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The Walking Dead: No. Eff you, you effing eff.

Even before the end of season 6 of The Walking Dead, I was so over this show. Having watched it religiously for 6 years, (even suffering through season 2), as a loyal fan, I felt completely disrespected by the showrunners. This is one of the highest-rated shows on television. There’s even a show AFTER the show, where the sole purpose is to talk about the show for ANOTHER HOUR. And yet, for whatever reason, The Walking Dead has turned away from even attempting to write compelling storylines, and instead has chosen to throw cheap tricks at us, for nothing more than a lazy grab at ratings they don’t even need.

The Walking Dead spent almost all of last season crawling along at a glacial pace, telling the same goddamn story they have been telling from the beginning–you either accept this new world as corrupt, or you believe there is salvation still to be had (except you’re wrong, you freaking idiots). Our heroes arrive at a town in Alexandria, Virginia, which has managed to escape the worst of the zombie outbreak. The people living there are naive to the reality of the world. And so we spend yet another season watching the consequences of people either choosing to accept it or not choosing to accept it. YAWN.

The thing that has always angered me about The Walking Dead, is that the show spends time making you care about these characters, only to rip them away from you, usually by the next episode. There’s a huge difference between killing a character for the sake of the story to move forward (i.e., Hershel), and killing a character just to kill them (i.e., pretty much everyone else). That’s not entertainment.

Let’s talk about the shit the show pulled with Glenn last season. He seemingly fell off of a dumpster and had his intestines ripped out and eaten before his very eyes. Several episodes later, we learn that the other guy on the dumpster had fallen on top of Glenn, and HIS intestines were being eaten, while Glenn pulled himself under the dumpster until all the zombies eventually shuffled away.

Why. Why would you do that? Why would you tell that story? It’s not a story! It’s a cop out. It’s a ratings grab. It’s bullshit. It’s disrespectful to the fans.

And then let’s bring in Negan–the show’s new Big Bad, who has been hinted at for quite some time, and has excited the fan base who has read the comics. Negan is pure evil. And everyone knew he was going to kill someone.

Of course, I tuned in for the last 10 minutes of the finale to find out: Who was Negan going to kill? Pulling the SAME SHIT they pulled with Glenn’s dumpster dive “death,” The Walking Dead hyped this finale up, only to make us wait until the next season to learn everyone’s fate.

Of course, I was not even the least bit excited to learn who got killed. The Walking Dead marketed the forthcoming death(s) as a game; as a teaser. Posting videos to their Facebook page of each character and asking, “Is this the end for Maggie?”, “Is this the end for Daryl?” No, I don’t want to play that game! These are characters that I care about. I have been with these characters since the beginning. I love them all. I don’t want to take bets on who is going to die!

So, season 7 opens with an extreme close up of Rick, sweating and wearing a smear of someone else’s brains on his face. People sobbing around him. Horrifying, horrible, awful stuff. Where is the entertainment value in this? We learn fairly quickly that it was Abraham who took the bat to the head again, and again, and again, until his head was nothing more than a puddle of blood on the ground. Where is the entertainment value in this?

Later in the episode (and the point at which I stopped watching), the bat is brought down on Glenn’s head. He didn’t die right away though. His eyeball popped out, and he struggled to say one last thing to his pregnant wife as she knelt horrified and hysterical, watching her husband (and a beloved character, plus one of the only Asian men on TV right now) ALSO have his head beaten to a soup of blood. Where is the entertainment value in this?

Not only did it happen, but we had to watch it. Violence for the sake of violence. Gratuitous horror for the sake of gratuitous horror. Why? Why?

I’m not buying Jeffery Dean Morgan’s portrayal as Negan–if this is supposed to be a psychotic, maniacal villain, Morgan is just not selling it. I imagine there are few actors in this world who can deliver the line “pee pee pants city” with any kind of believable conviction to make it not ridiculous. Negan doesn’t scare me, he doesn’t seem unhinged. Which makes the violence even more unnecessary than it already is. If the story is to demonstrate a psychopath, then yeah, maybe the brutal deaths would have been warranted. But Jeffery Dean Morgan is just not pulling that off. He’s not a worthy adversary to Rick. And frankly, I’m sick of seeing Rick’s sweaty hair in his face as he trembles in baffled agony at the events unfolding before him.

