique content and form?

The idea for Copper Mother came from a Radiolab interview with Ann Druyan in which Ann describes creating the Voyager Golden Record with her late husband, Carl Sagan, in 1977. NASA sent the Record into deep space with the hopes that an extraterrestrial civilization might find it, and it contains images, sounds, and languages from Earth meant to introduce our species to aliens. I started reading more and more about the Record, and started wondering what might happen if aliens did find the Record and come to Earth to talk to us about it. Ann ended up a character in the book as “Jane,” and I imagined that the aliens might have a technology that would allow present-day Jane to converse with her 1977 past-self. I’ve always been a big fan of science fiction, so I had a blast getting to play with some classic sci-fi tropes (like time travel and a moment of “first contact”) in the book.

I wrote Mega-City Redux after reading Christine de Pizan’sThe Book of the City of Ladies, a 1405 allegory in which Christine imagines building a walled city—with the help of her three fairy godmothers Reason, Rectitude, and Justice—where women can live safe from sexism and misogyny. I also wrote the book in the wake of the 2014 Isla Vista shootings, when a man shot and killed several women out of purely misogynistic hate. This violent tragedy made abundantly clear to me that we still need Christine’s City of Ladies today just as much as we did 600 years ago, so I imagined going on a road trip to find the City with my three personal fairy godmothers—Buffy the Vampire Slayer, Xena Warrior Princess, and Dana Scully.

With both of these projects, once I had the premise and the characters in mind, I just wrote as many poems as I could to try and see what would happen. I love to work in the novel-in-verse form because I get to build a world and create characters and then put them into interesting situations just to see what they’ll do. I love when my characters surprise me and when the plot takes a turn I didn’t see coming!

2. How did you arrive at the decision to source the unnamed female narrator’s fearless female companions Dana Scully, Buffy the Vampire Slayer, and Xena Warrior Princess, as companions? How are their popular personas purposed in your work, and what effect does their pre-established backstories have on your work? Why did you choose these characters specifically?

I’m a big TV buff, and TV has always been my outlet for self-exploration and my pathway to self-understanding. When I was a young girl, I couldn’t picture myself as the damsel in distress or the love interest in the media I consumed, but I could imagine myself into the role of hero in the form of a Ninja Turtle or Batman. I only felt ready to come out as a lesbian in graduate school after watching all six seasons of The L Word. And so, I really do consider Buffy, Xena, and Dana to be my feminist heroes or role models—they made a big impact on me when I first watched their shows, and they continue to mean a lot to me today.

At the time I wrote Mega-City Redux, I had also recently read Susan Douglas’s book Enlightened Sexism, which is all about the pop culture feminist TV renaissance of the 1990s-2000s, when shows like Buffy and Xena debuted with their fiercely feminist and also really campy and fun content. Even though Mega-City Redux is about very serious social issues, I wanted to have fun with it, and I loved the idea of spending time on a road trip with these three extremely different women. I loved thinking about how they might interact—how they might annoy each other in the car and how they might care for the other. I really appreciate that they’re all such different types of heroes, which I think is important for feminist dialogue. Dana is my Reason figure—logical and intellectual. Buffy is my Rectitude figure—she tries to set things right, which is an inherently vulnerable act to take. Xena is my Justice figure—she wrestles with the thin line between justice and revenge.

What’s great about these three characters is that they’re already so complex and have so much backstory—Dana Scully is the voice of reason to her partner Fox Mulder, and she’s a very logical, left-brained doctor—but she’s also a person of firm religious faith. This kind of complexity made it easy to work with my characters’ backstories and stay true to them without caricaturing them. But my main goal wasn’t to write about the shows or the characters but rather to take them and plop them into my narrative and go on this quest with them.

3. Mega-City Redux cleverly, humorously combines feminist content with pop culture imparting an accessible, modernized spin. What reader responses have surprised or impressed you?  What role do feminist works such as your own play in the current political climate?

I’m always surprised to see just how much these pop culture figures mean to folks. I’ve had readers talk to me about how they first realized they were gay because of Dana or Xena, and I had a reader recently show me a photo of she and her wife dressed up as Xena and Gabrielle (Xena’s beloved) for Halloween. I teach a class on superheroes at Regis, and I love talking with my students about why pop culture matters. TV is often lightyears ahead of the mainstream public discourse, so it can advance social justice movements in powerful ways—shows like Glee and Grey’s Anatomy won a lot of hearts and minds over to the cause of LGBTQIA rights. But TV also acts—just like the Golden Record—as a kind of time capsule snapshot of our world and our culture at this specific moment in time. I love this inherent tension, and I love the space that pop culture creates for “serious play.”

When I read works like Frank O’Hara’s poem “Lana Turner Has Collapsed” or Gary Coleman’s book of superhero poems Missing You, Metropolis, I’m always reminded of the power of writing about our celebrity or our fictional pop culture heroes. These are our modern-day “saints” and icons—our role models and outlets and thought experiments. They can act as a kind of common language through which to discuss the issues of our time, and because they exist in another, imaginative realm, they’re also inherently full of possibility and potential. These, to me, are the ingredients of powerful dialogue.

4. While the majority of science fiction works treat alien arrival as synonymous with the apocalypse, Copper Mother approaches alien arrival with a tone of friendly, casual curiosity. What reason lies behind this significant, divergent decision?

I wrote Copper Mother while I was living in Alaska, and while we were there, my wife and I received many visitors—family and friends who had always wanted to go to Alaska and finally bought their plane tickets after we moved there. So we spent a lot of our time being tour guides—showing our visitors things and places that felt totally ordinary to us but that totally blew their minds (glaciers! moose! bald eagles!). I think for this reason, I imagined a real tenderness between the humans and Our Friends. They often have awkward but always well-meaning, sweet exchanges. The humans sincerely want to be good hosts and Our Friends genuinely want to be polite visitors. I’ve always been interested in what happens when two very different cultures or groups meet and interact, and on what gets included or neglected from the tour or the introductory conversations.

I’m also very invested in the sincerity of the Golden Record project itself—it’s our only truly “species-wide” project—the only artifact we have that attempts to represent us as a unified planet rather than a fractioned collection of different groups. There’s an inherent optimism in the idea of the Record itself—a beautiful hopefulness that I wanted to capture in my book. To launch the Record into space is to believe that someone will find it who wishes us well and wants to connect with us—and that’s the possibility I wanted to envision in my book, not the terrifying (and cliche!) apocalyptic one. I’m a pretty uncynical person by nature, so this was easy for me to imagine.

5. Throughout the work, the aliens, later joined by Then-Jane, communicate through sound effects. How did you go about developing these dialogues?

The Golden Record includes a tremendous amount of sound, including an address by Jimmy Carter, spoken greetings in 55 different languages, a wealth of music (including Beethoven, Chuck Berry, Navajo night chants, and mariachi), and a series of “sounds from Earth” (wind, rain, crickets, wolves howling, cars).

During my research, I learned that many astrobiologists believe that if extraterrestrials ever actually hear the Record, they probably won’t be able to distinguish between the different sounds included—their auditory organs and understanding of language may be so different from ours that they may not know the difference between the music, language, and natural sounds on the Record. For that reason, I wanted Our Friends (and Then-Jane, since she’s a product of the Record) to speak with a mixture of all the types of sounds included on the Record. All of the dialogue they speak comes from actual Record contents, whether it’s a thunderstorm or a hyena laughing or a trumpet wail. I like the way this allows me to play with the definition of “language”—which is something the Record does, too, by including whale song not in the natural sounds portion of the content, but in the languages section!

