Do you guys remember That’s So Raven? That’s So Raven, one of the few shows Disney channel did right. That’s So Raven, if you don’t remember starred Raven Symone as Raven Baxter. Let me tell you somethings about Raven Baxter; Raven Baxter wasn’t a thin girl nor did she want to be famous singer like EVERY OTHER CHARACTER ON TELEVISION TODAY. No, Raven was a girl with some extra meat on her bones that wanted to be a fashion designer and model her own work. Remember the episode where a magazine put her head on another model’s body because she didn’t have ‘the look’ and how Raven fought to change it? What happened to episodes like that, Disney Channel? Yes, That’s So Raven, despite being a show about a psychic, was the most real kids show on television. What about the episode dealing with racism when the store manager refused to hire Raven because she’s black? Or the episode dealing with drugs when Raven thought her brother, Cory, was smoking? This was a show that was popular and relatable. It didn’t feature a new song every week, it didn’t need to! The hilarious antics of the costume wearing Raven Baxter, mixed with life lessons we can actually read, made this show the best show Disney Channel came up with ever.
u know what would be really fun+ c̼̯͎̹̲̹ool is if tumblr implemented an emulated an̬͟alog decay thing where every 10 reblogs or whatever arbitrary amount of notes a post got it like changed a random letter or added a tiny amount of distortion/corrupted pixel̦͇̲̫ͅs to a picture and the farther something got from its original poster/group the more it decayed into entropy
it just absolutely blows me away that trans people are literally murdered on a regular basis for being trans and people on this site are still trying to equate that level of oppression with the fact that some teenage trans kids say cis people suck on their blogs sometimes or something like are you kidding me that is an absolutely disgusting failure of logic
SOMEONE IS TELLING ME ALL TUMBLR POSTS ARE STOLEN FROM 4CHAN AND I’M LAUGHING A LOT WHAT DO I DO
"it is the creator"
someone post this on 4chan
"Can you stop using acronyms, I don’t understand them"
The fuck? I fucked up. I fucked up. I fucked up. I fucked up. I fucked up. I fucked up. I fucked up. I’m so sorry. I’m trash.
Okay Tumblr, I see that this gif has caused a little bit of commotion by pointing out that Elsa’s braid “phases” or “clips” through her arm. Some people say that this is lazy while other’s justify it. However technical people get they ignore, from the posts I have seen anyway, addressing the possible reasons why the animators at Disney let this to the final cut of the movie.
Okay, the “phasing” or “clipping” of the hair is intentional. It wasn’t a mistake. Nor was it a product of lazy animators and directors. When looking at things like this you need to think of animation as a magic trick. It’s not real.
The first clue is how they position her shoulders when it happened:
Right before the dirty deed is done, Elsa is turned so that we can’t see the her hair flow through her shoulder while shooting arrows into the sunset.
The exact frame that her hair is in view, it has already performed its trick.
See? That’s the first clue.
The second clue is a bit more in depth and requires to look at the flow of animation and color closely.
We start out with:
Her head is just off center of the screen and is really bright compared to everything else. Naturally drawing our eyes to that spot.
Her hair bounces up making sure that our eyes focus on Elsa face and in the next few frames, her hands.
The hair is intentionally dropped behind the arm so our eyes don’t follow it and we REALLY focus on her face. Because right now it is the most important thing on the screen.
I wish I could style my hair this easily.
Here we are again! Take note that we have been basically following her left hand in our even if we can’t see it. It derives most of the focused motion in the shot.
Elsa’s left hand moves behind her head leading our focus back to her face. Having her also open her eyes at the same time also makes us want to look at her face and away from the trick that is happening.
And the magic trick is over. It is also important to note how her head has slowed down significantly and Elsa’s eyes lead our focus to her hand which stretches out to transition us to the next shot.
All in all, this must have been a carefully laid out shot that to be able not only look excellent but draw our notice away from a little trick/shortcut, and in the end made it a more powerful lead into the next shot.
I took my time to break this down because knowing the reason why Elsa is animated this way will give us a greater appreciation of the work. Because it really is fantastic.
Animation is a magic trick. Being the person who points out the misdirection doesn’t make you superior or smart. You just ruin the magic for everyone. Teaching the person the illusion shows respect and could lead to greater magic in the future.
Seeing Clara cry in that trailer hurts more when you realise that Jenna Coleman has openly admitted to crying for real during Matt Smith’s last episode…
*crawls into duvet fortress two weeks early*
The insignia of the Pan Pacific Defense Corps is a fascinating piece of symbolism in itself! At first glance it looks very much like a bit of traditional 1930s or ’40s-era Americana, but on closer examination there is much more to it than that.
The heraldic bird looks less like an eagle than a dove — with its small beak and graceful wings, and no talons to speak of, even before the white-on-blue color scheme of the uniform patches is taken into consideration — and a single star typically symbolizes hope, or a guiding light.
The body of the bird — which also calls to mind a phoenix in the gold uniform insignia pins and the sculptured bronze version hanging over Pentecost’s desk — has a distinct shield outline forming the breast, and also somewhat resembles a heart shape overall. Together, these fit the theme of protection, and a world saved by the power of empathy and cooperation — one in which its hopeful defenders literally wear their (winged) hearts upon their sleeves!
But this is only the visible, obvious level of symbolism. Guillermo del Toro is a huge fan of myths, legends, fairy tales and fantasy of all kinds, from Japanese puppet theatre reenactments to The Lord of the Rings, and by his own admission loves to fill his films with visual references to everything he loves, from Charles Dickens to The Wizard of Oz.
So it shouldn’t have come as a surprise to realize that he’d brought the Matter of Britain and the Grail Cycle into his tale of giant robots and alien monsters, but it wasn’t something I was expecting to find. (Then again, as a fellow Eighties mecha cartoon fan, I probably ought to have — those series were chock full of reinvented myths and updated takes on medieval chivalry, with giant robots!)