What I find particularly disturbing is the reaction of the audience to Negan. They couldn’t wait for this character to show up. Knowing how horrible he would be. Jeffery Dean Morgan is undoubtably a babe (Denny Duquette forever and ever amen), but what was this that I saw at Hot Topic last night:


The description of this shirt on the Hot Topic website is:
“You really like the bad boys, don’t you?!

This fitted black tee from AMC’s The Walking Dead features a black & white photo design of Negan and his bat Lucille with text that reads “I (heart) Negan.”

There are not enough emoticons in the world to depict how I am feeling. This character BEAT THE LITERAL BRAINS OUT OF TWO CHARACTERS. HE’S NOT A BAD BOY, HE’S A SICK TWISTED MOTHERFUCKER WITH NO REDEEMABLE QUALITIES.

Seriously, what the actual fuck am I looking at? Negan is not a misunderstood emotionally unavailable man with a secret heart of gold and the ability to be saved if a woman loves him enough. This disturbs me to my core. Why aren’t more people angry about this? Where is the entertainment value in this?!?

You know who the target customer at Hot Topic is? Teenagers. Teenagers. TEENAGERS. (And me, but we’re not talking about that right now.)

The Walking Dead is one of (if not THE) most popular shows on television right now. Its scope stretches far and wide. Its marketing suggests entertainment in violent death, and now it glorifies villains. This shirt has a man on it, holding a bat that is dripping in blood, with the words a middle schooler would doodle on the sides of their looseleaf paper. Do you like me? Yes. No. Maybe. Circle One.

No. No. Fuck you The Walking Dead you fucking fuck. This show is dead to me. And yet, like every dead thing on this show, it rises back up from the dead and crawls toward me with evil intentions–it’s already been renewed for two more seasons.



Why ‘The Walking Dead’ is Still Unwatched on My DVR


SIGH. I’m starting to really get tired of The Walking Dead’s shit. Over the past 6 seasons, the show continuously got better and better. And yet, it was getting better at telling the same damn story. That story being: Who are we after the world collapses? And, also, this is the world we live in now, you have to adapt to it.

Well, fuck, I’m bored as hell with that! The first half of the current season was spent introducing us to a slew of new characters that we all know are gonna die eventually and probably pretty soon. All of these characters have had the privilege of living behind the walls of a neighborhood in Alexandria, Virginia, where some temporary geographical circumstances had the worst of the zombie mobs kept away from this pristine little place. All of the people inside are, obviously, totally oblivious to how the world works now. In marches Rick and his merry band of badasses who have seen some truly horrific shit, and now they have to co-mingle with a group of doofuses and, boy, do they butt heads! lol

Except, you know what? I already saw HOW many seasons of people accepting this new world? I’m over that. I got it! It sucks and you either die or you live. I don’t need to see the character development of some rando Joe Schmo who’s going to die in the next 30 minutes anyway. I don’t even need new characters! Stick to the main characters you still haven’t killed, they’re the only ones we care about.

I also really don’t need characters like Morgan believing that there is still redemption to be  found in all humans, and that killing is a mistake. Nobody has time for this shit, Morgan. I know you’re plot point one, but see plot point two: This is the world we live in now, adapt to it!

Not only am I just generally bored with the storylines, but the show gives us so much awful and hardly any relief. I know it’s a show about zombies eating people and people killing people. But the audience does get invested in these characters. Not only are they consistently killed, but we’re also hardly ever given some happy moments or satisfying ones.

Take the shit this season pulled with Glenn and the dumpster–we thought he was dead (which was awful), now he’s alive (but the reason is bullshit), and for most of this season, we’ve been waiting for Glenn and Maggie to be reunited. It happens, but WE don’t see it. I briefly saw Glenn walking toward Maggie in the infirmary after the zombie shitshow was over and all the annoying characters got eaten. I thought I was going to punch something. You put me through all of those hours of agony, and then you don’t even give me anything in terms of a reunion? Nothing? You couldn’t give me Glenn’s hand on a baby bump, or a simple kiss? Am I machine without feelings?

And people die now just to die. Their deaths don’t add anything to the story. Hershel’s partial beheading was the last death to really mean something to me on this show. His character was important. He had become a voice of reason and a leader. He was a good man. And killing him pushed the show’s storyline ahead.