6. And finally, info on how to purchase both works!

The best way to purchase is to go out to my website, www.alyseknorr.com, and click the licks on the books to go to the publisher’s page.

from Blog https://ondenver.com/colorado-poet-series-interview-with-alyse-knorr/

True Blood Season 4 Review

Ok It's done. The guessing and spoiling is over for another 9 months leaving us with only a serious fangover and an unprecedented post season body count. True Blood Season 4 was bat shit crazy even more than Season 3, the timeline of such memorables as jar of Talbot and spine ripping TV. So now post Season 4 finale whether you were calling for a Scream award or thought the whole thing blew chances are you're about to embark on 9 months of TB withdrawal. Yup even the haters feel its absence. So let's savor the moment in a post finale look at the best and worst of True Blood Season 4

THE BIGGEST THANK GOD MOMENT: Wee Marcus and gang finally putting Tommy and us out of the misery that was Tommy Mickens sorry ass life. As soon as he went skinwalker you knew his days were numbered. Sam Tramwell was brilliant doing Tommy doing him and who didn't cheer when said Tommy/Sam fired Sookie! She is the worst waitress ever! Talk about sick leave; is she ever at work for more than half a shift!?! The fall out from his death will certainly carry us through season 5, where we can only hope Sam has some modicum of hope at returning to just running the bar and attending anger management sessions.

Close second was Sookie decisively shooting Debbie Pelt in the head, even though she begged her not to. Yup, we had to wait till the very end of the season for evil, laughing while pouring Talbot down the drain Sookie, to return.

BEST OMG MOMENT: Ginger riding the coffin - nuff said.

SCARIEST/SEXIEST MOMENT:

Scary and sexy are often one and the same on True Blood, and this year Eric Northman ripping out, here to be known as, Juice Box Roy's heart will be stamped on my brain as a shining TB moment. Countless screamed everywhere, I had know idea THAT could be sexy! Give Skarsgård a raise!

BTW the T-shirts were on sale a mere 3 hours post show.

BIGGEST WTF MOMENT: Sookie and Eric snow shower then frak in Narnia. I've never read the books but the post Spellbound roar over The Vampire, The Witch and The Shower Stall, chocked up the blog commentary for days. I suspect because nothing could ever live up to this sacred cow of the sookiverse sexcapdes, Ball and company for better or worse decided not to go there; thus sparing us from more Skinmax test reels by getting out of the shower faster than they got in

MOST IMPROVED: King Bill - sure

he's damaged goods nailing his great great great great granddaughter and watching his ex screw his brain-damaged frenemy but sans Sookie round his neck, Bill was standing a bit taller this year. He even had a sense of humor, and Bill with balls is actually kind of hot. The developing bromance between him and Eric turned out to be one of the best parts of the season close.

MOST POTENTIAL: Laurel and Hardy move over. With Sookie out of the way Bill and Eric make an an awesome tag team, dissing each other on the pyre then cooperatively staking and decapitating Nan and troopers. Here's to more of Bill and Eric's excellent adventure in Season 5.

MOST IN NEED OF IMPROVEMENT: Sookie got enough of her spunk back to blow Debbie Pelt's head off, sure, but seriously she spent most of the season literally on her back, well sometimes on top. She was once a gifted mind-reader; we saw that maybe twice this season. Instead we learned more about her castrating powers when it comes to boyfriends. She mommied Eric into a hoody wearing puppy dog, did the dirty with him in every room of grandma's house and then kicked him, alongside Bill, to the curb come finale. In four seasons she truly did go from virgin to love em and leave em fangbanger. The classless moves have got to stop if the Stackhouse angle is to survive. We need an even slightly relate-able protagonist. I'm hoping another eligible lady moves to town, though god forbid she get a job at Merlotts - the most dangerous workplace in America.

SOOKIE'S ONE REDEEMING FEATURE SEASON 4: Sookie had unbelievably great hair this season. I swear to god I saw the camera man reflected in her locks in Eric's cubby.

MOST IN NEED OF A HUG: From defending herself against zombie slurs to losing an ear, Pam had endured what must go down as the worst week in her hundred plus years. She lost her maker to back country fairy vagina and her face rotted off. And things weren't exactly looking up when we left her, blood tears running down her cheek, hugging Ginger.

Why did they do that to Pam!!! Well for one reason she gave TB viewers some of the best gore the show has ever delivered. Still, writers, you better fix her. At the end of the day we really just want to look at Kristin Bauer being gorgeous and acting snarky.

Coming in second is Hoyt who despite the bitterness of his bad boyfriend rejection could really use a little lov'in right now, if not some of Summer's biscuits.

BEST RECAPS and REVIEWS:

VLOGS

#1 Bloodworks takes the stakes as a no contest winner. Besides being just the cutest couple in the world, Brian and Any's post show cocktails and theatrics amount to sometimes slurry worded and always hilariously astute recaps. I swear by mid season you look forward to Andy and Brian's upload as much as the episode itself. With its "staking points" and "do bad things" they were the best thing that could happen to a mediocre TB episode. Brian Juergen and Andy Swist @campbloodbuzz @andyswist http://campblood.org/Newblog/

#2 Think Heroes True Blood Review is tried and true. Roth Cornet has hosted solo for two seasons, and this season Jenna Busch was on board. Roth's reviews are first-rate often delving deeper than the show deserves. Busch does a good job of keeping things in the watercooler-moment mood of the short vlog format. The two combined offer a sometimes giggle ridden but always insightful True Blood take. Jennings Roth Cornet @JRothC | http://www.jenningsrothcornet.com/ JennaBusch @JennaBusch | http://girlmeetslightsaber.blogspot.com

#3 BloodBites is family friendly fair with this sister and brother team showcasing familial bonds and blood-dipped funny bones. Reenacting then reviewing a given episode's wtf moments, Blood Bites has cross-gen appeal. It's quality YouTube content you could show your grandmother and your eight year-old niece, who you know are both watching True Blood too.

Honorable Mention My Future Lover's Reason to Ship Sookie and Eric Spawn of You Tube strictly for Team Eric members, My Future Lover's play by play captions to the best and worst Sookie Eric moments capture at least half the audience's joy, tears and tv punching moments.

BEST PODCAST

True Blood in Dallas Straight up fan founded talkshow and review of both book, show and TB culture with revolving guest reviewers each week. A steady dose of all the criticism only a Stackhouse booklover can bring, Talk Blood is laced with plenty of Charlaine Harris loving that fellow fans can appreciate.

Listen to internet radio with True Blood in Dallas on Blog Talk Radio

BLOGS AND WEB SITES

Best Recaps

Pros and Cons True Blood by Meredith Woerner nails it everytime. for a no holds barred, tell it like is play by play pro con style. This is one of the funniest and most astute TB recaps out there. Meredith Woerner @MdellW | http://io9.com/people/MeredithDW/posts/

After Eltons WTF recap by Steven Frank is an imaginative post morteum with major plot points reviewed then rated in Grace Jones Vamp limps.

Jef With One F's music and episode recap for the Houston's Press is a creative spin that lets the show's lead track set the tone for review and analysis. Jef With One F @HPRocksOff

Best Blogs

Talk True Blood Digging deep and ranting in the best way, Talk True Blood goes so far as to offer scene by scene body language analysis of major characters.

Buddhism and True Blood Dedicated to Alan Ball and the wheel of life, Buddhism and True blood reminds us that life is suffering especially in Bon Temps

True Blood Underground Do you really know what's going on in Bon Temps? Conspiracy theories abound as TB Underground calls out Alan Ball on his addictive mind control experiment.

FINAL WORD Four seasons later there is still a bit of blood left in the series, and while fairy-finger-cop-outs and super silly, supernatural assumptions do show signs of laziness in the writers room, True Blood still does deliver some amazing TV. Godforbid we get bogged down by process oriented stuff like how amnesia Eric lost his shirt post-spell or ends up on a bonfire tied to Bill between episode 11 and 12. Things like how come no one reports a death in Bon Temp anymore or WHO IS running Merlottes only get in the way of a good story or at least a good "oh no they didn't" jaw drop.

