((y'all don't have that word here

ok finn and rey have a lot of Iconic scenes but, imo, the most iconic is the scene at maz’s castle bc like…..my guy finn absolutely 100% did not have to tell rey the truth about who he was but he did anyway?? furthermore, he really didn’t have to ask her to run away with him either, like he literally just met her but he was totally down to head off and start a life with her. im not crying, you are.

(and as a little sidenote, when kylo kidnapped rey - bc yes, children, that was a kidnapping - did finn have to go try to get her back? did he have to literally walk right back into the place he’s spent the entire movie up until this point running away from? HELL NO. but he did anyway bc #love)

AND EVEN FURTHERMORE when he stormed away from the table, did rey have to follow him? NOPE. sis could’ve just been like “ok that guy isn’t down with the cause no sweat off my back” but she did bc it was important that finn was a part of finishing what they started (together, might i add). and fURTHER, FURTHERMORE - in what is perhaps the Greatest thing rey could have ever done for finn in that moment - when finn does tell her about his stormtrooper past, sHE DOESN’T EVEN FREAK OUT ABOUT IT????? like there’s no overdramatic reaction about him lying to her or about who he really is was. like there’s just this look of…..understanding (is that a good word to use here?? idk) and i, for one, think that is Beautiful

point is, this is nonsense but finn and rey are very much in love and tfa is full of factual evidence to support that thank u.

The Signs As Things Said In My AP Calc Class Today
  • Aries: "Okay, now the baby's stabbing people"
  • Taurus: "This is why 'abandon all hope ye who enter here' is our math class slogan."
  • Gemini: "It's not convoluted, it's just a pain."
  • Cancer: "Ohgod where did that come from?! Oh god what was that?!"
  • Leo: "It's relatively okay. Relatively is the operative word there."
  • Virgo: "You want to use the product rule here." "I don't want to use the product rule here but I think I have to."
  • Libra: "I wouldn't ever say 'I got sassy with her in the margins' ever again."
  • Scorpio: "Did we do rose curves this year? It was last year. Everything's blurring together. I haven't slept. Just waiting for the sweet embrace of death."
  • Sagittarius: "You guys are doing well in here. Probably better than y'all deserve to."
  • Capricorn: "Does anyone have any questions?" *very quietly* "Can we just not?"
  • Aquarius: "Now that you're full of brownies and equations let's do some work!"
  • Pisces: *screaming*
making new clichés - Chapter 10 - strangetowns - SKAM (TV) [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

“You really think it’ll be okay?” he says. 

“I know it will,” Even says. 

(As many doubts as Isak has, he has to admit that those words, when they come from Even, are the greatest comfort he might ever hope to have.)

A childhood best friends AU - Part 3.2

In this universe, Isak and Even are best friends. Some things are different; some things stay exactly the same.

[15.8k / 93.2k words]

Hey it’s your friendly neighborhood cryptid here saying that he is offering commissions now that my schedule is working with him!
Y'all want examples? I’ll give you examples:
LINEART/SIMPLE COLOR : 15$ (+5$ per extra character)


 > Fan Art
> Guro
 > Pairing (as long as characters are 18+)
> fetish art
 > heavy porn
 > mecha
 > shady things involving minors
Shoot me a message/ask on my main @nephilii or e-mail me at alec.sergio.macias@outlook.com
Payments will be done through paypal.
Please spread the word and have a good day! ✌

nettlestonenell  asked:

Any meta thoughts on wig wearing and Turn characters? Particularly in the wake of Hewlett in photos with his real hair? Culpers seem to wear them the least (then again, Richard never wears one), and Hewlett always wore one until he was kidnapped. Andre had his brief debut in one and then never again. And Simcoe--well, what do you think? Does wearing a wig/false hair signal anything to the audience about characters on Turn?

This is SUCH a fun question, thank you! Disclaimer: I am soooo not a fashion or military historian. I’m not any kind of historian, in fact, and as such, I feared I wouldn’t be able to answer because I simply don’t know enough about wig-wearing habits of the 18th century. INCREDIBLY, though, I actually DO know a totally concrete answer to at least ONE of these character’s situations, because JJ Feild told USA Today last year:

[Andre] did have the wig early on, but Feild was able to ditch it after asking executive producer Craig Silverstein, “‘Do you really want that for your seducer/lover for the next three years? And he said, ‘No, not really.’”