Beth’s death? EFF. THAT. That was ridiculous. And what is Maggie going to do if Glenn dies? She’ll be sad. The end. What intriguing storyline can there possibly be with that? They’ve run out of character arcs for these people, so now they’re just doing cheap tricks (like pretending to kill Glenn) and recycling old storylines with new people.

And now I hear all of this talk about Negan, from the comics. I hear that he’s a horrendous person. I hear that he kills a beloved character by bashing his brains in with a baseball bat. So Sunday’s episode of The Walking Dead is sitting unwatched on my DVR. Because here’s what I’ll find when I hit play: Boring overused storylines, death and pain and no satisfaction or gratification, and the promise of terrible things to come. I just don’t know if I can do it anymore. Nah, you know what, I’ll probably just go watch it.

No, wait, there was a moment of satisfaction recently. When that weird kid got eaten by the zombies. Finally. Yeah, that part was great.


Tiptoe through the tulips indeed, Sam.


#TBT Completely Valid and Legitimate Ramblings about ‘The Bachelor’ (from 2 years ago)

It’s been a long time since I posted and I very much want to get back into writing about things. So I’m sharing with you thoughts on The Bachelor that I posted to Facebook on this day 2 years ago. Remember the season with Juan Pablo? Yeah, me either. Timehop had to remind me.

February 26, 2014


Douchebag alert, douchebag alert.

You should know that I only watch The Bachelor during Fantasy Suite episodes and for purely sociological reasons. I’m being serious when I say I don’t watch for entertainment value (though I’m not proud to admit that I do laugh at it). I don’t like the way it portrays women, nor glorifies a man who is a self-important douche, and I understand even less how all of the women proclaim to “fall in love” with him. Most of all, I just do not understand how this show happens. Last night, one of the women was a pediatric nurse, and the other an assistant district attorney. These are intelligent women, with a lot going for them.

The Fantasy Suite episodes are the most fascinating of all though because it’s the episode where each woman in turn gets to publicly decide whether or not she’ll have sex with the guy by spending a night in the “Fantasy Suite.” I was appalled last night that all three women chose to have sex with Juan Pablo (single most ridiculous Bachelor name ever) after the conversations they had with him. Every time one of the women would try and talk to Juan Pablo, he would say, “You’re doing a lot of thinking tonight,” and then start to kiss them. (Because thinking would definitely lead to the obvious conclusion that Juan Pablo’s a piece of shit, and he can’t have that.)

One woman said, “I’m in love with you” and when he said nothing back, she quickly said, “I understand that you can’t say anything right now!” and started kissing him before deciding that, yes, she would go to the Fantasy Suite with him. The self-consciousness it must take to be on this show. The fear of rejection so vast that she would rather end all conversation and have sex with the man, than maybe hear that he doesn’t love her. It’s delusional and it’s sad and I think it’s how many women in America approach and react to love, or the desire to be loved.

Another woman said, “I’m in love with you,” and Juan Pablo said, “I didn’t know that. I… you. Like……” and then kissed her and then SHE had sex with him. These women delude themselves into thinking they are in some kind of relationship with an emotionally unavailable man who wouldn’t even be available if he was dating ONE woman. But the women just can’t or won’t see what’s in front of their face.

The MOST frustrating thing in last night’s episode, though, was Andi. Who did go to the Fantasy Suite but woke up the next morning proclaiming to the cameras that it was a “nightmare” and that she was “Not in love with Juan Pablo, and never will be.” And I’m sitting on the couch like, “All right! Finally! Bring it, girl!” But THEN, when she confronts JP about it, he simply says, “Okay. If you don’t feel it, you don’t feel it. I respect you.” Which I thought, okay, that’s legit. But then Andi started to get ANGRY because Juan Pablo wasn’t upset that she wanted to leave. And she started to get into an argument with him, trying to get some sort of emotion out of him when it was clear that he didn’t care and wouldn’t ever care. I mean, it was her own damn fault for sleeping with him, I’m sorry it took her so long to open her freaking eyes.

I instantly started to lose respect for as she pathetically tried again and again to get him to feel sorry that she was leaving. She got hung up on the semantics–she claimed he said she was in the top 3 by default, but he claimed he never used that word and told her she “BARELY” made it to the top 3. Which, in my opinion, is WAY more offensive. She just kept bringing up, “You SAID ‘default.’ You said it.” And I think this is what’s happening to these women on the show. They get so caught up on a tiny, trivial thing that they fail to see the huge picture (in this case, that he actually said something way more offensive than what she was offended about).