I suspect, forty eight episodes later, TB writers actually relish every shark jumping moment as much as fangbanging spectacle. They know they can get away with it because they know how dedicated, creative and forgiving their fan base is. Plus narrative logic be damned, camp and drama are fine edges to play on, and they deserve applause for taking even tasteless risks.

For every bit of hocus pocus cgi True Blood throws at us, such as the anime forcefield surrounding Moon Goddess or the ridiculously bad fx exorcism of Mavis, there was a Pam getting a skin peel or Eric ripping the heart out of juice box Roy to make up for it. For each ridiculous Scooby Doo and the gang moment, there was a Vampire A-team or death by pencil. For each and every minute we tolerated Andy, we had a shot of Ginger riding a coffin or Eric drinking the whole fairy. True Blood IS very uneven but it IS very fun.

So that caps summertime Sundays and True blood still remains my ultimate guilty pleasure. The culture and coverage this year has been as much fun as the show itself and made Sundays feel like a party. I think Alex Skarsgård sums it all up in this quote,

“At 7 in the morning, I’m hanging from the ceiling in a Nazi uniform with fangs in[my mouth]. I look over and I see [Allan] there in his Nazi uniform hanging like a puppet. We’re about to descend down to kill this wolf, you know? And that was the moment where we just looked at each other like, This is what we’re doing for a living?‘”

Yup, IT IS! And even more surprising I CAN"T believe I'm watching you do it and not only that but loving every minute!

Doctor Who Reviews, Season 2, Part 2

Note: These reviews contain many spoilers for season 2 and occasional spoilers for later seasons. There are also a few references to plot points from the classic series. 

Rise of the Cybermen: Like “New Earth,” this episode gives us the opportunity to see a different world, although in this case one that aligns quite closely with ours, but it’s again a pretty meager effort—some technology upgrades, some zeppelins in the sky, the end. (The ability to travel between universes is also established in a fairly underwhelming way; there’s a lot of drama about how the TARDIS is dead, and then she isn’t, just a few minutes later, and I don’t know what it means for the Doctor to fix the problem by giving up ten years when he doesn’t generally die of old age.) The low-key approach to world-building might have worked well in service of a more engaging plot, but the Cybermen story never quite finds a way to make the metallic monsters interesting. The first scene at least goes to an entertaining Frankensteiny place, but after that, in spite of his constant references to his impending demise John Lumic just sort of feels like walking exposition, necessary because we need someone who isn’t a Cyberman to explain the plan. I’ve liked Roger Lloyd Pack in other things, but he’s one of the least convincing evil genius figures I’ve seen on this show, and without a charismatic human presence to move their story along, the Cybermen just don’t make enough of an impact—especially since they’re stuck with trying to take over the world via evil earpieces. The scene in which a bunch of homeless men are converted while “The Lion Sleeps Tonight” covers the sound is a brilliant piece of darkness, but the episode never otherwise manages to make them look more than moderately intimidating.

          This could have been a disastrous episode if it relied too heavily on the Cybermen narrative, but, fortunately, it devotes a lot of time to Rose’s and Mickey’s parallel world families. It’s a fairly brief scene, but Mickey’s reunion with his grandmother—now dead in our universe—is the clear highlight of the episode, and continues with the work that “School Reunion” did to give Mickey more depth. His interactions with Rickey and his band of revolutionaries are also strong scenes, although while Noel Clarke does a great job as Mickey in this episode, he overacts Ricky to the point where he becomes comedic—it’s unclear whether or not this was intentional. Rose seems to have moved on completely from the abandonment that happened in the previous episode, which is frustrating, but she does have some memorable interactions with the Doctor. The look that she gives him in an attempt to get him to investigate this universe’s Pete and Jackie is the most directly flirtatious behavior that we’ve seen from her, and they are really adorable in their undercover guise as waitstaff at the party. (The Doctor’s reaction to tiny lapdog Rose is especially cute.) Rose’s attempts to get to know this version of her dad are really nicely depicted here, and it’s lovely to see a slightly different version of Pete. I am a bit put off, though, by what this story does to Jackie. It’s a different universe and, therefore, a different version of Jackie, but Mickey treats his grandmother as basically the same person as the one in his universe, and Pete winds up being seen as a substitute for this universe’s Pete, and that makes the portrayal of Jackie seem like a commentary on the main version of this character as well. She has moments of seeming like our Jackie, but her shallowness and snobbery are played up so much here that we’re left with the suggestion that if she were a rich, childless woman instead of a poor single mother, she’d lose all of her good qualities. The whole character just feels like we are being asked to laugh at Jackie by magnifying her flaws, and it seems mean-spirited to me. It also sort of seems like she was written as unlikeable for the purpose of making it easy to get her out of the way so that our Jackie can be with Pete at the end. This does set up a great moment in the finale, but the whole episode plays into the critics who find Jackie shrill and overbearing, and she’s way too good for that.

           There is a lot to dislike in this episode, including the lackluster parallel universe, the Cyberman plot, and the treatment of Jackie Tyler. The interactions between Rose and the Doctor help, though, and Mickey and Pete are so good here that they mostly save the episode. I wish it had been linked to a more engaging narrative, but I really appreciate that the show is giving Mickey a lot of good material before (temporarily) writing him off of the show. B-

The Age of Steel: “He takes the living, and turns them into those machines.” “They cut out the one thing that makes them human.” In the Davies era of the show, this is what the Cybermen are. The fact that they were once human is lamented, but there’s definitely nothing human about them anymore. The precise nature of the Cyber identity has been somewhat ambiguous throughout their long history on the show, but this is one of its most disappointing formulations. The notion that Cybermen have had their emotions removed is completely consistent with what we know from the classic series—it’s integral to these monsters that their emotions have been deleted because they see emotion as weakness and uniformity as strength. Ideally, this can provoke interesting questions about what it means to have a human brain (even if it’s been programmed by Cyber control) while the human body and emotions have been replaced. Out of all of Who’s monsters, they are in some respects the closest to us because of this retention of this human brain, and that gives these figures the ability to be truly unsettling and uncanny.

          The show’s approach to the Cyber identity has varied a lot over the years. In the classic series, many of the most interesting moments with the Cybermen came in the form of resistance to certain elements of Cyber design and control. “The Tomb of the Cybermen” lets us see a character resist the effects of partial conversion, for instance, while “The Invasion,” (the best Cyberman story) gives us essentially weaponized emotion, in which Cybermen suffer from having emotion gradually re-infused. Once Moffat takes over, human nature becomes tied so closely to the intellect that a Cyberman with a human brain has only had part of its humanity cancelled, which gives us terrifying encounters with machines who are still sort of human. (Granted, it takes him a while to find a logical balance between these elements, but I would say he gets there eventually.) Here, it’s not that humanity is permanently unavailable to these Cybermen, but it’s completely dependent on the fairly straightforward piece of mechanics that is the emotional inhibitor. This device, which appears to be linked to the nervous system, suggests that one’s humanity is entirely dependent on whether or not one’s emotions are physically operational. The Cyberman whose human form was about to get married is heartbreaking, but her humanity is reduced to an on-off switch. Functioning emotional inhibitor=not human. Broken emotional inhibitor=human again. When Tennant says that he gave the Cybermen their souls back by turning their emotions back on, he’s not kidding; the perspective here is genuinely that the soul and emotional experience are completely synonymous.

