anonymous said:

Jon has been trying to throw this theory in for so long now, it's annoying. Frankly it digusts me too. They have a perfect bro/sis relationship that doesn't need this. He has already cheapened it a little for me. Again though it's an actor head canon, I'll believe it as canon on if a writer says it's true. Actors are known to make stuff up sometimes.I'm scared that his adamance on this is going to force writers. That would be horrible. So I agree with you completely.

Yeah, and I’ve lost some respect for Huertas for pushing this headcanon of his this far, and doing it in character. Just no. Know your limits.

I don’t have a problem with B/E in the fandom or fic (it’s easily avoided) but I will shoot it down on sight when it comes this close to canon. Personally I see B/E having absolutely zilch/zip/nada in terms of chemistry and I’ve always seen their interactions as more akin to siblings than anything with heat or past romantic or sexual connotations (ugh it makes the dynamic so incestuous and stupid if I have to imagine that- I’m much more onboard with Beckett/Royce).

Thankfully Katic has never interpreted it or played it that way. She’s smarter than that.

anonymous said:

Steven Moffat: your knowledge of the canon is so in-depth and it's so obvious that you love the characters so much and it stand out so wonderfully in your writing. Your grasp on the characterisation is beyond incredible and the way you write John and Sherlock's friendship is second to none. Thank you for loving them so much.

anonymous said:

i started following you not so long ago so i'm sorry if you have answered this already, but why do you like pariston so much? i actually can kinda think about some reasons, he's a very complex character, he only thinks about his own fun, he's difficult to be understood, reminds me of ging..

I summed it up more eloquently here and here but the main reason is probably because I just do

image

Among the aberrations in behaviour were the following: expulsion of young before weaning was complete, wounding of young, inability of dominant males to maintain the defence of their territory and females, aggressive behaviour of females, passivity of non-dominant males with increased attacks on each other which were not defended against. After day 600, the social breakdown continued and the population declined toward extinction. During this period females ceased to reproduce. Their male counterparts withdrew completely, never engaging in courtship or fighting. They ate, drank, slept, and groomed themselves – all solitary pursuits. Sleek, healthy coats and an absence of scars characterised these males. They were dubbed “the beautiful ones”.

Daily reminder

There will be a lot said about this issue of wicdiv and deservedly so. There’s some outstanding set design going on in the Valhalla scenes, some wonderful characterisation and costuming of the gods in the same. There’s a wonderful moment of the gods exchanging glances that brings us right back to the opening pages of the first issue. There’s action a plenty, explosions, dramatic revelations but for me it pivoted on this image here, the one in the middle. 

A direct profile with no caption, no dialogue, no sound effects, no motion. You could even say nothing happens. The thing is this is a comic book and if there’s a whole panel dedicated to nothing happening then it’s really significant that nothing is happening. I wish I had a link to the wonderful piece that was written about issue #2 and how important and significant it was that so much of the book was given over to black nothingness but it boils down to this; comic book pages are a scarce resource and squandering space doesn’t come easily. 

This moment follows two pages of explosions, fire and shock. It follows almost a page of snarling, swaggering arrogant hostility. Luci has said just about everything she could pack into the moments she had to drive Laura away from her and what Laura has given her in return is faith. Unwavering faith in the devil. Then silence. 

There’s a saying about appreciating music that you have to listen to the silences between the notes. This is the silence between Luci’s notes. This is the moment in the film where the theatre is filled with thrumming quietness, only the patter of the water from the sprinklers to let us know the sound hasn’t malfunctioned. 

It’s a beautiful, heartbreaking moment of silence. The only thing that could have improved it for me would be if just for that middle panel. or maybe for both of her panels in this triptych, Luci’s eyes had reverted to their usual startling blue.  For all I know there are very compelling in-universe reasons that couldn’t happen but when I saw that image I had to do a double-take to make sure they hadn’t. 

anonymous said:

The AU will probably be a pilot 2.0, right? Hopefully the return to the ust phase is not jarring. I'm a little afraid of the new stories they are going to add to their lives to show where they stand without having met each other and why.

No, I don’t think it’ll be a pilot 2.0 at all. I think the point of the ep will be explore their lives in alternate reality where they don’t meet- they’re going to compare their lives now with their AU lives now, not their lives 7 years ago. I mean there probably will be an UST element when their AU versions meet (I think the point of the ep will be to show that in every version, every universe, they are soulmates and meant to be together etc). But I definitely don’t think (hope) they’re going to roll back all the way back to what we saw in the pilot.

