do people here have opinions about the hp sorting of avatar: the last airbender characters? specially zuko, katara, aang, sokka, toph, iroh but also anyone else

Aang is Slytherin/Slytherin: refusing to let Katara go when he was trying to open his last chakra, and potentially condemning the world for the love of one girl; crumpling the note to Bato in an attempt to selfishly keep his friends with him; lying to solve the crisis of the Great Divide; cheering on Katara’s theft of the waterbending scrolls. The best way to get Aang to do things, as Bumi, General Howe, the sandbenders, and others learn, is by threatening his friends or his bison.

Note: I’m using primary to mean WHY people do things and secondary to mean HOW.

Katara is a Hufflepuff primary who thinks she ought to be a Hufflepuff secondary, too. Because she is faking the Hufflepuff secondary, what she actually is is a Slytherin secondary. Think about the way her sweetness cracks when Toph irritates her, or how she deals with the pirates’ waterbending scroll, or how delighted she is with Aang’s lies in the Great Divide. (She and Aang bond over their shared secondary).

She grows healthier throughout the series and loses the Slytherin—not that that’s an inherently unhealthy secondary, but it was for her.

Sokka’s a Ravenclaw who thinks he should be a Gryffindor through and through. I love that they do this with Katara and Sokka both. In the way they write the Water Tribes, Gryffindor is a gendered House. Combat is for men; girls are not supposed to be forward, brave, direct, violent, or powerful in obvious ways. Katara is told she is supposed to be kind, mothering, fair, and she tries to be. She tries to perform that simplified model of Hufflepuff.

But she is at her happiest when she is charging at evil, thumbing her nose at the universe, and burning things clean. Think of her burning rage at her mother’s killer, her quiet vigilantism as the Painted Lady, the way she flies at Pakku in the Northern Water Tribe. She is doing these things for true Hufflepuff reasons, I think—empathy and community, fairness, justice, and compassion—but her best tools are Gryffindor’s fire and drive.

The fight with Pakku is one of my favorite culminations for Katara. Her arc in Season 1 traces so elegantly from the sweet, mothering girl whose temper wakes the Avatar to this young woman standing before a great master and refusing to bow to his ignorance and prejudice. Her rage here is a choice not a part of her she’s trying to deny. (“I did that?”). She doesn’t expect to win, but she refuses not to fight with every ounce that she has in her.

A teenage girl with no formal training, except for a cross-world journey that pitted her against spirits, soldiers, pirates and firebenders, she holds her own. The sweet mother of the group, and her moments of triumph in the finale are moments of violence.

Sokka has a parallel journey. He is supposed to be all the things Katara is denied: recklessly brave, a burning fire in his gut. And he tries: charging Zuko and his ship in that first episode, his warrior’s cockiness in that first meeting with Suki.

But think about the Sokka who invents and schemes with Ji the Mechnic in the Northern Air Temple barely a season later—drop that boy in the first episode and he’d have planned something, schemed, not charged with his single weapon at an overwhelming force. He’d have taken the ice-locked Fire Nation ship apart years ago, dismantled its booby traps and used them to set up clever, quirky, effective protections all around their home.

While Katara learns to embrace her Gryffindor, Sokka learns to let his go. They give him a string of mentors for this: remeeting his father, Sokka is no longer a small child and he can see his brave, brave father is first a tactician, a trickster, a Ravenclaw. Piandao the swordsman is one of the last steps of Sokka’s journey, teaching him a kind of combat and identity that lets Sokka put a name to the idea that he loves his original mind more than his brave heart.

Sokka goes from charging in alone to planning a multi-national military attack on the Fire nation capital and helping to invent submarines. End of the day: Ravenclaw/Ravenclaw and proud of it.

Zuko is definitely a loyalist House—either Slytherin or Hufflepuff. Him stealing Aang from Zhao was a pretty clear declaration that his Avatar search is about getting himself back home, not a noble soul doing right by his nation. The poor boy’s definitely not a Claw secondary… Gryffindor maybe? He charges into things the way Katara does. Yes, I like that—it’s one of the ways he and Katara bond, over that secondary.

Consider his defiant standing up in the Fire Lord’s war room to speak up for the young recruits/cannon fodder. Zuko gets his bravery shamed out of him, and he tries now and then to be the Slytherin secondary his father and his sister have perfected, but by the end he reclaims his Gryffindor. Facing down his father, approaching the Gaang openly and honestly, going after his sister head-on to save the world.