          My issue with this is not so much that it is a dull exploration of what it means to be a Cyberman, and more that it is a dull exploration of what it means to be human. To be fair, emotion is probably our most important characteristic, but reducing the human soul to a question of whether or not your feelings button is turned on makes human nature look one-dimensional—there are lots of things that define our humanity, and feelings are central among them, but they’re not alone. It doesn’t help that the solution to the problem completely undercuts the episode’s apparent message. The Doctor insists that human individuality is important, and that grief, rage, and pain are intrinsic to the human experience. Then, once he returns to the Cybermen their “souls,” they all do basically the same thing, with only very slight variation. This uniform action involves being destroyed by their emotions, including their grief and pain, and while I understand that realizing what you had become could easily kill a person in this situation, it’s a bit odd to have a big speech about grief and pain being qualities that are important to humanity and then follow it by having everyone commit suicide because of these qualities. There’s a really effective shot of a Cyberman looking with horror at its reflection in a mirror, but watching the emotionally-restored Cybermen continue to behave with almost total uniformity and be completely unable to handle negative emotions works so directly against the themes of this episode that I’m just confused about what anyone was thinking when they put together this story. If we’d just had a few outliers—someone saying “I’m in a lot of pain, but at least I can stomp on my enemies now,” or someone determined to hold on to life and consciousness in spite of the reasons to let go of them, or someone trying desperately to call for re-conversion back to full humanity—this would at least let us see what the Doctor is saying about the importance of individuality and emotional experience. Instead, while there is some variation in terms of the gestures that they make, from what I can see they just wander about dying en masse.

          Lumic gets even worse in this episode; his interactions with the Cybermen early in the episode are so awkwardly written that they almost seem unscripted. His final showdown with the Doctor is mostly forgettable, even if it does give the Doctor a few good lines. (I particularly liked his sarcastic, ““I’ve been captured, but don’t worry, Rose and Pete are still out there, they can rescue me!”) The Doctor’s speech about the need for grief and pain doesn’t really work well within the Cyberman narrative but is a nice moment in an episode that sees Rose lose Mickey, get rejected by this version of her father, and see the death of this version of her mother. While he’s going on about the human imagination, it’s delightful. He moves pretty quickly into self-satisfaction, though, and he never seems to think through how he might actually convince Lumic, whose death is dull and silly. There’s some fun running around and some entertaining action-movie stuff here, but overall the plot is just completely misguided.

           Fortunately, a few characters get such good material that they elevate the episode well above the mediocre Cyberman plot. Mrs. Moore is a terrific character and makes a great temporary companion for the Doctor. In spite of dying pretty quickly, she’s a well-rounded, believable character, and her death seems like a meaningful loss. (I would love it if someday the show let us see the Mrs. Moore equivalent in our universe.) I also continue to enjoy Pete, although the episode kind of wastes the very good idea of having Rose and Pete pretend to be completely emotionless in order to get past the Cybermen in order to rescue Jackie. Watching Rose, by nature a fountain of emotion, fight off the need to express her fear and grief would have made for some excellent drama, but we don’t get to see that because they immediately find out that Jackie has already been converted and then they just stop pretending. Still, I love that Pete has been working as a spy, passing information about Cybus Industries to the Preachers. His final scene, in which he learns that Rose is his daughter from another world but rejects her because he needs to take down the rest of the Cybermen, is beautifully underplayed and really painful to watch, but even that gets overshadowed by Mickey’s decision to stay in the parallel world. This two-parter has maybe slightly overdone the whole “Rose and the Doctor treat Mickey as the tin dog” thing in preparation for this moment, and his magical hacker skills have never seemed plausible to me, but he gets an absolutely marvelous exit. His determination to both take Ricky’s place in fighting the Cybermen and to take care of his Gran is a great motivation for him to leave, and his last conversation with Rose is perfect in its simplicity. “We’ve had a laugh, though, haven’t we—seen it all, been there and back” isn’t the most poetic dialogue the show has ever had, but it’s exactly right for the moment. Then, when Rose and the Doctor have gone so that Rose can go give Jackie a gigantic hug, Mickey gets one more fantastic moment in his confidence that he can take down the Cybermen from a van because he “once saved the universe with a big truck.” Aw, Mickey Smith. You were really boring for a while but you got awesome eventually. B/B-

Idiot’s Lantern: Even if sometimes the stories themselves don’t completely work, Mark Gatiss is generally very good at writing a convincing Victorian-era setting, which is one of the reasons why “The Unquiet Dead” was so enjoyable. His efforts to convey the 1950s are a lot less specific: there’s some period-appropriate clothing and a general sense of patriarchy, and that’s pretty much it. It’s fun to see the Doctor and Rose in fifties garb, and I like that Rose continues to make use of stuff she knows just from being a human with a family—her flag knowledge from Jackie’s sailor boyfriend and her immediate suspicion of the number of televisions because of stories she’s heard from Jackie demonstrate that her human perspective is quite useful. It’s only useful for a brief period of time, though, because she quickly gets her face and brain sucked out and spends much of the episode trapped. (Rose has less than usual to do in this episode, “Fireplace,” and “Love and Monsters,” and I just don’t understand the concept of having Billie Piper on your payroll and not making as much use as possible of her talents.)

          The plot, in which the television is sucking out people’s brains, is an overly literal depiction of the fear of technology, and the only really creepy moment is the visual of the faces trapped in TV screens. The Wire is eerie enough when she is keeping up the persona of the television host, but just sounds silly when yelling things like “Hungryyyy!!” or “Feeeed meee!” The domestic disharmony in Tommy’s family isn’t a terrible plot, but the father’s over-the-top performance and the dialogue’s heavy-handedness about how he’s exactly like the fascists he fought against render it pretty forgettable until the last few minutes. Rose’s insistence that Tommy go after his dad, and her wistful look in their direction, give us a nicely underplayed reminder of what she lost in the last episode, which is important in a season that tends to make Rose come across as forgetful. Although, given what we’ve seen of the dad’s temper, I’m a little concerned that she’s sending the kid into a situation where he’s going to be abused. It’s good that she’s still thinking about Pete, but this father seems like a very different model.

           It’s the only really memorable piece of an awfully by-the-numbers episode, though, and one of Gatiss’s weakest contributions to the show. In general, I tend to like Gatiss as a writer of (relatively) realistic drama more than I like him as a sci-fi writer; I loved “An Adventure in Space and Time” and consider “The Hounds of Baskerville” to be the most underrated episode of Sherlock (where he’s a fantastic Mycroft), but when he writes for Doctor Who he tends to lean a bit too heavily on B-movie horror tropes. Old-timey, cheesy speculative fiction is an important influence on this show, but I think most of the other writers blend these influences more thoroughly with humor and character-driven drama than Gatiss does, and this episode is one of the most in need of an effort to reinterpret some of its influences in a more imaginative way. What we’re left with isn’t a terrible story, but it’s pretty pointless. C+/C

The Impossible Planet: The first part of this story isn’t quite as exhilarating as the near-perfect second part, but it’s a terrific piece of setup and a marvelous example of how well the Tenth Doctor/Rose pairing can work. A lot of episodes this season are let down by some combination of the setting, the monsters, and the minor characters, but this episode knocks it out of the park in all three respects. For the most part, the setting is ordinary Outer Space done very well—the endless series of sliding doors isn’t especially original, for instance, but it’s used very effectively. At times, though, the setting goes well beyond being a fun, slightly Star Trek-y space and becomes genuinely fascinating. The untranslatable writing immediately lends a compelling sense of mystery, the revelation of the somehow non-deadly black hole is astonishing, and the lost civilization is just gorgeous. The music is perhaps even more important than the visual—it’s lovely throughout the episode, and the brief sequence set to “Bolero” is an especial highlight. The Ood are among the best new monsters of the Davies era; they’ve got a striking appearance, and they create an intriguing perspective on what this future is like. They show not only a dark side of humanity’s future, but also a sense of how humans are attempting to justify that dark side—while it’s ultimately unconvincing, particularly in light of Season 4’s more in-depth look at the Ood, I can fully believe a future society using the idea of a species’ natural subservience as an excuse for exploiting them. Among the minor characters, Scooti is basically canon fodder, Danny is forgettable, and Toby never really interests me other than as a vessel for the Beast, but Ida, Zachary, and Jefferson seem like fully-rounded human beings within seconds.

