Okay, okay, I’m going to tell you what Hermione sees in Ron.
A trio is a balancing act, right? They’re equalizers of each other. Harry’s like the action, Hermione’s the brains, Ron’s the heart. Hermione has been assassinated in these movies, and I mean that genuinely—by giving her every single positive character trait that Ron has, they have assassinated her character in the movies. She’s been harmed by being made to be less human, because everything good Ron has, she’s been given.
So, for instance: “If you want to kill Harry, you’re going to have to kill me too”—RON, leg is broken, he’s in pain, gets up and stands in front of Harry and says this. Who gets that line in the movie? Hermione.
“Fear of a name increases the fear of the thing itself.” Hermione doesn’t say Voldemort’s name until well into the books—that’s Dumbledore’s line. When does Hermione say it in the movies? Beginning of Movie 2.
When the Devil’s Snare is curling itself around everybody, Hermione panics, and Ron is the one who keeps his head and says “Are you a witch or not?” In the movie, everybody else panics and Hermione keeps her head and does the biggest, brightest flare of sunlight spell there ever was.
So, Hermione—all her flaws were shaved away in the films. And that sounds like you’re making a kick-ass, amazing character, and what you’re doing is dehumanizing her. And it pisses me off. It really does.
In the books, they balance each other out, because where Hermione gets frazzled and maybe her rationality overtakes some of her instinct, Ron has that to back it up; Ron has a kind of emotional grounding that can keep Hermione’s hyper-rationalness in check. Sometimes Hermione’s super-logical nature grates Harry and bothers him, and isn’t the thing he needs even if it’s the right thing, like when she says “You have a saving people thing.” That is the thing that Harry needed to hear, she’s a hundred percent right, but the way she does it is wrong. That’s the classic “she’s super logical, she’s super brilliant, but she doesn’t know how to handle people emotionally,” at least Harry.
So in the books they are this balanced group, and in the movies, in the movies—hell, not even Harry is good enough for Hermione in the movies. No one’s good enough for Hermione in the movies—God isn’t good enough for Hermione in the movies! Hermione is everybody’s everything in the movies.
Harry’s idea to jump on the dragon in the books, who gets it in the movies? Hermione, who hates to fly. Hermione, who overcomes her withering fear of flying to take over Harry’s big idea to get out of the—like, why does Hermione get all these moments?
[John: Because we need to market the movie to girls.]
I think girls like the books, period. And like the Hermione in the books, and like the Hermione in the books just fine before Hollywood made her idealized and perfect. And if they would have trusted that, they would have been just fine.
Would the movies have been bad if she was as awesome as she was in the books, and as human as she was in the books? Would the movies get worse?
She IS a strong girl character. This is the thing that pisses me off. They are equating “strong” with superhuman. To me, the Hermione in the book is twelve times stronger than the completely unreachable ideal of Hermione in the movies. Give me the Hermione in the book who’s human and has flaws any single day of the week.
Here’s a classic example: When Snape in the first book yells at Hermione for being an insufferable know-it-all, do you want to know what Ron says in the book? “Well, you’re asking the questions, and she has to answer. Why ask if you don’t want to be told?” What does he say in the movie? “He’s got a point, you know.” Ron? Would never do that. Would NEVER do that, even before he liked Hermione. Ron would never do that.” — Melissa Anelli THROWS IT DOWN about the way Ron and Hermione have been adapted in the movies on the latest episode of PotterCast. Listen here. This glorious rant starts at about 49:00. (via karakamos)
Our parents warned us about middle aged men stalking us on the Internet but oh how the tables have turned
Don’t let them in.
Don’t let them in.
They also contrast with Stiles being sent deeper into the darkness until light envelops him while Allison is in a lighted area that opens up to an extended dark path.
also, stiles goes through the door he opens, while allison only looks through hers; stiles seems visibly afraid of something getting in, but allison is the one who actually sees something coming; stiles looks up to see a door already ajar, while we see the door start to open behind allison before she does…
…but the most significant difference to me is in the doors they open. stiles opens his bedroom door, a door leading out, a door with the world on its other side, and finds himself in a wide open outdoor space. allison opens a morgue freezer door. that’s a door leading in, a door behind which one would expect to find a dead body or nothing at all. and the path it opens to is narrow, a closed space that might extend for a long distance, but only in one direction. you go to the woods for life, to the morgue for death; stiles faces multiple possibilities, allison only one. illumination on one side, darkness on the other.
then again, the preserve has more in common with the morgue than one might think- after all, the first time we saw stiles there, he was looking for a dead body, and the nemeton in particular is strongly associated with death. both are places we’ve seen characters go looking for information, for answers, not just out of morbid curiosity- though that’s how it started, for stiles- but in order to solve problems and protect people they care about. these scenes might not indicate where they’re going, but where they’re looking- stiles outward, to understand the supernatural world he’s been thrust into, and allison inward, to come to terms with her murderous heritage and her own darkness.
stiles walks out of his childhood bedroom, away from his childhood crush; allison turns to face her demons, sees the true face of someone she used to idolize. these could be parallel symbolic actions, suggesting that both characters are growing up. and in that last pair of gifs, when stiles stares into light and allison into darkness, neither of them can see a thing.
so i see this heartbreaking similarity here…
well this makes even more sense now because fox stiles wow this hurts
you know that unexplainable sickish feeling where youre not really sick and you dont really have a headache but you just feel wrong and you cant get comfortable or find something that youre really into but you kinda feel too ill to sleep or eat its like your body saying “i dont know what i want you to do but this isnt it”
That’s called anxiety.
That explains at least half of my life then
Grizzly bear cub ft. wolf pup
A baby bear.
Playing with a baby wolf.
A baby bear.
A baby wolf.