So, where Andre is concerned, the answer is — yes! His wiglessness was much more a narrative choice than a historical one, and it absolutely signals something to the audience! It signals, “You Are Supposed To Fall In Love With This Man And His Sexy Hair”!

(pictured: HAHAHA NO.)

Feild also said that he wanted to ditch the wig because he wanted the audience to see Andre, born to immigrant merchant parents, as an outsider among his fellow officers, who are largely of gentle birth. This is more of an in-universe explanation than the sexiness principle, but it was still definitely a conscious choice intended to influence audience perception. So overall, I suppose the question is: Does TURN give its men wigs based on historical accuracy to their social class, military rank, etc.? (Aka, an in-universe justification?) Or is TURN more concerned with the overall impression of a character’s costuming than with strict historical accuracy?

…TURN being not particularly known for its historical accuracy, I kind of already have my suspicions. But I’m also not discounting the historical element entirely; I think that does play a part. Let’s see…

Powdered wigs were expensive and troublesome to maintain. As such, I would expect to see them only on men of means, status, and/or a keen sense of fashion, and broadly speaking, TURN … kind of holds true to this principle. Most of the civilians we see are wigless, as are the Continentals. Makes sense; these are colonists, after all, provincials, many of them country folk. Even GWash powders his own hair for formal occasions rather than donning a peruke. A notable civilian exception is Rivington and a notable Continental exception Lafayette; I think both can be justified in-universe by Rivington’s pretentiousness and Lafayette’s status as foreign aristocracy. (There’s also Freddy! Who’s just stylish.)

Where things might get a little shakier is the British army. While there are background redcoats who wear their natural hair, I’ve seen it opined that TURN honestly features far too many wigs being worn by soldiers who would have more likely just treated their own hair with grease and powder and styled it into some sort of queue or plait. Again, Hewlett and Simcoe we can forgive on the basis of their social class, but what about orphaned Baker? What about all the other background common soldiers in their expensive, troublesome-to-maintain perukes? 

The overall trend — though with definite exceptions — seems to be a not strictly historical effort on TURN’s part to associate wigs with British rule and wiglessness with the colonists. More abstractly, these expensive, fussy wigs are associated with the old-money wealth, social hierarchy, and pomp implied by British rule, while the colonists are made to seem more down-to-earth, more egalitarian, less pretentious. It’s alllllmost a way of coding Good Guys vs. Bad Guys, at least in s1, when that was more clear-cut — but that’s a complicated issue. Again, there are practical, in-universe reasons for this. I mean, the Continentals are broke, they couldn’t afford wigs even if they wanted them! But I really do think that the general principle goes back to what JJ Feild said about Andre. Andre is allowed to go wigless even from the beginning because we’re meant to dissociate him from the wealth, status, and pomp (and … villainy?) of the rest of the British army. Rivington, although a colonist (an English immigrant, but still a colonist), does wear a wig because he’s pretentious and at least ostensibly a Tory. Lafayette’s wig likewise signals wealth and status.

Okay, what about the other exceptions, then. Simcoe and Rogers. British soldiers, yeah. But wildcards. They — and the Rangers in general — are Irregulars, with a sort of wild, woodsy, feral lawlessness that sets them apart from the fussiness and ceremony of the Regulars. Also, as far as I can tell, historical Rangers just legit did not wear wigs. But I still think it fits the theme, especially since historical Regulars apparently probably wouldn’t have either. Certainly Simcoe’s shift from Regular to Irregular is essentially one in which he’s let off his leash, free from the constraints of regular military hierarchy that kept him somewhat in check in season 1.

And then there’s Hewlett. Of COURSE I have thoughts about Hewlett.

Honestly, ever since the photos of him with natural hair came out, my mind keeps going back to that JJ Feild quote. Like, I don’t want to sound like a crazy shipper fangirl here, but the evolution of Hewlett’s wig situation over these four seasons has been notable, and I think that it’s very much been about influencing audience perception of him. I mean, look:

Season 1: The Worst Wig. The poofiest wig. I can’t look at it, it’s so tragic. But it’s also no better than I’d expect, because at this point, Hewlett is essentially a non-villainous antagonist whom we’re meant to find a bit ridiculous — and, of course, the absolute epitome of that upper-class old-money fussiness that’s being contrasted with salt-of-the-earth ‘Merica.

