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Best Damon Stefan The Vampire Diaries Moments

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Everyone lovessss to argue about Damon and Elena vs. Stefan and Elena on The Vampire Diaries.


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In case you’re wondering where I fall...this post make it pretty clear.

But honestly, I think we’re ignoring the real relationship of the show: and that’s Damon and Stefan.


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BROTP for life. I mean…they’re literally brothers.

Here are 21 moments that prove Damon and Stefan’s brotherhood was WAY more important and interesting to watch than either of their relationships with Elena.

1.

In Season 1, Damon helped Elena save Stefan’s life, then went out of his way to assure Stefan he had zero guilt in Damon’s actions.


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Damon was still the bad guy here (he still claimed to hate Stefan), but he still helped save Stefan’s life after he became riddled with guilt. Stefan always wore the weight of the world on his shoulders, and Damon was always trying to alleviate some of this guilt.

2.

And then when Stefan was in a vulnerable position again in Season 3, he chose to be the one to turn Bonnie’s mom so that Stefan wouldn’t have to deal with the guilt.


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Damon was always willing to be the bad guy and get all the hate so Stefan wouldn’t have to, even when Stefan would’ve done the same thing.

3.

And then AGAIN, after Stefan was in a guilt spiral over killing Enzo in Season 8, Damon encouraged him not to punish himself, telling Stefan instead to be with Caroline and be happy.


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Stefan was SO broody and Damon was always there to push him to be easier on himself.

4.

Stefan was furious at Damon after he fed Elena his blood before Klaus’s ritual in Season 2. But he still refused to let Damon give up on himself…


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In case you forgot, Damon had been bitten by Tyler the previous episode and was dying. In order to avoid the pain and hallucinations Rose endured before her death, Damon took off his daylight ring to burn in the sun. Stefan stopped him, locking him in the cellar while he looked for a cure to the bite.

5.

…And even encouraged Elena to talk to him and make up with him since he could die.


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Elena had literally just said she wanted a normal day with friends — but Damon made sure to give Damon and Elena the chance to say goodbye to each other. He knew Damon needed to be forgiven, and even though he was angry and worried about Damon’s feelings for Elena, he encouraged Elena to do so.

6.

And then Stefan literally gave up his entire life to Klaus so that Damon could live!


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And I truly do not think he did it just out of “owing” it to Damon. He loved his brother!

7.

And before you come at me saying Stefan was the better brother — Damon did the same for Stefan when he asked his Commander for leave when Stefan needed him! Remember the dream/flashback from Season 7?


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This whole deal ended up mirroring Stefan’s — basically, Damon had to kill innocent people, just like Klaus had Stefan do. Dysfunctional? Yes. Brotherly? Also yes.

8.

In fact, the Salvatore brothers constantly offered to sacrifice themselves for the other. Like when Cade tried to make Damon choose between Stefan and Elena in Season 8, and Stefan offered himself up.


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Stefan was self-sacrificial, sure, but the amount of times he offered himself up for Damon was staggering.

9.

…And then Damon said no, and offered HIMSELF up instead, so that both Stefan and Elena could live.


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“IT’S BEEN A HELL OF A RIDE.” Like if u cried.

10.

This whole “die for each other” thing culminated in the series finale, where they had to decide which of them would stay with Katherine to ensure Hell was blown up.


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For once, in offering himself up, Stefan made it clear that he didn’t want to do it — he’d prefer to stay with Caroline. But he truly wanted Damon to live.

11.

Of course, Damon didn’t let Stefan sacrifice himself: he turned into a protective older brother and compelled Stefan to leave him so he could die.


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This goodbye scene was far more heartbreaking than either of theirs with Elena.

12.

Which…did not work. Stefan died anyways, and in his last moment with Elena, he told her THAT DAMON WAS THE MAN SHE DESERVED!!


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This was such a moment of growth for Stefan, who had previously told Elena she was better than Damon. He truly fostered and recognized Damon’s growth as a person, and encouraged his relationship with Elena because he knew it made him happy.

13.

Speaking of…Stefan was SO MATURE about Damon and Elena. In the Season 6 finale, he admitted Damon meant more to him that Elena, and that he was grateful to Elena for her role in helping Damon become better.


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“Her faith in him brought Damon and me back together.” That’s it. That’s all I need to argue my point. Elena/Stefan and Elena/Damon were just different plots to bring about the same arc: Stefan and Damon becoming close agian.

14.

He even took on that role for Elena after he was gone in Season 7, pushing Damon to be the brother he deserved. Like when Damon decided to desiccate in a coffin:


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I’d also like to point out that Damon was so upset over disappointing Stefan he decided to literally desiccate in a coffin for 60 years.

