He Even Made Emma Watson Beatbox. No One Escapes This Man.

I fucking love this I'm crying bc you're obviously right and the writing of this show is the best thing ever omfg

Hey, I wanna talk about a piece of fridge brilliance (pun intended) in The Boiling Rock.

Specifically, about the Coolers. And about Zuko.

The Coolers are, first and foremost, a means of firebender suppression. They are invoked as a punishment against unsanctioned firebending. They are designed, specifically, to shut down firebenders who have toed out of line. Like the metal prison in Imprisoned, like the suspended cages in The Puppet Master, these are prison facilities designed with a specific sort of bender in mind.

So then - Zuko.

Why throw Zuko in the Cooler as part of the escape plan? He should be EXACTLY the sort of person the Cooler is designed to work most devastatingly against. It would almost make more sense to try to get Sokka thrown into the cooler - he’s from the South Pole at least. Or maybe Suki, who’s not a bender at all. But they choose Zuko. And he’s successful. Subjected to the most severe form of firebender suppression in the Fire Nation’s most high-profile prison, Zuko is able to dismantle the Cooler and walk away smiling.

Why? 

I want to walk you through some facts:

In a tidbit of behind-the-scenes trivia, it was revealed that airbenders can regulate their body temperature with their breath alone. This is why Aang is so weirdly comfortable traveling around the South and North Pole (and really any climate in the series) in his normal monk garb. Everyone else changes outfits to reflect the changing climate, but not Aang, his breath has that covered.

It would be quite useful if a technique like that could be adapted to another style of bending. The same way that a waterbender’s redirection of their opponent’s energy could be adapted to the redirection of a firebender’s lightning. I bet the man who invented lightning redirection by studying waterbending would have some brilliant insight into using the breath for warmth by studying airbending.

In fact, that exact man tells Zuko “Remember your breath of fire. It could save your life out there.” back in Siege of the North. We see Zuko use his breath to warm himself that very episode, per his uncle’s instructions.

And we see Zuko use his breath of fire in one other case:

To endure the cooler.

I’m willing to bet - Breath of Fire, as a means to keep oneself warm, is not a native firebending technique. If it was, the whole concept of the Cooler would be laughable. Any prisoner would just Breath-o-Fire himself warm in there, and the prison guards would all collectively say “oh wow, the Cooler was a stupid idea, time for a new plan.”

But we know a traditional firebender would be sapped so cold in the Cooler that his firebending becomes unusable. If Zuko were relying on traditional firebending techniques, the same would happen to him. But he’s not.

Zuko’s Breath of Fire is an airbending technique. 

One that Iroh taught him. One the Fire Nation has no precedent for. One which lets Zuko ward off the freezing effects of the Cooler like it’s nothing, and allows him to dismantle it from the inside and come away smiling, unhindered, unaffected, warm to his core. 

It’s another case of Iroh’s brilliance. And I’m betting he and Zuko may be the only two firebenders in the world who could pull this off.

This National Park Just Shoots Poachers to Protect The Rhino Population

culturenlifestyle:

Kaziranga National Park has been successful in the conservation of rhinos — to protect the fellow critters, its workers will shoot and even kill a potential poacher. To date, the park has killed 50 people.

Keep reading

Bill: I’ve never smoked marijuana. I ate a brownie once at a party. It was intense. It was kind of indescribable. I felt like I was a floating. Turns out there was no pot in the brownie. It was just an insanely good brownie.

Two fair men lie in water warm and slow,

As brothers are they joinēd heart to heart;

But Cupid hath not struck them with his bow;

Lest that be thought, they sit five feet apart.

Here’s the thing about the air nomads.

I introduced a friend to ATLA a few nights ago, and they had only known two things about the entire show: the cabbage meme, and that Aang apparently wants to ride every large and dangerous animal he can possibly find. We got through the first five or so episodes, and my friend noted that Aang is exactly what a 12-year-old would be like if given godlike powers, and that this is literally just what he could do with airbending. He can’t even wield any of the other elements, and he’s one of the most powerful people on the planet, because he’s an airbender.

And that got me thinking.

This snippet from Bitter Work is one of the few pieces of concrete information we get about the airbenders, at least in ATLA. Iroh is explaining to Zuko how all four of the elements connect to the world and to each other.

Fire is the element of power, of desire and will, of ambition and the ability to see it through. Power is crucial to the world; without it, there’s no drive, no momentum, no push. But fire can easily grow out of control and become dangerous; it can become unpredictable, unless it is nurtured and watched and structured.

Earth is the element of substance, persistence, and enduring. Earth is strong, consistent, and blunt. It can construct things with a sense of permanence; a house, a town, a walled city. But earth is also stubborn; it’s liable to get stuck, dig in, and stay put even when it’s best to move on.

Water is the element of change, of adaptation, of movement. Water is incredibly powerful both as a liquid and a solid; it will flow and redirect. But it also will change, even when you don’t want it to; ice will melt, liquid will evaporate. A life dedicated to change necessarily involves constant movement, never putting down roots, never letting yourself become too comfortable.

We see only a few flashbacks to Aang’s life in the temples, and we get a sense of who he was and what kind of upbringing he had.

This is a preteen with the power to fucking fly. He’s got no fear of falling, and a much reduced fear of death. There’s a reason why the sages avoid telling the new avatar their status until they turn sixteen; could you imagine a firebender, at twelve years old, learning that they were going to be the most powerful person in the whole world? Depending on that child, that could go so badly.

But the thing about Aang, and the thing about the Air Nomads, is that they were part of the world too. They contributed to the balance, and then they were all but wiped out by Sozin. What was lost, there? Was it freedom? Yes, but I think there’s something else too, and it’s just yet another piece of the utter brilliance of the worldbuilding of ATLA.