Toph: Slytherin primary, I think, and a lot better at it than Aang. Aang is irresponsible and selfish, but Toph is steady and self-fulfilling. She does what she wants because she wants it and she doesn’t let anyone shame her for it; she also keeps an eye on the consequences and ripples of her actions, how they affect other people.

Secondary? Her double life, the ease and purpose with which she code switches in Ba Sing Se, and her con artist antics in the Fire Nation say Slytherin, too. There’s a lot of Slytherin secondaries in this cast.

Aang, Toph, and Azula would then be three very interesting facets of the Slytherin/Slytherin— the selfish youth, the lethal weapon, the rock who stands on her own two feet. I kind of like it. The different levels of selfishness and power. Zuko even points out the similarities between Aang and Azula, when he captures Aang at the North Pole.


Katara is a Puff primary who tries so hard to have a Puff secondary too, but learns to embrace her Gryffindor.

Sokka is a Ravenclaw primary who tries so hard to have a Gryff secondary, but learns to embrace all of his Ravenclaw.

Zuko: Hufflepuff/Gryffindor or Slytherdor.

Aang, Azula, and Toph share a Slytherin/Slytherin sorting at vastly different levels of maturity and responsibility.

And Iroh! Iroh is I would say a Hufflepuff primary with a Ravenclaw secondary; his ultimate goal is to make sure everyone ends up happy, and he facilitates this through strategy, wisdom born of his years of experience in the Fire Nation, well-placed combative prowess, and intergenerational tea with Toph. <3

(Reblogged from ink-splotch)




heres an idea: instead of trying to “fix” autism try to fix the way allistic people react to autistic people because saying you want to cure autism and trying to find a way to make sure autistic children arent born is just like saying that you want to cure gay people and thats :///////

They actually did that.

As in, there were studies.

They found that when they tried to improve the social skills of the autistic kids, nothing much happened.

When they improved the social skills of the nonautistic kids (by telling them how to properly interact with autistic people without freaking us out and overloading us), then the autistic kids’ social skills suddenly improved.

Why?  Because we were reacting to being treated with respect for the first time ever, by other kids.  Because other kids were making room for our sensory sensitivities and our social differences.  Because they were making an accessible environment for us, and in an accessible environment, suddenly we thrived socially.

And that says everything about where the social skills problems actually lie.

that says everything

(Reblogged from thecointossed)


shoutout to Duckmandu

(Source: superhappyanarcho)

(Reblogged from livinglovingleaping)
You have to be strange to spend that much time listening to objectively unbeautiful music. You have to be nerdy and negative and desperate. You have to put so much intellectual space between yourself and your feelings that when a songwriter comes along who can force you to bridge the gap, you undergo something close to a spiritual conversion.
Emma Stanford, “Let Us Consider the Mountain Goats” [x] (via lordoftheringdings)

(Source: young-savagethings)