…But then suddenly. Holy shit. Suddenly, someone decides that this guy should be a love interest. A love interest for a major protagonist. And like JJ Feild said, you can’t have your love interest looking like … that. You have to make him attractive! You have to give him a much more dignified, more understated wig that flatters the shape of his face!

And is it coincidence that part of season 2′s process for making Hewlett more likable involves revealing that, oh, actually, he’s not the epitome of old-world wealth and status? That he’s a gentleman, sure, but his family’s broke, and he’s just trying to support himself and his parents, and actually he’s big into the kind of Enlightenment thinking that (particularly in Scotland, which is where he’s, uh, from, suddenly?) was concerned with social progress? …Weird.

As part of this humanization, s2 also gives us our first glimpse of his actual hair, which I am … more than okay with, even considering the circumstances.

Season 3 is either the same wig or a very similar one, which makes sense given that Hewlett does not have any major beats of character development between 2 and 3. But then season 3 smacks him with some MAJOR disillusionment and personal tragedy, and thus … The Hair!

I still suspect that the in-universe explanation for this is that he’s been demoted to some extent, if we’re to believe what he said about resigning his commission and being cashiered. But I seriously cannot shake the sincere suspicion that this development is FAR more about making him more appealing to viewers than about anything in-universe. It’s another step in the same progression of character development that has, since 2.01, been continually positioning Hewlett as more sympathetic, more down-to-earth, more at home in the colonies, and — critically, if my theory about the overall wig theme holds true — less certain about his devotion to the British cause. And if there’s Annlett this season, the hair will also be part of his progression as love interest.

Again, I’m definitely coming at this from the perspective of a storyteller, not the perspective of a historian. I would love to hear from anyone who can give a better opinion on TURN’s wig accuracy and how much of a role historical fact plays in determining which characters wear wigs. But the more I think about it, the more I think that there is some sort of general characterization trend here and that the costumers are conscious of how audiences will perceive men who wear wigs versus those who don’t.

anonymous asked:

This is kind of a random question, but do you see Percy as white? I personally don't see him as white, but I was just wondering what your opinion is.


i’ve seen tons of headcanons about latino!percy which make 100% sense to me and i generally (try to) draw him to suit those headcanons, but i also really really love hawaiian!percy too (i’m sure i’ve seen headcanons of that somewhere but i can’t remember where D:)

anonymous asked:

28-' I don't know what to say'

@sapphirefire17 said:I’m not good at coming up with prompts but if you could incorporate another Clarke leaves lexa speechless moment that would be grrreat

It’s a day much like any other.

Her muscles ache, the morning’s training session with her natblidas wearing on her more so than usual. She can tell they’re progressing based on the increasing number of bruises she ends up with match-to-match. Lexa’s proud of them, no matter the personal pain she endures to signify their development.

The headache, though, a result of spending hours overseeing petty squabbles back and forth between the ambassadors about land disputes and property rights, she would rather live without. 

Overall everything went much according to the routine she’s established, one she intends to end in a warm bath before reading over a few scouting reports and considering how to proceed, just as always. 

Life is outwardly calmer during peace time, but more tense. Conditions are fragile without a common enemy to keep the clans unified. Lexa finds herself holding back the typical intensity of her command during times of war, fully aware that issues arising now demand delicacy and subtlety. Heda is just as much a politician as a warlord, and she’s nothing if not prepared to fulfill any role her duty demands. Her time now is less kicking people off buildings, and more wishing to kick people off buildings. It’s taxing, to say the least.

But Lexa forgets it all, from the bruises dotting her body to the obnoxious ambassadors and their inconsequential feuds to how to maintain her pace or form a proper greeting, when she sees that she has visitor in her room.

“Hi.” Clarke stands before her for the first time in months, having been away trying to establish a firmer sense of stability within Arkadia under Kane’s new leadership and further cement the alliance between their people. 

She looks tired, Lexa notices immediately. The creases between her eyebrows she gets when stressed or annoyed have left a permanent wrinkle. Her hair’s almost returned to its natural waves, though Lexa still spies tiny braids interwoven in a few places throughout. That sight makes her prouder than it should.

Lexa’s torn between relief that Clarke’s returned, and worry and the potential reasons for exactly what brought her back. Her need to process seeing Clarke again leaves her without words.