           Rose is just delightful here; she’s having a good time in spite of being trapped extremely far away from the Earth, and she’s trying to connect with the Ood, who remind her of the hopelessness she once felt. She also starts to have a real conversation with the Doctor about the possibility of living together on whatever planet they get dropped off on, and I wouldn’t have any objection to the Doctor/Rose romance if it always looked like this. Their conversation is hesitant and awkward, but it’s really sweet, and I love Rose’s amusement at the thought of the Doctor getting a mortgage. The Doctor himself is at his most jubilant here, and his impulse to hug the captain because of humanity’s obsession with exploration is a particularly nice moment. Everyone is just so loveable here that I spend more time basking in the wonderfulness of the characters and setting than actually taking in much of the plot, but there is some good setup for the next episode, particularly in the moments in which the Beast’s consciousness starts to come through. There’s a fair amount of exposition here, and most of the very best things happen in part two, but this is a glorious start to a terrific story. A/A-

The Satan Pit: This is generally a pretty highly-regarded episode, but I still think it’s massively underrated—I would put it in my top five. While it’s not as emotional as the finale, I would say it’s the best treatment of the Rose/Doctor relationship, and it’s also arguably the most fun episode of the entire reboot.

           Both pieces of the story—the Doctor and Ida, Rose and the rest of the crew—work impeccably well on their own and dovetail together nicely. While I think that the Doctor’s adventures are a bit stronger, Rose gets a lot of great scenes with the crew, who continue to be extremely engaging minor characters. The crawling through the tunnels is claustrophobically terrifying, and Jefferson’s death is genuinely really tragic—at this point, it feels like he’s been in the last five episodes at least. The mysterious references to guilt about his wife give him a real sense of depth, and the actor does a stupendous job of making a man who could seem mindlessly violent truly likeable. Zachary is very well-written and acted throughout this episode; he could easily come across as a one-note character, but his capability in spite of guilt and uncertainty comes across very clearly. The script is nicely attentive to the ways in which the power structures in this time and place are allowing some of the problems to happen—I really like the fact that they’re having trouble tracking the Ood because the computer doesn’t register them as life forms. This is also the one episode this season in which I really believe that Rose’s personality has substantially shifted because of her time with the Doctor. She takes control in much the same way that the Doctor would, and she even sort of imitates some of the Doctor’s mannerisms in the way that she talks to the crew. Yes, she is basically suicidal in her attempted insistence on staying to wait for the Doctor instead of fleeing with the rest, but otherwise she is a terrific leader throughout this story.

         The Doctor himself gets an even better adventure. His complicated feelings for Rose are woven throughout the narrative in a way that serves the story and their relationship; his initial retreat from the chasm is pretty clearly motivated by his need to get back to Rose, and it’s a beautiful expression of just how much of an impact she has on him. His almost-declaration of love for her, which he declines to actually say, because “Oh, she knows” is also a strong portrayal of the strength of both his feelings and his sense of hesitation. Ida isn’t quite as fully realized a character as Jefferson or Zachary, but she’s likeable and she works well as a foil for the Doctor’s religious musings. The old civilization looks amazing, and the elegiac music that accompanies their exploration of it is just perfect.

           The Doctor doesn’t just wander about in this lovely little world, though, because the Beast has directed his attention toward ideas that are fairly unusual for this show. Doctor Who doesn’t often deal with faith in a religious sense—although it will do so much more frequently once Moffat takes over—and the Doctor really seems to struggle to articulate his own here. Early in the episode, he resists the notion that anything could come from before the universe, and the Beast’s response—“Is that your religion?”—seems like a pretty good reading of what the Doctor believes in. What his long run of speeches in the pit shows, though, is that he doesn’t cling to his beliefs, but rather looks for things that will challenge them; he wants to find things that will break the rules that inform his understanding. It’s a fascinating portrait of what faith looks like to him, and it’s entirely believable for someone who has had his lifespan and his adventures. This would have been a worthwhile look at the Doctor’s mind even if it had stopped here, but we also get a lot of attention to what he believes about humans. He is particularly enthusiastic here about human nature and about the specific humans that he encounters, and I especially like his ability to rewrite the Beast’s very negative reading of Rose and the crew in positive terms. He’s aware, though, of human failings as well, which takes its most interesting shape in his argument that humans don’t have an innate need to jump but rather one to fall. The mysterious pit gives him the opportunity to emulate that piece of human nature, and his descent into unmeasurable depths is a wonderful physical rendering of the more spiritual and psychological leaps of faith that he makes elsewhere in the episode.

           His most dramatic analysis of humans comes, predictably, in response to the possibility of losing Rose. The entire scene of the Doctor versus the Beast is just splendid in every respect, even if it is sort of an unusual approach for this show to make. Meeting a trapped creature who could be the origin of all of the Satan (and other ultimate evil) myths across the universe is possibly branching out past science fiction into fantasy, and the idea that smashing the urns breaks the prison sounds like something out of a fairytale. The use of the black hole does give the story more of a science fiction basis, but it’s still a very different story from the rest of the season, and one that puts the Doctor in the rare position of coming into the situation with very little relevant knowledge and having to work to piece things together. His conversation with the Beast—who functions more as an inspiration of interesting behavior in other characters than as a compelling focal point himself—is really more of a monologue, but it’s an absolutely sublime one. His joy at gradually putting together the truth plays out beautifully, and his reaction to the thought of losing Rose is an excellent follow-up to his earlier unwillingness to verbalize his feelings. What he says here isn’t exactly a profession of love, but it’s a statement of the nature of his feelings for her: out of all of the universe, and the many wonders he has seen, she is what he has the most faith in. It is a sort of statement of love, rewritten in terms that make sense for a wanderer who is cut off in some ways from normal human experiences. The Doctor burning up a sun to say goodbye to Rose in “Doomsday” might be the popular choice for the most memorable portrayal of their relationship, but his exuberant exclamation of “I believe in her!” is the highlight of the Doctor-Rose pairing for me.

           The rest of the scene is lovely as well, again thanks in part to the fantastic musical score. One could find some logical flaws here; the Doctor’s concerns about the rocket losing orbit if he destroys the urns could be satisfied by waiting a reasonable amount of time, until the rocket has had time to get past the gravitational force of the black hole, but this scene is such a burst of goodness that I don’t really care. Rose killing Toby and thereby getting rid of the mind of Satan is nicely in line with the characterization of Rose that appears in this episode, although the “Go to hell” line is a bit overly quippy. The music, the Doctor’s monologue, and Rose’s embrace of her role as hero in what she thinks are her last moments all work perfectly together until the tremendous moment in which the music triumphantly goes “Da-da-dahh!!!” because the Doctor has found the TARDIS. The death of all of the Ood gives a somber note to the otherwise joyous ending, but Zachary’s seriousness toward their deaths—putting all of them into the records individually—creates a sense of hope that this set of humans, at least, might start to recognize the problems with how the Ood race is treated. To be sure, using the TARDIS as a tow truck is a bit odd, but the universe has rarely looked more beautiful than it does in this scene, and the Tenth Doctor’s enthusiasm has rarely seemed more convincing. This Doctor is jubilant so often that his expressions of joy can sometimes seem diminished in effect, as if that joy is too easily won. Here, his determined outburst of positivity as he stares down Satan and faces the prospect of losing Rose portrays that sense of joy as something fought for and completely earned, and that makes this scene one of the Tenth Doctor’s very best moments.