15.

…And again after Damon woke up, when he called him out for his lack of responsibility.


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Elena may have made Damon better, but Stefan was the one to actively challenge Damon without getting caught up in the moment or being blinded by love. Their relationship was so much less toxic.

16.

It actually worked, too. Damon was able to take more personal responsibility than he ever did with Elena. Like when he apologized for abandoning Stefan in the Season 7 finale, and told Stefan to let him go.


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Damon refused to let Stefan continue to sacrifice things for him. Damon knew he was partially responsible for the Raina mess and had spent years asleep while Stefan dealt with it, and he was determined to make it up to Stefan.

17.

But it wasn’t just Damon who needed Stefan. Stefan needed Damon, too. Remember when Damon died and Stefan became a total dick at the start of Season 6, then went to his family crypt to talk about how lost he was?


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Stefan’s reaction when Damon was “dead” was far more serious than when he thought Elena was dead. And when he came back??? Such a beautiful moment.

18.

Or the time in Season 6 when Damon put his own feelings about their mother aside to convince her to lie to Stefan so that he’d get his humanity back.

19.

Or when he refused to let Stefan give up as he lay dying in Season 7, “confessing” to being selfish and not caring so that Stefan would be angry enough to get up and keep walking.


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Damon was willing to use anything to inspire and help Stefan — even Stefan’s own anger at him.

20.

In conclusion, Damon and Stefan were there for each other from the start. They had SO MUCH history together…


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I needed more of Damon and Stefan as bbs!!!

21.

…And in the end, when Damon died, he didn’t find Elena in the afterlife. He found Stefan.


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The show ending this way was so beautifully fitting.

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Raise Hell: The Life & Times of Molly Ivins review – memorial to a liberal legend | Film

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The late journalist and media commentator Molly Ivins, an outspoken liberal from Texas, has an illustrious reputation among connoisseurs of political writing of the late 20th century, but is not so well known outside the US. This affectionate but thankfully not hagiographic documentary, directed by Janice Engel, offers a handy preçis of her biography, character and impact.

It’s told partly through fresh interviews with admirers (including the doyenne of progressive journalism, Rachel Maddow, as well as Dan Rather and Paul Krugman) and Ivins’ friends and family. But above all the film relies on a smoothly edited melange of archive footage that recorded Ivins’ killer comic timing in interviews on various public stages, as well as her incisive intelligence and irreverence, captured mostly on shoddy video with C-SPAN blazoned in the corners. But neither age nor compression artefacts can wither her immortal charisma.

Ivins was born into a high-Wasp clan but rebelled against her parents’ expectations that she do something genteel, instead becoming a civil rights supporter and then a reporter. While working at a Minnesota paper during the late 60s she was proud to have wound up the police so much with her reporting that they named their mascot pig after her. Then came a stint at the New York Times where she never quite suited the buttoned-down culture, given her tendency to walk around barefoot and bring her dog, whom she named Shit, to work with her.

The film implies she was sacked for describing a mass chicken slaughter in the midwest as a “gang pluck”, a phrase that didn’t make it into print but still raised the ire of the editor in chief. (She said later she only used it to make the copy editors laugh.) Eventually she returned to Texas and became a syndicated columnist and author of several books on politics that gave her a national reputation.

Given that it’s 13 years since Ivins died, it’s puzzling why this film is coming out now, but it’s never not a good time to celebrate a woman with an outsized, big-boned talent, a heroine for the left even if she didn’t always adhere to the party line. Heaven knows we need all the plain-speaking, fearless heroines we can get right now.

Raise Hell: The Life & Times of Molly Ivins is in cinemas and on digital platforms from 23 October.


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Requiem for a Dream at 20: Aronofsky’s nightmare still haunts | Film

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I was 17, and just beginning university, when Requiem for a Dream descended on cinemas like an opaque, bruise-blue mist. Notwithstanding the no-under-18s restrictions stamped upon it by stern censors in the UK and elsewhere, I like to think I was the optimal age for it. Darren Aronofsky’s addiction drama may be cross-generational in its focus, but with its unremittingly punishing storytelling and frenzied, all-systems-go cinematic energy, it represents a very young person’s idea of how a very adult film looks, sounds and spasms. I loved it, even as it followed me through a tertiary arts education to the point of overkill: its poster gracing umpteen friends’ dorm rooms, its Clint Mansell/Kronos Quartet string theme – and its countless remixes – soundtracking all manner of student theatre pieces and presentations, its formal and literary flourishes seized upon by many a hip professor seeking a modish mutual reference point.