Glaring communication errors aside, I think the reason the women act the way they do (participating at all, catty competitiveness towards the other women, agreeing to share a man with 27 other people, claim that they are “falling in love” with this man–and maybe even believe it, agree to have sex with him, desire a proposal from him) is most closely related to the cognitive dissonance theory that is used to explain why normal, intelligent people who also have a lot going for them would participate in crude and violent hazing rituals (either as the one being hazed or the person doing the hazing) to gain acceptance and entry to a fraternity or sorority.

In these women’s desire to find “love,” what we’re really talking about is the desire to not be rejected. To have validation. They’ve come to the wrong place. Because the very act of appearing on The Bachelor–manipulated and edited to portray the worst about women–gives you a huge audience. And everyone in it is judging and rejecting you. Not just Juan Pablo.

My Cat From Hell and the American Dream

Guys, I recently fell down this weird rabbit hole where I watched like 7 hours of My Cat from Hell. For anyone unfamiliar with this gem, My Cat from Hell is a show on Animal Planet starring Jackson Galaxy (real name Richard Kirschner): a cat behaviorist by day, and a musician by night.

So when does he find time to groom his beard like this?

So when does he find time to groom his beard like this?

Jackson travels across the United States of America in his pink convertible ­­­to the homes of people with rambunctious and problematic cats. Once there, he assesses the situation with his calm demeanor and knack for just really getting along with cats. Cats act like dicks for all sorts of reasons: their environment, the people in their lives, sometimes even feline illnesses. Mr. Galaxy won’t give up until he figures out why your cat attacks you and pees on your stuff.

Jackson will calmly and without fear enter the room where the cat has been corralled and spend some quality one-on-one time with the alleged demon, where he usually discovers the cat is actually pretty nice.

Then the real drama begins. If this cat can get along with a chap like Jackson Galaxy, then what the deuce is going on in this home that’s making the cat go crazy? See, this show isn’t just about how Jackson can unite a cat with its owners; it’s about how Jackson can really get to the root of a familial problem and solve it together, as a team. You’ll see such telenovelas as the guy who kicked the cat ONCE but only gently with one toe, or the woman who doesn’t want to get rid of her cat even though it attacked her child. Jackson Galaxy is a level-headed, unbiased presence who just wants people to enjoy these majestic creatures, damn it!

However, his job doesn’t seem hard. After the third episode I was like, “Okay I could have figured that out.” There’s not what you would call a wide range of stories going on here, or even moderately entertaining drama.

But I love the dream behind My Cat from Hell. That you can just reinvent yourself into a pseudo-intergalactic musician with a guitar case full of cat elixirs and be successful. This is the American Dream, people! You love two unrelated things? Why not be both of them? Jackson Galaxy is unafraid of who he is and that’s why he’s compelling. That’s why I can’t turn off the TV when there’s a show on that marries the concepts of cats and perceived outcasts, which is really just the internet on Animal Planet.

My Cat from Hell knows exactly what it is: A slightly absurd show that capitalizes on the fact that it’s sometimes really funny when cats are jerks. God bless America.

Thoughts on ‘Insurgent,’ Featuring the Chewbacca Defense


Buckle up, because this is going to be a rough fucking ride

I know that this is not about television but I have so many scathing feelings about this book that I need to release them in a safe space. Also, an unbelievable amount of spoilers follow, so if you haven’t read Insurgent yet and you want to, probably don’t read this or DO WHATEVER YOU WANT I DON’T CARE.


The tagline of this book is “One choice can destroy you” and it’s never more true than if your choice was to read this book.

Everything that happened in this book made me want to SCREAM, starting with Tris and Tobias’ relationship. ESPECIALLY their relationship. I really liked Tobias/Four in the first book. I liked that he admired Tris’ bravery, believed her strength was unquestionable, trusted her judgment and her ability to complete a task, and loved her for herself. This book is like a 180 and I don’t understand it.

I understand that you need to create conflict between 2 characters to make a story interesting, and I understand that usually in the second book of a young adult trilogy, the characters are fighting or apart for much of it. But in this book, the author seems to have just made the characters fight because she needed to find conflict SOMEwhere between them. It felt forced, ridiculous, and untrue to the characters as I understood them in book 1. There were so many times where I was like, “Wait…is this a fear simulation?” because I couldn’t imagine Tobias would call Tris an idiot or they would fight over something SO UNBELIEVABLY STUPID to the point where they don’t speak to each other for a week.