            This episode was written by Matt Jones, who never wrote for the show again, but I’ve read that it was heavily rewritten by Davies; it’s sort of a shame that he didn’t get a writing credit here, because I honestly think it’s his best work. “Midnight” is also a brilliant exploration of the Doctor’s mind and soul, but it’s a very bleak one; this episode manages to do a lot of serious, insightful work about the Doctor (and, to a lesser extent, about Rose as well) while maintaining the sense of optimism and enthusiasm that is so central to the Tenth Doctor. It shows that serious episodes and fun episodes don’t have to be completely separate categories, and as such it’s a pretty much perfect combination of everything that is good about this show. A+

“It’s just a movie”: Does quality of writing matter?

-Note= minor Avengers: Infinity War spoilers.

As an aspiring creative writer who really cares about writing something fun, internally consistent and plausible, the one phrase that irritates me the most is “It’s just a movie” or some equivalent. It’s dismissive of the efforts of everyone involved, and of fiction in general and it is being said by people who spend money to consume this, for lack of a better word, service. Don’t people want quality in their product?

   I’ll try not to be too serious, or rant and whatnot, but this is a concerning subject matter for me. After all, who wants to spend money on something sub-par?

   I have a friend who watches some of the same stuff as I do and he once responded to my criticisms of a character with “well she’s hot”. I was watching one of the Hobbit movies, doesn’t matter which as I found them all terribly boring, with my mother and when I pointed out some flaws that really grated on me, she responded with “it’s just a movie”. I’m pretty sure I was lost for words and it kinda hurt; given all of her support for my own writing, what does she actually think of my chosen path?

  An uncomfortable amount of television that I watch is honestly quite poor and I justify continuing this by saying that I’m learning from the mistakes being made but when I see a fellow aspiring author who loves a series that is pretty terrible, I become concerned. Let’s take The Flash as an example: in the television series that follows the titular super-powered runner, major plot points are also often major contrivances. The events of the second season only happen because the main character goes back on a promise and lashes out at the villain who was about to leave forever, and earns his eternal hatred. This screws things up, killing one of the teammates (which conveniently leaves his wife free to pursue a new love interest for the next series) and allowing for a new villain.

  But okay, he was new to the hero scene and it was an emotional situation so I’ll let that slide. But then he does something equally stupid at the end of the next series. You see The Flash has had time to mature and has discovered both time-travel and its dangers, so naturally when he gets the girl that he has been chasing from the beginning, he proceeds to go back in time to do what he deliberately chose not to do at the end of the last series, potentially losing everything. But you know what? He had just lost his father who had finally been cleared of murder so I’ll, reluctantly, let this slide too. Even if it, conveniently, sets up the events of the next season.

  So we can’t blame The Flash for the events of series four because he nobly sacrifices himself in series 3. Instead, his friends decide to stumble all over his sacrifice and bring him back at the beginning of series 4. This is getting old. All I can say is that at least season 5 isn’t going to be his fault.

  It’s going to be his daughter’s. I guess bad decisions are genetic?

  So let’s change things up and talk about less forgivable contrivances. It is established repeatedly and early on that The Flash can move so fast that he can have an entire one-sided conversation with somebody who won’t have the faintest idea that it has happened due to the speed with which it happened. So how does anyone stand a chance fighting against someone so incredibly fast? Urm… ice guns? No. I mean yes, but that’s because the hero apparently just isn’t as fast for some reason, not because it’s a legitimate weakness. They don’t give a reason why.

  So once these absurd levels of speed have been established and he’s supposedly gotten multiple times faster since, he is framed for murder in series 4 when he finds a body in his apartment with one of his knives stabbing it and armed police at his door. We know that he could 100% clean up the body, have a bath and probably even read a newspaper on the toilet before the police enter his apartment and find nothing there. Does he? No. Because earlier in the episode he told his wife that he wouldn’t run away.

  Do you know what’s not running away? Cleaning up evidence of a false murder of someone who isn’t actually dead so that you are free to save lives and not rot in prison.

  So why is The Flash such a popular show? And it’s not just people like me who watch it because it’s bad, the show actually gets praise.

  This is my question: what actually matters in fiction? Should I write a screenplay for attractive actors and flashy fight scenes and just ignore character development, motivations and dialogue? Or should I continue writing in the hope that people will appreciate the effort I put into making a complex character involved in an internally consistent narrative?

  So I’ve given examples from a series that I feel is particularly bad, so where do I go from here? I could mention how when I was a child I loved the Sam Raimi Spider-Man movies purely because it was my favourite superhero, but I was a dumb kid who honestly got a lot smarter after I left school and had to learn things for myself and so that particular anecdote would go nowhere. I could find more examples, particularly from the Arrowverse that spawned The Flash, but what is the point?

I’m not very good at online research, I can’t google to save my life, and nobody thinks that the poor television that they watch is low quality because that reflects badly on them. This means that I am going to have to form my own counter arguments. One, people don’t realise that what they are watching is badly thought out and contradictory and if I am to be honest, why should they? I only do because I am looking for it. Two, they are more forgiving than I am of flaws which is… fair. I can be way too unforgiving. And three, most people aren’t nitpicky bastards like I am.

-Note= I’ve been working on this piece for a couple of weeks now, unsatisfied with my one-sided tirade, and as I often find, time has given me an answer. I googled “do plot holes matter”. A simple solution that took far far too long for me to think of. Still, this gave me some rather useful, and sometimes distressing, opinions on the subject of plot holes and thus quality of writing.

  So, what is a “plot hole”? One of the sources I found took this definition from Google:

“In fiction, a plot hole, plothole or plot error is a gap or inconsistency in a storyline that goes against the flow of logic established by the story’s plot, or constitutes a blatant omission of relevant information regarding the plot.”

To summarise, those moments where you go “that don’t make sense” are plot holes. As I have complained a lot already, I might as well continue for a bit longer. The very first source that I found, and the same one that gave the above definition, provided a list of times where a plot hole doesn’t matter and would you believe it, I disagree vehemently with the first one. The author says that a plot hole doesn’t matter if there wouldn’t be a story without it, which I can accept only in those action films where the action is what is important.

  They use The Matrix as an example: why have a matrix at all? It seems the machines don’t need people to be conscious or something. Unfortunately it has been far too long since I watched it for me to comment, but like an uncomfortable number of the points made in their article, their argument is basically “it’s not real so don’t think about it”. The trouble is that while some “plot holes” are merely people taking things too seriously, an inconsistency in the story itself is worth pointing out. A personal example of this came from when Infinity War came out and people asked “why is Thanos trying to destroy half of the universe when he can just make more resources?” and this could fit into “there wouldn’t be a movie without it”. But this is complete balderdash.

  Ignoring the fact that the makers were trying to stay true to the source material, I always have to ask “when did we see Thanos create anything?” We didn’t. Well, there were illusions, but even if those were physical, they were also temporary. We didn’t see him create and we didn’t hear anyone say that he could. And if those don’t appear in the movie, then we have to assume that he can’t. It doesn’t matter what the source material was (y’know, those comic books where Thanos wanted to date the anthropomorphised Death), but instead it is what the movie itself has established.

  A Quora user called Sam Morris posted an answer to this question which kinda hurt my pride as a writer, but it made sense. He pointed out how it depends on the medium: novels and such need to be consistent because the reader will be paying more attention to the story and events, while television intends to serve a different goal; he describes watching television being like zen meditation, where the watcher clears their mind while the television stimulates the more excitable parts of their brain. On top of this, a television writer has to be able to work with what the producers want and sometimes cannot account for the inevitable holes that appear. This might well explain my problems that I mentioned with The Flash, although I am loathe to admit it.

  Finally, a writer for screencraft.org tried to categorise five different types of plot holes. His first type can basically be summarised with what I said earlier: we can only know what we have been told, with a slice of “roll with it”. His second type covers holes that are inconsistent within the story so again, we only know what we are told, although a better way of saying it in this case could be: rules are made within a story, so anything that goes against those rules is a plot hole.

