1) Listen to this with headphones.

2. Listen to this and think of Shawn.

3) Listen to this and think of how you feel when you hear his voice.

4) Listen to this and think of how much love you have for him in this very moment.

 5) Now listen to this from Shawn’s perspective.

That’s exactly how much he loves you


I imagine Hange got too nervous and too drunk and of course Levi is too fucking romantically awkward to understand subtlety so it was a disaster

but they both know already so whatever (they’ll just wake up in the morning and pretend the entire conversation never happened anyway)


“I lie to myself all the time. But I never believe me.”

I love Tris the Divergent, who makes decisions apart from faction loyalty, who isn’t some faction archetype. But the Tris who’s trying as hard as she can to destroy herself … I can’t love her.” I want to scream. But not because I’m angry, because I’m afraid he’s right. My hands shake and I grab the hem of my shirt to steady them. He touches his forehead to mine and closes his eyes. “I believe you’re still in there,” he says against my mouth. “Come back.
—  Veronica Roth, Insurgent

Swing time, swing time, all musical guys have crowned it king

Right up to their eyes, they’re drowned in

Swing time, swing time…

The Waltz in Swing Time, composed by Jerome Kern, is considered by many to be the best piece of music that Fred Astaire and Ginger Rogers have ever danced to. The score combines classical elements and 1930’s swing influences, which Astaire insisted upon. He wanted some of the numbers in the movie to actually “swing”, like the title, but Kern was reluctant to compose in that style. Despite the composer’s own doubts, the result is still spectacular, 77 years later. The scene and atmosphere are the epitome of elegance and the dance personifies the young love between Astaire and Rogers. They are both dressed impeccably, with Astaire wearing a creative variation of the black tie outfit, and Rogers in another one of her stunning ballroom gowns. The dance itself, choreographed by Astaire and Hermes Pan, blends tap, ballroom and ballet, and it is also one of many occasions in which Ginger Rogers shows her incredible dancing abilities. It is evident in this dance that she contributed her whole fifty percent to the partnership. Astaire choreographed it, but she executed it in high heels and a dress. As many have stated before, Rogers contributed her own ideas for the dances and thought on the same level as her partner. This, combined with the two performers’ ability to put romance on the screen through pantomime, makes the scene rise above average. Astaire and Rogers poured all their effort into this; one can only wonder how many hours of rehearsal it took for a dance that lasted two and a half minutes on celluloid. At the same time, it is truly a blessing that this dancing excellence has been captured on camera, and that generations to come will be able to see this masterpiece as many times as they want to.