Tris’ major struggle in this book is her guilt over killing Will in book 1. It consumes her. Which is actually an interesting plot. Tobias is angry with Tris because she can’t communicate to him the depth of her guilt and grief (um, she’s 16), and she can’t understand how to move forward (um, she has PTSD). Her guilt is compounded by her additional anguish over her parents both dying to protect her, and her in-the-moment decision to save Hector instead of Marlene during one of Erudite’s simulations (um, hello, Christina was standing right there and she saved NO one, and seems cool with it. Tris, how were you supposed to save 3 people?).

Because of this, Tris has a death wish. In fact, she straight-up says she wants to join her parents in whatever great beyond exists. She has so much of a death wish that she sacrifices herself without even considering the very stupid thing she is doing and the inevitable consequences her choice will have. Again, this sounds like an interesting plot but the PROBLEM is how god forsakenly annoying Tris and Tobias are throughout all of it.

In this book, Tobias is angry that Tris won’t communicate with him all of her emotions over killing Will and watching so many people die. Tobias just yells at her about how much she sucks at communicating when he sucks even more at it. It doesn’t make sense. Tobias sees that Tris can’t even pick up a gun, and he (okay I guess I understand this) get’s angry at her that she continues to put herself in dangerous situations without any protection or regard for her own safety. And yes, that’s a problem, but the real problem is how he doesn’t seem to address her desire to die—first at all, and then with any kind of gentleness. In fact, he gives her an ultimatum at one point and says that unless she stops wanting to die he’s going to break up with her. And, like, okay, but also WHAT?!?!

Tobias no longer sees her as brave because he sees her as reckless. But throughout the two books, we’ve read about how in Dauntless there sometimes is no difference between the two. Tobias says he fell in love with the Divergent Tris—the one who wasn’t only one thing but was many things. But this is unfair. Because Tobias admits, while under the Candor truth serum no less (oh my god, what is my life), that he truly believes he belongs in Abnegation, and that the only reason he chose Dauntless was to protect himself from his father. Tobias leans heavily toward Abnegation and is a weaker Divergent than Tris, yet resents Tris heavily leaning towards Dauntless when I fail to see the difference between what they’re both doing.

Not to mention throughout the books, the characters discuss how maybe there is little difference between selflessness and bravery, and so how much difference is there really between the core values of Abnegation and Dauntless? Whenever Tris actually points out obvious and semi-intelligent thoughts like this, Tobias flies off the handle, at one point even telling Tris that she didn’t understand the Abnegation-kind of selflessness that he did. Except for all Tobias’ claims that he’s truly Abnegation, he acts more like a freaking Dauntless than anybody (again, what is my life, how am I writing these sentences).

Tris winds up risking her life in the dumbest way possible, to the point where I wanted to reach into the book and freaking smack her across the face. She marches into Erudite headquarters to turn herself in as Divergent, to ensure that no more Dauntless are killed. Except, TRIS YOU ARE AN IDIOT (I guess Tobias was right, but I don’t support a boyfriend calling his girlfriend a mean word like “idiot,” even if he IS right). Tris, what do you think the Erudite want with a Divergent? They want to experiment on you, fool, so that they can control the other Divergent. You think this is going to save anyone? No, you’re just helping the enemy make it worse.

And, of course, Tobias follows her like 7 hours later. But instead of being angry, he’s all loving and sacrificial. He tells her that he has a plan to get them out of there and asks her to hold on for 2 more weeks. He also tells her that he can’t stop her from deciding to die but that he knows that she won’t, because she is too selfless to leave everyone behind. Then he touches his lips to hers (they do a lot of lip-touching in this book. I assume it means kissing but I kind of picture a lip fist-bump of sorts and it’s only one of the many instances where Veronica Roth’s writing is a bit perplexing but I digress). Tris’ thought is that Tobias is wrong and she actually wants to die very badly and can’t wait. THIS IS SO MESSED-UP AND PROBLEMATIC. Her character is depressing and personality-less and oh my god I have like 100 pages left to read.