The first, and less obvious connection, between Pacific Rim and the Grail legends, runs through the stories of Lohengrin and Percival, not simply the famous Wagnerian versions but the older tales on which they were based, particularly Wolfram von Eschenbach’s epic Parzifal, which very likely influenced Tolkien’s imagery of the Swan Knights of Dol Amroth as well as the twin brothers separated by realms, one mortal, one immortal.
In Pacific Rim, images of swans and angels, temples and sacred kings are used to frame the young hero from the first moments we see him and his fated sibling — all of which tie in very closely to the Grail myth, which also includes the presence of a Wounded Healer, a cursed king whose illness is tied to the well-being of the land.
In von Eschenbach’s tale we encounter the following line:
"The day’s gleam was grey as yet, but Kyot recognized the Grail’s device among that company there — they all wore turtledoves."
Moreover, one visual thematic element which both intrigued and baffled viewers of Pacific Rim, particularly costumers, were the hammered steel plates with the heraldic insignia of the map and rising sun worn on the boots of the Australian pilots, which looked like decorative armor even when they were no longer wearing their battleworn drivesuits. And what do we also find in von Eschenbach? Lo and behold, speaking of the Grail knights:
"They were accoutred, and had been much charged at, their shields much ridden through by jousts, and slashed by swords, too. Each wore a surcoat of phellel-silk or samite. They still had on iron greaves. The rest of their armor had been taken off them.”
This may be pure coincidence, of course. Then again, knowing what I know of del Toro’s library and interests, perhaps not.
But the most striking connection between the Arthurian mythology as it existed in a complicated, multi-lingual, constantly-retconned tangle of shared canons across Europe through the Middle Ages, and Pacific Rim, comes via Thomas Malory’s Morte d’Arthur itself:
"And at the feast of Pentecost all manner of men assayed to pull at the sword that would assay; but none might prevail but Arthur, and pulled it out afore all the lords and commons that were there, wherefore all the commons cried at once, We will have Arthur unto our king, we will put him no more in delay, for we all see that it is God’s will that he shall be our king, and who that holdeth against it, we will slay him.
And therewithal they kneeled at once, both rich and poor, and cried Arthur mercy because they had delayed him so long, and Arthur forgave them, and took the sword between both his hands, and offered it upon the altar where the Archbishop was, and so was he made knight of the best man that was there. And so anon was the coronation made.
And there was he sworn unto his lords and the commons for to be a true king, to stand with true justice from thenceforth the days of this life…
…then the king stablished all his knights, and them that were of lands not rich he gave them lands, and charged them never to do outrageousity nor murder, and always to flee treason; also, by no means to be cruel, but to give mercy unto him that asketh mercy, upon pain of forfeiture of their worship and lordship of King Arthur for evermore; and always to do ladies, damosels, and gentlewomen succour, upon pain of death.
Also, that no man take no battles in a wrongful quarrel for no law, nor for no world’s goods.
Unto this were all the knights sworn of the Table Round, both old and young.
And every year were they sworn at the high feast of Pentecost.”
Right there we have the direct and literal linkage between the most famous iteration of the story of King Arthur, and Pentecost, which is the Greek name for the Jewish holy day Shavuot, which commemorates Moses receiving the stone tablets, and which was adopted by early Christians as their starting point as an organized religion:
"And when the day of Pentecost was fully come, they were all with one accord in one place. And suddenly there came a sound from heaven as of a rushing mighty wind, and it filled all the house where they were sitting. And there appeared unto them cloven tongues like as of fire, and it sat upon each of them. And they were all filled with the Holy Ghost, and began to speak with other tongues, as the Spirit gave them utterance."
Traditionally artists depicted the divine Spirit in
Bible fanartillustrations of this scene as a dove, based the Gospels of Matthew, Mark and Luke:
"Now when all the people were baptized, it came to pass, that Jesus also being baptized, and praying, the heaven was opened. And the Holy Ghost descended in a bodily shape like a dove upon him, and a voice came from heaven, which said, Thou art my beloved Son; in thee I am well pleased."
So there is a definite, longstanding connection between the English folk-hero Arthur, and the Feast of Pentecost, which was celebrated as a national holiday in England up until 1971 — and which is, yes, a genuine English surname going back to the Middle Ages — which, I believe, is what lies behind del Toro’s inspired revisioning of Pacific Rim into a futuristic tale of epic and romance.
Now, the final and most interesting nuance of symbolism in this device, is that if you consider only the body and back of the emblem, the outline of those sections can also be seen as a chalice; this is particularly evident in the glimpse we get of the wall shield in Pentecost’s office, halfway through Pacific Rim.
This neatly (dare I say it?) dovetails with the stories of the Grail Castle as a place of danger, where the overconfident faced trials both mystical and magical — but also a place of healing and shelter, from which heroes were sent (as in Lohengrin) by means of magical flight to defend people in need all around — and one where a questing hero might find death, or true love, or his real family, in the end.
Parzifal, by Wolfram von Eschenbach (late 1100s—early 1200s), translated by Cyril Edwards, at Google Books (x)
Le Morte d’Arthur, by Sir Thomas Malory, published 1485, at Project Gutenberg (x)
The King James Bible, at Project Gutenberg (x)
How the Logic of "Friendzoning" Would Work If Applied in Other Instances:
HE THOUGHT HIS LIL FRIEND GOT BAKED INTO A COOKIE I AM 100% DONE AWHH
to the ppl who know me irl who follow me on here: shhhhhh shhh shhhhhhshhshhshhhhhhhhhhhh not a word u hear me shh
Look at that grin. She’s so fucking pleased with herself.