(Reblogged from peenguin)
The girls are never supposed to end up together. I watched that movie with Ellen Page and Alia Shawkat, the roller-skating movie, the one where Ellen and Alia are best friends, each other’s only comforts in their podunk town. They need each other, and they hug, and they dance, and they tell each other I Love You, and Ellen meets a skinny boy who plays in a band. It doesn’t even work out with the boy, but that’s almost tangential. The girl was never a real option.
I think that’s why it’s really difficult for girls. For me. We follow narratives and our fingertips trace the contours of the stories we love and we long to escape within the confines of our own lives. Meet your boyfriend in the pouring rain and yank down his mask and kiss him upside down. Run with your boyfriend to the front of the ferry and throw your arms out to the side and scream, “I’m king of the world!” If you are a girl in love with a boy, your possibilities are infinite.
If there is a special girl in your life, you love her as a friend. You love her as a friend, but she becomes less important to you as you grow, and you leave her behind for a boy. She might even stand next to you when you marry the boy, and she might catch the bouquet of flowers that you throw to her. You’re giving her permission to move on, move away from you. It’s a ceremony of separation.
But if you should fall in love with a girl - and loving and falling in love are two very distinct things - the first kiss is the end. You’ve all seen the movie. Or the television show. Or the after-school special, or you’ve read the book that was banned from your school’s library for containing Sexual Content. The point of your story is not to fall in love. The point of your story is to struggle. Your story begins with a lie and climaxes in a truth and ends with a kiss. In the movie of your life, forty-five minutes are devoted to you figuring out how to say that you want to kiss girls, and another half-hour is devoted to people’s objections, and maybe the last fifteen minutes is you kissing the girl. Maybe you don’t even get to kiss the girl. Maybe she tells you that she’s flattered, but she doesn’t bat for your team.
The critics swoon; it’s realistic, they say, so realistic, to depict the struggle of the modern teen, the heartbreak of irresolvable incompatibility. Isn’t that always what celebrities cite in their divorces? “Irreconciliable differences.”
And so you’re lying on the floor of your bathroom, your knees curled to your chest, or you’re on your sofa with a pint of ice cream, or you’re in bed watching your favourite sad movie on Netflix, and the collective weight of all that you consume settles on your shoulders, leans in, and whispers, “You were never meant to fall in love.”
You were never meant to fall in love. Your story ends in tears or it ends in death. Jack Twist was bludgeoned to death with a tire iron and Ennis Del Mar was left alone in his closet to dance with an empty shirt. Alby Grant found Dale Tomasson swinging by a noose in the apartment that had been their safehouse, their respite, and he sank to his knees and cradled Dale’s bare feet and he cried. The Motion Picture Association of America axed Lana Tisdel and Brandon Teena’s sex scenes, but they didn’t have a problem with the extended shot of Lana cradling Brandon’s corpse in her fragile arms and falling asleep next to his body.
Love and intimacy are ours only in death, or so it would seem.
I don’t want to die. Isn’t that a very human experience? Not wanting to die? When does anyone who looks like me get to grow old and raise grandchildren and hold her wife’s hand as the skin wrinkles, turns translucent?
Sometimes my father asks me if I’ll ever date a man. Sometimes he doesn’t ask. “You are attracted to men, and you dream about falling in love with men,” he says, as if he can will his imaginary daughter into existence merely by speaking about her. Or maybe he is just looking out for my safety.
He’s seen the movies, too.
He loves me.
He doesn’t want me to die.

if this is heaven:

Oh, my God, this is beautiful, and now I’m nearly crying. This. ALL OF THIS OMG. 

(via somatrip)

When my best friend and I were in high school, trying desperately (and usually failing) to either not be gay or at least not hate ourselves for being gay, she once confessed to me, crying, that one of the reasons she didn’t want to be a lesbian is that lesbians aren’t happy in love, that their relationships can’t last, that she’d never seen happy lesbians in stable relationships.  This shit matters so hard y’all.

(via sirpuddleduck)

I know I already reblogged this but the added commentary is necessary and important so I’m doing it again.

(via queen-of-snarks)

To all the clueless assholes who say it doesn’t matter when lesbian characters are mistreated, abused, hurt and left alone and heartbroken, never getting to have happy relationships

And to all the asshole writers who think it doesn’t matter if they show lesbian characters being abused and suffering and not being able to have happy relationships with the women they love…or who think that it doesn’t matter if they don’t portray lesbian characters and relationships at all


We’re sick and tired of having to make do with ‘subtext’ and ‘hints’ and teasing…and sick of the only lesbian representation we DO get always having things end horribly for them

(via thefingerfuckingfemalefury)

this is why I tend to stay from most LGBTQ+ YA novels

because they are always sad and everyone ends up depressed or without their family or friends support or somewhere tragic


I want to read books where the girl has her family and friends support and she meets another girl and they are kickass lesbians/bisexuals/pansexuals  in love and it isn’t a tragedy 

I want to read books where we in the lgbtq+ community are seen happy and healthy without the whole ‘come to terms struggle’ that seems to follow us in the media

I don’t want to have to keep expecting the person like me to lose everything just because she happens to love a girl 

(via nightvaletrekkiewitch)

(Reblogged from sparrowwingsandfragilethings)
Have you ever noticed how wanting
burns you up
from the inside out?

Like one moment I am whole,

but then I hear
your voice on the phone

and I swear to god
three blocks away from here
they can smell smoke.
Trista Mateer, Little matchstick girl   (via aconstantache)

(Source: tristamateer)

(Reblogged from mostlyvalid)

on my aversion to selfies

 DISCLAIMER: I am not in any way opposing the selfie revolution. I am so down with your beautiful selves. I just don’t feel comfortable contributing my own face to the mayhem. The opinions expressed here are one hundred percent my own.