I’m actually interested in how they set up the premise of the ep, and work in the case of the week. We’ll see.

anonymous said:

Mark Gatiss: you have such incredible attention to detail when it comes to the cases - The Great Game continues to be the most outstanding show of how Sherlock Holmes' mind works and how he solves cases that I have seen in any adaptation. Your love of horror means that episodes penned by you always have that extra element of fear and tension and are just fantastic. Thank you.

shouhinata said:

ppd help me. how do i explain, in one tweet, without implying any rinharu, that it's possible for haru to have realised his dream even when he was "rather adamant about it at first" because they're my friend and i wish i could explain that it's not bad character development or characterization on kyoani's part as to why haru was struggling most the season.

I’m sorry but I don’t think you can explain Haru’s revelation without referring to Rin…because Rin was the key, as the directors said. He helped Haru see.

Lol, do they need an explanation as to why Haru fell into this pattern of confusion? If so, they really should read some meta’s written by skania , shameless-fujoshi or labratinspace. It’s not bad characterisation at all, like you said. Ugh…how bothersome for you XD

anonymous said:

Based on that snippet of information, how do you think Castle and Beckett would be if they never met?

Hmm, that’s a good question. I think it’ll really depend on how much of subsequent canon still happens even if they don’t meet. I hope they don’t make them too miserable- like Castle can’t even write, or Beckett is nonfunctional besides her job. Yes, they made each other better when they met, but Castle had still written 26 bestsellers, and Beckett still had a life and she had dealt with her mother’s murder (in a way, come to peace with it till Castle started digging all over again).

They did mature and develop with and for each other, so that would have be dialed back. I guess Castle might still be the ladies man, bouncing from casual relationship to casual relationship, afraid of getting hurt again. Maybe more infrequently as he gets a little older. Beckett might be buttoned up, maybe more along the lines of someone like McCord- no relationships that have worked out, dedicated to her job, no “fun” in her life per se.

Honestly, I’m intensely curious as to how the writers think their world plays out without that initial meeting, and whether my interpretation matches TEM’s. Miller’s case-writing can be meh, but she has a deft touch with the characters and relationship development, and this kind of premise is right in her ball park, writing wise. Let’s see.

8

Conflicting emotions cross Thresh’s face. He lowers the rock and points at me, almost accusingly. "Just this one time, I let you go. For the little girl. You and me, we’re even then. No more owed. You understand?" I nod because I do understand. About owing. About hating it. I understand that if Thresh wins, he’ll have to go back and face a district that has already broken all the rules to thank me, and he is breaking the rules to thank me, too. And I understand that, for the moment, Thresh is not going to smash in my skull. (…) "You better run now, Fire Girl."

8

Clara Oswald’s normal, everyday life — here meaning her biological family (Mum, Dad, Gran, Linda), her quasi-adopted family (Angie, Artie, and Mr Maitland), or her job as a teacher — has been a part of 70% of her episodes so far. Not always a major part, but there is a continual commitment to showing her roots, that travelling with the Doctor is an addition to her normal life and not the whole of her life.

9

MAGNETO;   t h e   M A S T E R   o f   M A G N E T I S M

Magnetism is one of the fundamental forces of nature. Where do you think sunlight comes from? Stellar fusion is born of the interaction between gravity and magnetism. Thank your various deities for the conflict in his soul. Within Erik Lehnsherr is the rational man who struggles constantly with the methods employed by Magneto to achieve what he believes are righteous goals. The child of the holocaust who fears becoming what he most hates. If those two elements ever reconcile, there could be no practical limit to what he might accomplish.  - Doc McCoy, Excalibur v3 #11

The Importance of Backstory

Think about the person your character is today. What about them is a direct result of something from their past? What scars, and what strengths, do they carry with them? What lessons have they learned, and which mistakes do they keep repeating?

They are a result of what has happened to them before, whether they have risen above it, changed their life because of it, been crushed by it, or just run from it.

Your character’s life doesn’t begin at chapter 1 of your story. Nor does it end with the last chapter. (Ok, sometimes it does, but in most cases it probably doesn’t.)

Your character comes alive when you give them backstory. Not only does it colour the person they are, but it gives them motives for every action, or inaction.

Your readers don’t need to know your character’s entire life story. But you do. Give your reader flashes of it, the important bits, the parts that motivate your character’s actions. It makes them believable, relateable, real.

And it’s the real characters that readers can fall in love with. It’s real characters they want to root for, that keep them reading.

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