To recap: we have power to push us forward; we have stability to keep us strong; we have change to keep us moving.

And then we have this guy.

The air nomads brought fun to the world. They brought a very literal sense of lightheartedness.

Sozin saw this as a weakness. I think a lot of the world did, in ATLA. Why do the Air Nomads bother, right? They’re just up there in their temples, playing games, baking pies in order to throw them as a gag. As Iroh said above, they had pretty great senses of humour, and they didn’t take themselves too seriously.

But that’s a huge part of having a world of balance and peace.

It’s not just about power, or might, or the ability to adapt. You can have all of those, but you also need fun. You need the ability to be vulnerable, to have no ambitions beyond just having a good day. You need to be able to embrace silliness, to nurture play, to have that space where a very specific kind of emotional growth can occur. Fun makes a hard life a little easier. Fun makes your own mortality a little less frightening to grasp. Fun is the spaces in between, that can’t be measured by money or military might. Fun is what nurtures imagination, allows you to see a situation in a whole new light, to find new solutions to problems previously considered impossible.

Fun is what makes a stranger into a friend, rather than an enemy.

Fun helps you see past your differences.

Fun is what fuels curiosity and openmindedness.

Fun is the first thing to die in a war.

when I was like 10 I learned that splitting an atom will make a nuclear explosion and for a long time I got really stressed out whenever I had to cut anything bc like. what if I hit an atom at just the right angle

Don’t panic. It’s just a spacesuited mannequin named Starman. As the sunlit crescent of planet Earth recedes in the background, Starman is comfortably seated at the wheel of a Tesla Roadster in this final image of the payload launched by a Falcon Heavy rocket on February 6. Internationally designated 2018-017A, roadster and Starman are headed for space beyond the orbit of Mars. The successful Falcon Heavy rocket has now become the most powerful rocket in operation and the roadster one of four electric cars launched from planet Earth. The other three were launched to the Moon by historically more powerful (but not reusable) Saturn V rockets. Still, Starman’s roadster is probably the only one that would be considered street legal.

Writing Female Characters

Anushia Kandasivam: So, Brandon, you just introduced a really amazing female character [Spensa] to us. Your female characters throughout all your books are resourceful and independent. Some of them are leaders, some of them go through very interesting journeys of growth and self-discovery. Some of your female characters, like Vin and Sarene, they have mentors and teachers who are men, but their decisions about who to be and what to do are always their own. They always have agency. Was it a conscious choice to write these female characters and their journeys like this, and can you tell us if the process was easy or difficult?

Brandon Sanderson: So, there are a number of different responses to this. One is, I came into fantasy by way of some excellent female novelists that I highly recommend. Barbara Hambly was my first experience with fantasy, and then Anne McCaffery, Melanie Rawn, and Jane Yolen were kind of my introduction to fantasy. It's how I got pulled into it. To the point that when I was first given a David Eddings book, I was hesitant, because I was like, "Is this a genre guys can write?" was my honest reaction to that.

So, when I started writing my own books, I knew I wanted to do a good job with this, but I was really bad at it at the start. It was very embarrassing to me as a writer. And this happens to all new writers. There are things that you want do that, in your head, you imagine yourself doing very well, and then when you start out, you just do poorly. And the later in life that you start writing your stories, the more you're generally able to recognize how poorly you're doing things that you want to do well. And my very first book, that I didn't publish, particularly the female lead was very generic, and written very much to fill the role of love interest rather than to be a character. And I recognized it, even as I was writing it, but I didn't know how to do it differently. And it took practice. It took a lot of work. It really shouldn't, on one hand, right? Write the characters as people. rather than as roles. That's what you have to learn is - everybody is the hero of their own story in their head. They're the protagonist, whoever they are. And writing the characters so that they view themselves that way, and so they have autonomy, and they aren't being shoved around by the plot or by the protagonist, or things like this, but it's just very hard to do. I had a lot of early readers who were very helpful. I often credit my friend Annie as being one of the big reasons why Sarene eventually ended up working in Elantris. And she gave me some early reads, and things like this.

But, you know... it is hard to abandon our own preconceptions that we don't even know are there without practice, effort, and somebody pointing them out to you. And it was just a matter of practice and trying to get better. And I still think that there are lots of times I get it wrong. And you mentioned Mistborn. And I was really determined that I was going to do a good female protagonist. I try to stay away from the kind of cliched term "strong female character." Because we don't talk about "strong male characters."

We talk about characters who are distinctive, interesting, flawed, and real people. And I was determined to do this with Vin. And I feel like I did a pretty good job. But, of course, I had a completely different blind side in that I defaulted to making the rest of the crew that Vin interacts with all guys.

This is because my story archetype for Mistborn was the heist novel, the heist story, and my favorite heist movies are Ocean's Eleven and Sneakers and The Sting, and these are great stories. I absolutely love them. But they all are almost exclusively male casts. And that's not to say that, you know, someone can't write an all-male cast if they want to. But it wasn't like I had sat down and said, "I'm intentionally going to write an all-male cast." I just defaulted to making the rest of the cast male because that was the archetype that was in my head, that I hadn't examined.

And so, when I got done with those books, I looked back, and I'm like, "Wouldn't this have been a better and more interesting story if there had been more women in the cast?" And I absolutely think it would have been. But becoming a writer, becoming an artist, is a long process of learning what you do well, what you do poorly, what you've done well once and want to learn how to replicate, what you've done poorly and want to learn to get better at. It's a very long process, I think, becoming the writer that we want to be.

You know you've got far enough with fangirling when YouTube puts a Stranger Things 2 ad before a Stranger Things cast video

A Painting Made From Pieces of Glass