I could keep going and explain all of his five types, but that isn’t the point of this article. Instead, I will try to summarise everything I have found so far: quality of writing does matter, to different people. An unsatisfying answer, right? One source basically doesn’t care, while another obviously does and has categorised why. I think that it was Mr Morris who really got it right. As an aspiring novelist, I should definitely be concerned about quality because readers will be paying attention; they will notice and be brought out of the moment by a glaring mistake. But should I delve into screenwriting, I should be prepared to deal with temperamental producers and try to write with as few obvious flaws as possible.

  On a more personal note, I feel motivated to keep the quality of my own writing, whatever the medium, as high as my skill level allows. Of course I wanted to anyway, I have long intended to write for children and I feel that anything relating to children should be top quality; high expectation results in high results, and quality writing has been shown to have various benefits on children. Regardless of what you think of The Guardian newspaper, their article on this study provides links on how reading effects children, increasing empathy and is not alone in their findings. There has also been talk of there being other benefits, such as improved critical thinking and can help to deal with serious themes such as coming of age etc.

  So while I was always intending on aiming for quality, my findings from this brief search are reassuring. People do care about quality, and yet are willing to let some flaws slide under the right circumstances, although this does not mean that they do not care in general.

-Note= What with a review of the first two Predator movies in the works, I feel like this blog has been quite negative, so I’m going to try and put something positive out soon. Maybe an Alien review; I watched it for the first time recently and I loved it.

Recap: "Game of Thrones" - 7.02 'Stormborn'

Be a Dragon.

  EW – Game of Thrones delivered on its promised faster pace of season 7 with an episode so crammed with major events, reunions, a riveting battle, deaths, and twists that it almost played like a season finale — yet this is only episode 2! After last week’s foreboding and stately premiere, “Stormborn” floored the narrative pedal, with nearly every scene delivering some kind of major consequence for our characters, setting the stage for a cross-section of battles and major power-player meet-ups. We start with:

  Dragonstone: It was, quite literally, a dark and stormy night. Daenerys unexpectedly grills Varys about his loyalty because, let’s face it, on paper, his resume admittedly doesn’t sound very reassuring. That he’s a far bigger fan of King Robert than he was of her father doesn’t help either. “Incompetence should not be rewarded with blind loyalty,” shoots back Varys, in what sounds like a rare bit of modern political commentary from GoT. “You wish to know where my true loyalties lie?” he continues. “The people.” Tough to argue with that, and Dany doesn’t — though also threatens to burn him alive if he ever betrays her.

  Hey, speaking of burning people alive, here’s Melisandre! She was last seen banished by Jon Snow and told to head south for killing Shireen. She went south all right, straight back to her former home that she used to share with Stannis Baratheon. I wonder if she still has some clothes there she wants to pick up.

  The Red Woman is brought before Dany. She fills her in on the prophecy of Azor Ahai — a messianic figure in her Lord of Light religion; lived thousands of years ago, forged a flaming sword which he used to defeat evil; he’s prophesied to be reborn as the Prince That Was Promised, etc. etc.

  Or perhaps it’s Princess That Was Promised? Experienced translator Missandei corrects Melisandre’s prophecy description.

  Melisandre explains she thought Stannis was The One. Then she thought it might be Jon Snow. Now she’s not ruling out Dany either. For being some powerful Lord of Light sorcerer, Melisandre’s less confident in her Azor Ahai theory than most Game of Thrones fan blogs. Not to mention, Stannis would be so pissed if he died because of a grammar mistake.

Matchmaker Melisandre successfully gets Dany’s curiosity up about Jon Snow. Tyrion notes that he’s a decent man. She has Tyrion pen a letter to the King in the North requesting to see him and ordering him to “bend the knee” (and the Jon-Dany shippers lean forward). As much as I’d love to see Dany and Jon Snow meet, anything that Melisandre suggests based on prophecy I’m inherently wary about.

  Winterfell: But not as wary as Sansa! Jon gets Tyrion’s letter — yeah, just like that. I’m pretty sure Westeros is now using FedEx instead of birds. There’s a subset of fans who always pay very strict attention to how much time characters should realistically take to get from one place to another (they’re still annoyed about Varys getting from Dorne to Meereen so fast last year). But if you try to apply your own Waze travel time estimates to characters in Westeros you’re going to go nuts. It’s probably best to just roll with it and appreciate that we’re not seeing a lot of horse-riding and campfire scenes this season.

  Jon talks to Sansa about whether he should go and see her. Sansa says he shouldn’t do it, because Sansa is wrong about everything now (I kid — if we didn’t know Dany, we’d be rather wary about meeting her too; after all the fatal Stark blunders in recent years, “pulling a Stark” is probably Westeros slang for getting yourself stupid-killed).

  At first, Jon is talked out of going. But then he gets another r-mail, this from Samwell, informing him that tons of precious dragonglass can be found at Dragonstone (which sounds like one of those facts that you hear and immediately feel stupid for not knowing it already).

  Given the chances of scoring loads of White Walker kryptonite, Jon tells the lords in the Great Hall his plan to meet Dany. Everybody hates this idea, especially Sansa, who channels Admiral Ackbar to trap-warn him. Even cute Lyanna Mormont, who everybody loves every time she speaks, yells at Jon for knowing nothing.

  Jon won’t be swayed. Frankly, he probably wants to get the hell out of there and have some new adventures anyway. He’s been looking miserable moping around Winterfell making tough political decisions while Sansa explains how stupid he is.

  He does leave Sansa in charge, though, which seems to please her. One suspects this decision disappoints all the lord-bros who hang around that hall drinking all day because you know she’s going to make some changes around there.

  Before he goes, Jon pays a visit to the family crypt. In slinks Littlefinger, who starts purring sweet nothings in Jon’s ear, and you can see him getting increasingly annoyed. Don’t think for a second Jon hasn’t noticed the conniving twerp’s smirking and eye-rolling in the back of his class.

  Then Littlefinger creepily goes, “I love Sansa as I loved her mother,” which triggers the protective big brother in Jon to slam Baelish up against the wall and warn him to never touch his sister. Now it’s the Jon-Sansa shippers who lean forward (you pervs).

  Jon Snow mounts up and takes off. We’re not sure if he’s ever going to see Winterfell again. But we’re confident now that Jon will meet the Dragon Queen who is also — we are led to assume from last season’s Bran-guided flashbacks — his aunt. This seems pretty important. Can’t Bran send Jon a letter since everybody else is sending him letters?

  The Citadel: Ser Jorah isn’t doing so well. His greyscale has spread and the maesters aren’t very helpful. Sam tries to convince the grumpy Arch-Maester to let him try some radical treatment, but he won’t approve anything without several phases of successful FDA trials and suggests Ser Jorah just go kill himself. He explains this along with a bunch of facts and logical reasoning but I’m really starting to hate this guy despite being played by congenial Jim Broadbent; he’s like the epitome of an Ivory Tower out-of-touch elite.

  Sam tries to cure Ser Jorah anyway because he’s awesome and believes in actually trying to do things. What follows is one of the grossest scenes in Game of Thrones, which is saying quite a bit. Sam peels off the greyscale with a knife in a procedure that looks super painful and pus-squirting disgusting. (I wonder why Sam doesn’t give the man some Milk of the Poppy; surely they have some of that laying around?) Sam finishes, but it’s unclear if this experimental Dr. House M.D-evil operation was successful. Perhaps every episode this season will have Sam tacklin some new revolting task, like a Westeros edition of Dirty Jobs.