If this sounds like the prelude to a revisionist takedown, I thought it might be one too. It’s 20 years since Requiem for a Dream was released, and at least 15 since I last saw it: revisiting it this week, I was prepared for it to be as dated and artificially edgy as a turn-of-the-millennium tribal tattoo. In a sense it is. There’s no mistaking Aronofsky’s film as a highly styled product of its era, its hopped-up editing schemes and plethora of lens choices and gimmicks a glossy refinement of 90s indie aesthetics and Tarantino-patented extremity. It doesn’t miss a trick, and doesn’t want us to miss any of its tricks either. Some critics called it over-directed at the time, and more of their colleagues would probably join them today; a generation of more restrained kids as old as I was then, quieter rather than shock-inclined in their anxiety, might even agree.

And yet. Certainly, a large part of Requiem’s stylistic mania amounts to auteurist showing-off. It was Aronofsky’s second film, coming two years after his scrappier, more cryptic but equally out-to-dazzle Sundance sensation Pi, and with more money and bigger names at his disposal, he set out to prove himself as the pre-eminent artist-provocateur of his indie class. Still, in choosing to adapt Hubert Selby Jr’s cultish 1978 novel of New York junkie miserablism – and very faithfully, at that – the then 31-year-old film-maker found about the ideal canvas for his ugly showmanship.

The novel was grimly forensic in detailing the physical and mental destruction wrought by drug addiction on a quartet of characters: three of them connected in their youth and knowing submission to heroin, and the fourth an elderly Brooklyn widow, drawn obliviously into amphetamine psychosis by solitude, TV fixation and irresponsibly prescribed diet pills. It’s a slender story that makes its essential points early, often and obviously: we’re all vulnerable to some manner of addiction, and legal ones aren’t necessarily safer or less ruinous than their underworld counterparts.

Scripted in collaboration with the author, Aronofsky’s interpretation doesn’t complicate things any, but it does bring to the material an electrified sensory charge that hasn’t quite been replicated in any other addiction drama. In all its flash, slam-bang technique, it vividly evokes the sensation of what drugs actually do to your system, briefly for better and mostly for worse, from twitchy initial rush through to comedown and tortured aftermath.

Ellen Burstyn in Requiem for a Dream.



Ellen Burstyn in Requiem for a Dream. Photograph: Allstar/Cinetext/Aritsan Entertainment/Allstar/Cinetext/Artisan Entertainment

Aronofsky’s film-making is neither subtle nor tasteful, two words you wouldn’t tend to apply to heroin addiction either. Its excesses feel grounded, however oppressively, in the hellish experience of all its characters – it’s surely the most stylishly made drug drama ever to escape any accusations of glamorising the scene. As two young, beautiful, kohl-eyed lovers bound by needles and deferred dreams, Jared Leto and Jennifer Connelly initially seem veritable poster children for that quintessentially 90s concept of heroin chic. By the time the film reaches its notoriously grotesque, despairing climactic montage, crosscutting between the amputation of his gangrenous arm – a body-horror image more unforgettably gross than any cursed cigarette-pack photo – and her going ass-to-ass with another woman for a braying, paying audience, any concept of “chic” is firmly off the table.

Such is the paradox of Requiem for a Dream, which pushed the envelope in its explicit, from-the-inside view of addiction and its spiralling consequences, while maintaining a philosophical perspective as cautiously moralising as any Just Say No public service announcement. What real shock value it had was tied mostly to Ellen Burstyn’s indelible, progressively unhinged performance as frail, sweet-natured shut-in Sara Goldfarb, whose short-term chemical solution to her loneliness and body-image issues winds up frying her brain as drastically as any class-A drug. Burstyn’s fearless turn hooked this impressively abrasive film an Oscar nomination it would never have received in any other category – and with it, an older audience that probably wouldn’t have considered seeing a film about three young, damned smackheads. It probably surprised them as much as it did any student-age punters drawn in by the vogueish, subversion-promising marketing: “the cinematic heroin nightmare for the whole family” wasn’t anywhere to be seen on that ubiquitous poster, but it wouldn’t have been far off.

Two decades on, Requiem for a Dream doesn’t look especially cool – but then, it never really did. Rather, its numbing, slightly-sick-in-your-mouth power remains undiminished, as does the hard-driving impact of Aronofsky’s film-making: it set the pace for a filmography marked by earnest, grandiose outrageousness, from the ludicrous, ravishing romantic folly of The Fountain through to the magnificent, unapologetically narcissistic artist’s self-diagnosis of his recent Mother!. As someone born closer to the year 2000 than I was might say, Requiem for a Dream didn’t have to go so hard. But I’m kind of glad it did.


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