The Oxford English Dictionary’s word of 2013 was “selfie.” It’s no coincidence that I have not changed my Facebook profile picture since June of 2013, when I graduated college. When I hold up my phone in front of my bedroom mirror, what floats back to me makes me feel helpless, frustrated, not good enough. I understand that selfies are meant to empower the people who take them—we are reclaiming our bodies from the media’s distorted snapshots. I don’t feel like I can participate in this revolution, at least not via photographs, the medium that is coming to dominate how we create versions of ourselves. I do not photograph myself into being. I write myself into being.

Visual input has never been my favorite kind. I struggle to interpret it. I remember having a great deal of trouble with tessalations in seventh grade. I couldn’t persuade the shapes to flip and twirl and do what I wanted them to do. I miss visual data all the time. There is a Spanish expression for when something is difficult: “me cuesta.” It costs me. It costs me to take in all of the bits of visual data that whiz past through windshields and in constellations and out my kitchen window.

Read More

Played 36,347 times

Landfill - Daughter
Well this is torturous
Electricity between both of us
And this is dangerous
‘Cause I want you so much
But I hate your guts

(Reblogged from play-listings)

Do yourself a favor. Learn to code. Here’s how.


I’ve said this to my non-techie friends countless times. It’s no secret that being able to code makes you a better job applicant, and a better entrepreneur. Hell, one techie taught a homeless man to code and now that man is making his first mobile application.

Learning to code elevates your professional life, and makes you more knowledgeable about the massive changes taking place in the technology sector that are poised to have an immense influence on human life.

(note: yes I realize that 3/5 of those links were Google projects)

But most folks are intimidated by coding. And it does seem intimidating at first. But peel away the obscurity and the difficulty, and you start to learn that coding, at least at its basic level, is a very manageable, learnable skill.

There are a lot of resources out there to teach you. I’ve found a couple to be particularly successful. Here’s my list of resources for learning to code, sorted by difficulty:


Never written a line of code before? No worries. Just visit one of these fine resources and follow their high-level tutorials. You won’t get into the nitty-gritty, but don’t worry about it for now:

Dash - by General Assembly


w3 Tutorials (start at HTML on the left sidebar and work your way down)


Now that you’ve gone through a handful of basic tutorials, it’s time to learn the fundamentals of actual, real-life coding problems. I’ve found these resources to be solid:

Khan Academy

CodeAcademy - Ruby, Python, PHP


If you’re here, you’re capable of building things. You know the primitives. You know the logic control statements. You’re ready to start making real stuff take shape. Here are some different types of resources to turn you from someone who knows how to code, into a full-fledged programmer.

Programming problems

Sometimes, the challenges in programming aren’t how to make a language do a task, but just how to do the task in general. Like how to find an item in a very large, sorted list, without checking each element. Here are some resources for those types of problems



Web Applications

If you learned Python, Django is an amazing platform for creating quick-and-easy web applications. I’d highly suggest the tutorial - it’s one of the best I’ve ever used, and you have a web app up and running in less than an hour.

Django Tutorial

I’ve never used Rails, but it’s a very popular and powerful framework for creating web applications using Ruby. I’d suggest going through their guide to start getting down-and-dirty with Rails development.

Rails Guide

If you know PHP, there’s an ocean of good stuff out there for you to learn how to make a full-fledged web application. Frameworks do a lot of work for you, and provide quick and easy guides to get up and running. I’d suggest the following:

Cake PHP Book

Symfony 2 - Get Started

Yii PHP - The Comprehensive Guide


If there’s one point I wanted to get across, it’s that it is easier than ever to learn to code. There are resources on every corner of the internet for potential programmers, and the benefits of learning even just the basics are monumental.

If you know of any additional, great resources that aren’t listed here, please feel free to tweet them to me @boomeyer.

Best of luck!