  Riverlands: Arya stops by a tavern and runs into a character we never expected to see again — Hot Pie! He’s arguably the luckiest person on the show. Everybody else is scheming and plotting and fighting and dying, while Hot Pie just continues riding out the action and making his meat-filled pastries You would think this is the last dish Arya would crave after chopping up Freys and baking them into a pie herself, but hey, a girl’s gotta eat.

  Hot Pie also has a side gig as a Game of Thrones recapper, and he fills Arya in on seasons 2 through 6 (he does a decent job, though I would have thrown in Tyrion’s trial and Oberyn Martell’s arc because those parts were really cool). Arya is unsurprised about Cersei’s season finale mass-murder plot, while Hot Pie marvels at Arya, who’s now all hardened and gulping wine. “You’re pretty,” he coos, and Arya looks slightly struck; she’s not used to getting compliments.

  But it’s learning that Jon Snow is back at Winterfell that really throws Arya for a loop. You can see her brain-gears turning: Hmm, murder Cersei or return to my home and reunite with my family after being kept apart for years? … That’s a toughie.

  Later, Arya is accosted by wolves, but not just any wolves. Is it…? It is. Nymeria! Her long-lost direwolf who bit Joffrey that she was forced to chase off in the first season. They regard each other. “I’m finally going home; come with me,” she pleads. But Nymeria just looks at her impassively like a dog at a human who doesn’t have any snacks. Nymeria and her pack turn away.

  “That’s not you…” Arya says, which is such a great line. Because the direwolf is Nymeria (and Arya knows it) but it’s also very much not Nymeria, because so much time has passed and the direwolf has changed so much. So has Arya, as we just saw in the scene with Hot Pie. The scene not only answers a long-time fan question but, even better, is used as a metaphorical mirror for Arya. As the episode’s writer Bryan Cogman says in this week’s interview with Williams about this scene, “they’re both lone wolves” (interview links are at the end of the recap).

  So Arya continues her journey home. You know if she actually makes it to Winterfell, she’s going to be super pissed if Jon is gone and she’s stuck with Sansa.

  King’s Landing: Cersei summons her lords for something she’s not typically very good at: trying to win people over that she considers beneath her. It’s a bit like Hillary Clinton trying to hang out with local voters in a swing state diner; this isn’t really her thing. Present are Randyll and Dickon Tarly — Samwell’s jerk father and his sorta-okay brother — whom we first met last season (Dickon was recast, by the way: Freddie Stroma played him in season 6; Tom Hopper stepped in for season 7). I love that Jaime mistakes Dickon’s name for Rickon, as if even Jaime Lannister have a tough time keeping all these damn character names straight.

  Cersei smartly brands Daenerys as the return of homicidal Targaryen crazy, just like ol’ Mad King Aerys II. Sure Dany’s got a huge army and three dragons, but she’s also nuts and will kill everybody if they don’t stand up to her. Cersei is basically doing a negative campaign ad: Vote Lannister or the Targaryen Will Burn You Alive. Of course, Dany hasn’t hurt anybody in Westeros (yet) while Cersei blew up a Sept full of church-goers and her daughter-in-law. If anybody has been playing the role of Mad Queen around these parts, it sure ain’t Dany.

  Mad scientist Qyburn takes Cersei down into the dragon skull room. This gorgeous set is a terrific treat for readers of George R.R. Martin’s novels. This room is described in detail in the very first A Song of Ice and Fire book, A Game of Thrones. The show didn’t have the budget to portray this in the first season, but it does now.

  Qyburn reveals they have a dragon-killing secret weapon, a large spear-firing crossbow-like device that, if aimed just right, can pierce through a dragon’s eye into its brain — sorta like how that guy in the disappointing Hobbit trilogy took out Smaug. Cersei just found a way to potentially even the playing field.

  Dragonstone: Daenerys has a strategy meeting with her advisors, the Greyjoys, Olenna, and Ellaria Sand. Hot-headed Ellaria wants to wipe out Cersei in King’s Landing, but Tyrion has warned against that strategy. He’s thinking that sending dragons to nuke a city probably isn’t the wisest course of action to rally the great houses to their side, and Dany agrees.

  Instead, this is the idea: Strike the Lannister stronghold of Casterly Rock with the Unsullied and Dothraki army, thereby seizing Cersei’s homeland while she’s holed up in the Southern capital. Also, send the Greyjoys and Ellaria to lay siege to King’s Landing to starve out Cersei into surrendering (thereby avoiding the apparently lousy PR optics of having “foreign” forces attack the capital).

  This sounds like great plan! Too bad it all goes to hell in just a few minutes. But great!

  Olenna and Dany share a nifty scene together where she warns the queen against putting too much faith in clever men like Tyrion. “Commoners won’t obey you unless they fear you,” she warns. “The lords of Westeros are sheep. Are you a sheep? No. You’re a dragon. Be a dragon.” Olenna is an upper-crust blue-blood who believes you need to govern with strong-arm tactics and crush your enemies at any cost. Dany is trying to break the wheel as a reformist. But Sansa would totally retweet everything Olenna is saying.

  As Tyrion said, Dany in “the great game” now. But the same could be said for nearly all our favorites. After six seasons of watching characters try to rule — and fail miserably — the core cast have gradually all stepped up into leadership roles to make the big decisions. We wonder if they’ve learned the right lessons.

  Meanwhile, Missandei and Grey Worm might never see each other again. This leads to an extremely touching scene whereby stern Grey Worm finally opens up emotionally to Missandei about his feelings for her. “You are my weakness,” he says. Missandei appreciates that, but also wants more than nice words — she wants to get physical. The Unsullied commander is hesitant. This is like being asked to joust without a lance, so to speak. But he overcomes his shyness to lay with her. As Nathalie Emmanuel says in our interview, “amongst this chaos they’re like this beacon of something sweet and pure and beautiful.” We hope they are as satisfied as they can be given the limitations involved.

  Greyjoy Ship at Sea: We get a moment with the Sand Snakes bragging about who they’re going to kill. This moment plays a lot better after you know what’s about to happen. Then it’s Ellaria and Yara flirting in a cabin. Theon tries to leave, but Ellaria wants to make him stand there and watch. Poor Theon, everybody always wants him to be an awkward voyeur for some reason.

  Then… disaster. Euron has found them. What follows is a thrilling sequence from director Mark Mylod. One of my favorite things about GoT action scenes is they’re always unique from one another; this frantic fiery ship battle plays like nothing we’ve seen on the show before. The energy feels like a reflection of Euron, who gets one helluva entrance: His ship The Silence pierces the side of the Greyjoys’ vessel, then a manic screaming Euron rides its jaw-like walkway that clamps down on the ship, both preventing the ship from escaping and providing a way to board.

  It’s apparent from the outset that the Greyjoys are being overrun. Euron is a bloody nightmare of psychotic rage-joy. Ellaria and her daughter Tyene are captured below decks, and Ellaria’s request for death is denied while Obara and Nymeria fight Euron (yes, the Sand Snake played by Jessica Henwick is named Nymeria… only Game of Thrones would have two characters with pivotal sequences in the same episode who are both named Nymeria).

  Their fight is raw and brutal, with Euron turning their signature weapons against each other, piercing Obara with her spear while strangling Nymeria with her whip. Two of the three Sand Snakes are down, their bodies left to decorate the ship.

  Euron also captures Yara despite her Glow-like flying pro-wrestling leap down on top of him. Theon spots them, and Euron tries to bait him into attacking. Euron has no fear. Theon is full of fear. Hot Pie and Nymeria the direwolf aren’t the only long-lost characters to return this week. Reek is back. And Reek does what Reek does — he flees, jumping over the side. Yara is heartbroken at the betrayal. But it was probably Theon’s wisest move given Euron’s fighting skills. Theon rushing at Euron would totally be pulling a Stark.

Recap: “Game of Thrones” – 7.02 ‘Stormborn’ was originally published on Enchanting Emilia Clarke