Clarke shifts around, clearly uncomfortable with the silence. “Surprise” she says through an awkward chuckle.

Lexa wracks her brain trying to find any sentence that would be appropriate for what she’s feeling, and the circumstances they find themselves under. 

“I’ve missed you” would be the most true, but after the months since Clarke’s departure, she’s no longer entirely certain of where they stand in their personal relationship.

“Problems in Arkadia?” is too formal considering the late night arrival and the look of something akin to renewal on Clarke’s features as she moves her eyes up and down Lexa’s form.

It seems months of no correspondence is a habit incredibly difficult to break.

Lexa approaches Clarke slowly, silent. Clarke stands her ground, not moving at all until the distance between them is nearly gone. Clarke blinks something unspoken away before wrapping her arms around Lexa’s shoulders.

She practically melts into the embrace. She’s able to breathe again, and Lexa finds her words. “It’s good to see you, Clarke.”

They hold each other tightly for so long Lexa thinks her knees might buckle, and then still for longer. Neither moves at all until Lexa finds it in her heart to let go of something as irreplaceable as a reunion neither knew would come.

Lexa lessens her grip just enough to pull back and look Clarke in the eye. “What brings you back to Polis?”

Clarke lifts a hand to Lexa’s cheek and runs her thumb gently over a bruise Lexa didn’t know she had. She doesn’t flinch away despite the pain, instead giving a subtle tilt of her head, leaning into the contact. 

“You.” Clarke says, as if it’s simple. As if that singular word doesn’t carry dangerous, life-changing implications. As if Lexa isn’t more terrified of an answer like that than one about problems between their people.

“I don’t know what to say.” She rarely does around Clarke, it seems. Matters of manipulation or inspiration are a breeze, the words come easy like the Commanders before her are guiding them, informing her intonation and manner with just enough confidence and hope that people believe her. Lexa, though, feels utterly incapable of saying the words she feels most often. 

“You don’t have to say anything at all.”

The sentence prompts a smile from both women, Lexa remembering fondly the events preceding and following Clarke’s utterance of similar words all too long ago.

Lexa follows, perhaps too eagerly, when Clarke’s hand grasps at the back of her neck and tugs. Their lips meet when the matching grins stop hindering the progress of a lovers’ reunion.

The kiss is familiar in its warmth and its importance and yet altogether new, because on this occasion they have time. There’s no rush to fit everything felt into a single hour, and it makes all the difference. 

Foreheads pressed together, the kiss says “I’ve missed you.”

Teeth grazing over lips, the kiss says “I’m glad you still want me.”

Arms holding one another closer than they’ve been in far too long, the kiss says “I’m tired of waiting for someday.”

Lexa is speechless, but the kiss is a promise of more time to form the words her heart longs for a chance to express in full. 

It’s a day, much like any other, filled with a few bruises, annoying ambassadors, and a headache. But Clarke is here, and they have time.

She’s hopeful that part will become just as much a part of her routine.

A short fix-it fic/drabble for 11.22. ~800 words. (basically a crappy bandaid for why we didn’t see any of Sam’s trauma on screen)


In. Out. In. Out.

Sam could still feel Lucifer’s arm slung around his shoulder, breath heavy on his neck. The weight choking him. Even all the way across the bunker from him, as far as he could get, he could feel him. It made his stomach churn, bile rising in his throat.

In. Out. In. Out.

(The bile receded.)

It wasn’t as bad when he could see him. It was Cas’s face, not his. And even if it was Cas’s face in his nightmares lately, glacial chill running like a current through his veins as the room grew brighter and brighter, it wasn’t as bad. It wasn’t the same as untold years - centuries - of torture in the Cage, a different face leering over him, taunting him and laughing at his screams.

In. Out. In. Out.

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anonymous asked:

i'm from the south in america. texas to be exact. y'all is obviously a huge word here, and in the south in general. it's so ingrained into literally every southern person's vocab that you don't notice it until you go somewhere else. but online, where people don't know i'm southern, i get a lot of flack for saying y'all when i type because it's apparently aave and i'm white. i didn't see anything on aave in the index. so can i ask for the mods' opinions? or perhaps some helpful links? thank you!

I feel like y’all may have been ingrained into all the communities of the South tho. 

Followers, have any info?