(Reblogged from joleebindo)


Sara Bareilles - I’m On Fire

springsteen tribute in the “Hangin’ Out On E Street” series

(Reblogged from clusterfolk)
Played 10 times


The Mountain Goats - All Up The Seething Coast - We Shall All Be Healed - 2004

(Source: whatgloom)

(Reblogged from clusterfolk)


Miss Major: Why she kicks ass

  • She is a black, formerly incarcerated, woman and transgender elder, who was at the Stonewall uprisings in ’69, and became politicized in the aftermath at Attica. She has been an activist and advocate in her community for over forty years, mentoring and empowering many of today’s transgender leaders to stand tall, step into their own power, and defend their human rights, from coast to coast. 
  • Currently, Miss Major is the Executive Director of the TGI Justice Project (TGIJP) , whose mission is to challenge and end the human rights abuses committed against transgender, gender variant/genderqueer, and intersex (TGI) people in California prisons and beyond.
  • In 2008, she testified at to the United Nations in Geneva, Switzerland about the abuses of transgender women of color in and out of the Prison Industrial Complex in the US.
(Reblogged from womenwhokickass)

overemotional: in defense of cho chang


Let’s talk about how Cho cried in History of Magic (under Binns’ slow drone), in bathroom stalls (Myrtle peeked and this was sometimes enough to startle Cho into wet giggles), in her four poster (silencing charms tossed up around her, but Marietta crept over anyway, rolled her eyes and gave her some chocolate), behind the greenhouses, in the Forest, over homework and letters home.

Cho cried and she survived Pansy Parkinson’s cruel jabs about a dead boy. She wept and she passed all her classes, kept up with Quidditch, watched fairweather friends scatter in the cold wind. She got very good at wordlessly summoning tissues and she joined the DA against her parents’ wishes.

They had told her to behave, begged her, ordered her, as the threatening darknesses of the world clung close even inside Hogwarts, and Cho walked out to the little pub in Hogsmeade and wrote her name down on Hermione’s list.

I hope someone in the DA told Cho that she ought to have been in Gryffindor. 

I hope she laughed at them, hard. 

Integrity. Truth. Honor. Dedication. These were the tenets of her House, of the blue and the bronze, the eagle called raven (called nerd, called stuck-up, called so many things that were not their names). Bravery was only one way to be a hero.

I hope Luna drifted into Cho’s orbit and Cho into hers. I hope Luna sent paper airplanes over the bathroom stall when Cho was crying in there and took her out to see thestrals.

Maybe Cho squeaked at the sight of her first thestral, because of her mother’s horror stories, or simply because she wore her reactions on her sleeve. But I hope she froze herself before she ran. I hope Cho held her breath and let her heart calm down. I hope she thought they were beautiful, in the end, these bony creatures who only appear for the grieving. 

They are not creatures of death, these skeletal horses and their sweet tempers. They are creatures of life. They are for the ones who have been left behind. 

I hope Cho believed her when Luna touched a pinky to her cheek and told her solemnly that tears are gifts. “They feed blibbering grackles,” Luna explained, and told Cho how very generous of her it was to share so many. 

Cho was one of the few DA members to produce a corporeal Patronus. Hers was a swan, an emblem of grace, of beauty, of lovers, a bird with dense muscle and a terrible temper who is romanticized to be sweet and useless. They’ll mob you, swans do, if you get too close to their nests. They have teeth. 

What sort of happy thought did it take to make a silver swan to defend her from bad dreams? Dementors are despair, they are grief, the kind of grief that steals your soul before it kills you. 

Cho’s was not that kind of grief. Hers was the grief of the living. She was flying and learning and loving and, yes, crying. Cedric was not. Her pretty world, at fifteen, had been shattered. It was darker than anyone had ever warned her of, but she was growing into it. She was growing up. Sometimes that takes tears. 

Mourning is not selfless. We do not weep for the dead. We weep for the living—what could have been and the tragedy that is. We weep because our hearts are breaking. It is not selfless but neither are we. We are selves.

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(Reblogged from ink-splotch)




There’s no question that a stack of fresh pancakes is awesome, but what about one giant fluffy pancake? Today we learned mixing a batch of pancake batter in the bowl of a rice cooker and then cooking it, just like you would when making a batch of rice, creates one great big floofy pancake that instantly reminds us of Totoro’s belly.

What’s more, just like regular pancakes, you can add all sorts of things to the batter, such as cocoa powder or pieces of fruit and chocolate, to further enhance your adorably plump tototorcake.

Head over to RocketNews24 for complete instructions as well as some helpful tips and suggestions.



(Reblogged from staticcatfish)

Cover of Placebo’s ‘Pure Morning’. Out soon on the Good, Giving, Game single.