But, OF COURSE, at the moment they’re about to kill Tris (except not really, obviously, that sneaky asshole Peter can’t be in Tris’ debt and has a plan to save her life), Tris actually realizes, “WAIT. I WANT TO LIVE.” She screams her desire to live in her own head as she believes she’s dying and realizes that it would be a much better way to honor those who have died (especially the ones who sacrificed their lives for her, hello) to just continue living. And obviously Tobias has known this all along so why didn’t he just TELL her? (That last part is my thought, not Tris’.)

So after they escape Erudite headquarters it seems like FINALLY we have some character development. Tris has her revelation, Tobias loves her, and it’s time to move the plot forward.

Only Tris disagrees with Tobias’ course of action to move ahead in this war, so instead of talking to him about it, she just goes behind his back. She lies to him. And then she aligns herself with Tobias’ abusive father to learn integral information. Understandably she is afraid to confide in Tobias that she believes his father and is choosing to follow him in this way—Tobias hates and fears his father more than anything. And I understand how Tris feared she would lose Tobias because of how much of a betrayal Tobias might view this act. But if I were Tris (and I wouldn’t be, because I’m not a moron), I would much more prefer Tobias be angry and betrayed at something I tell him I’m going to do, than be angry and betrayed at something he learns I lied to him about doing.

Tris does it anyway, aware that she will lose Tobias if she moves forward, but seeing it again as another selfless act, and the only way she can get the important information they need for the war. Just when I thought Tris and Tobias could learn to communicate, Tris makes the same freaking mistake she has made, having learned nothing, as if the past 270 PAGES NEVER EVEN HAPPENED JESUS CHRIST.


So beyond the horrifying character development, there is also just the flatness of the characters in general. They’re really not interesting, and lack much of a personality. Anything that’s supposed to be funny—like a group of characters just joking around with each other—just…isn’t funny. It’s part of the problem with Veronica Roth’s writing. Tris narrates the story in first person present tense yet seems to have access to things a first-person narrator wouldn’t have access to. She’ll close her eyes but then see Tobias do something. She’ll meet a character and then 3 sentences later talk about how the character did something “uncharacteristically.” Tobias and Tris’ love scenes are strange too. Mostly chaste, they wrap their hands around each other’s necks a lot (not in a strangling way, I presume), which is a strange place to put your hands when you’re kissing someone (or touching lips or whatever the hell they do). They put their hands up the backs of each other’s shirts (not the front? Why not the front?), trace each other’s necks with their unnaturally long fingers, and touch lips. It’s bizarre.

And then there is who Veronica Roth chooses to kill. Which so far is like basically every minor main character. And it feels more like she’s doing it be like, “Hey, this is going to be that kind of book that is shocking because I’ll kill anyone, no one is safe” more than to be like, “Hey, this is the cost of war.” Because she chose to kill Marlene when there were 2 other minor characters standing right there that she could have killed instead. One of the characters you just met in THAT SCENE. But no, she chooses to have Marlene, one of the few characters with a bit of a personality, throw herself off a building during an Erudite simulation. And she has Tris choose to save someone she barely knows, over her friend. Why? I can’t see the motivation here. It felt like the seventh Harry Potter book all over again, where J.K. Rowling was like, “Well, let’s just kill people.” Like, okay, I get why Dumbledore had to die but Dobby? DOBBY?

(It also feels like The Walking Dead, with Roth taking the time to make you like a character just before she kills them.)

The only thing that saves this book is the climax and the end. The climax where Tris actually does some badass stuff not because she wants to die or because she aims to be selfless but because she believes it’s the right thing to do, no matter the consequences. This is a character I can get behind. Even better than that, Tris FINALLY tells Tobias off, yelling at him and calling him out on his bullshit. Hallelujah! Tobias ends up seeing the error of his ways I guess but he never says sorry. Their make-up scene is pretty quick, like 3 pages before the end, with Tobias just telling Tris that she was right (eh, I’ll take it).

The ending was…confusing. But at least it was interesting. There is much of this dystopia that doesn’t really make sense to me, but the ending was interesting enough (that there is an entire society out there, separate from Tris’, where humanity has crumbled and people have lost their minds or something) that I’m willing to give the third and final book the benefit of the doubt. Though I do know the giant spoiler part of how that book (and the series) ends and I’m already mad about it so we’ll see.

At least the Divergent movie was pretty good. And by “good” I mean Theo James is really hot.

Theo James

Especially with non life-threatening facial wounds