*double-taked

tierannasaurusrex  asked:

top 5 moments of me & top 5 moments of wellven fandom & top 5 moments of jenlyn bc i am greedy 👀

Top 5 Tierney moments:

  1. “bitch were u asked?? was there a question mark at the end of my statement or a little poll box asking for ur input on the subject? did i somehow accidentally tag my own post as “open season on bellamy blake”? i could care less about ur moldy aged washcloth of an opinion. i wouldn’t want to touch ur soggy toilet paper opinion if it was the last bit of moisture on the planet and i was dying of dehydration. even if i was feeling particularly kind and respectful i would still not feel bad about taking a massive dump on ur toilet bowl of an opinion, which no one fucking asked for. i cannot believe u decided to ruin such a simple fucking post which had no negative aspects to it for u to cling to like period stain. if ur comment was a tangible creature i would kill it and cut it up into little pieces and stick the head on a pike in the front garden of my blog as a warning to all anti’s that bellamy hatred will not be tolerated on my property. BYE” aka the most iconic moment of all time
  2. Aw anytime you talk about Torque bc y’all are so cute
  3. Mongoose™
  4. Your mermaid/aquamarine au verse bc it’s my favorite thing
  5. Becoming friends with me, obvi what a good choice

Top 5 Wellven Fandom moments:

  1. THE CREATION OF THIS GLORIOUS AND HEARTBREAKING SHIP
  2. The Wellven au gifset where he is shipping off to war lms if u die every time u see it
  3. The acceptance and inclusion of Bartender Mechanic to form Wellvina 
  4. Every modern AU written where my son is alive and well and happy and in love with Raven
  5. Ok not to be self centered of conceited but my Wellven head canons ask last night deadass made me cry so yeah I’ma be self centered and concieted

Top 5 Jenlyn moments (first of all I cannot believe it was you and not Medha’s extra self that sent this one):

  1. Jenlyn marriage 
  2. The adoption of our favorite son Nathan Miller
  3. The Bellarke fandom referring to us as one 
  4. The Flash marathon (even tho I feel asleep like 3 times)
  5. The time people in a group chat tried to split up our marriage and neither of us were having it.


send me top 5 anything!

little witch Alfred

Miss Annie talked with me about witch!Alfred and what a cutie??? 

Al almost double takes when he walks past the aisle, because he could swear someone Captain America level cute was browsing in the plant section. He doesn’t want to be super weird and walk past again, so he turns down the next aisle. He peeks in the gap between the bottom of the shelves and the top of the books. 

There he was- the most gorgeous man on the planet. He has the brightest baby blue eyes and wire rimmed glasses. With the messy blonde hair and his face scrunched into that cute thoughtful expression, he could charm just about anyone. 

Al has to have him. 

Keep reading

anonymous asked:

hi, i know you really like the film the double and i was wondering what you thought of it/get from it because i really dont understand it. love your blog by the way, youre so inspiring and like so many beautiful things!!

Hey there! I believe it’s about the internal struggle many introverts (such as myself) have against themselves and their ‘ideal’ version of themselves. The main character is incredibly timid and submissive to the extent that he’s indifferently trampled on by everyone around him, whilst his double is the exact opposite; charismatic, popular and confidant. At times it can be soothing to fabricate this sort of alter existence as a means of escapism from the dull reality of life, but I think the film’s ultimate message is that this can be incredibly harmful too, as it can end up taking over your life (much like the way Simon’s double takes over his).

But hey, that’s just my interpretation of it- the great thing is that it’s such an abstract film, it could literally come to mean anything!

Here’s a little quote from the film that supports my theory:

“I don’t know how to be myself. It’s like I’m permanently outside myself. Like, like you could push your hands straight through me if you wanted to. And I can see the type of man I want to be versus the type of man I actually am and I know that I’m doing it but I’m incapable of what needs to be done. I’m like Pinocchio, a wooden boy. Not a real boy. And it kills me.”

the REALLY weird part about changing the color of my house (tan with black shutters, to light grey with dark grey shutters) is that it’s not shocking. it looks the way i have always imagined/pictured it, so i barely notice a difference??? 

there’s no double-taking when i look at it, i’m just like ah yes, this is my house.

it’s so strange.

10

Regimes of Time: Great Long Takes, ep. 28
The flaying of Patsey in 12 Years a Slave (dir. Steve McQueen, 2013)

In an interview regarding his adaptation of 12 Years a Slave, director Steve McQueen remarked, “The book read like a script. It was a script already—there it was, on the page—and with every turn of the page, there was another huge revelation. For anyone who thinks that they know slavery—you read that book and you do a double take. … It was like reading Anne Frank’s diary for the first time.” (source)

So, for today’s Regimes of Time, I wanted to examine his adaptation of the climax of the novel — the flaying of Patsey — by laying the passage in question side-by-side with the nearly-5-minute long take which he and cinematographer Sean Bobbitt created for it. As in Northup’s memoir, Epps whips Patsey over a bar of soap which she had acquired from Shaw, a neighbor. Their dialog immediately before the brutality borrows quotations directly from the book. The flaying itself runs from page 255 to page 258 in the first edition of Northup’s memoir (available here). It begins:

“Then turning to me, [Epps] ordered four stakes to be driven into the ground, pointing with the toe of his boot to the places where he wanted them. When the stakes were driven down, he ordered her to be stripped of every article of dress. Ropes were then brought, and the naked girl was laid upon her face, her wrists and feet each tied firmly to a stake.”

In McQueen’s film, Patsey (Nyong'o) is tied instead to a post, providing the camera a center of gravity around which to rotate. At the beginning of the shot, the camera stays to her right and drifts back toward Epps (Fassbender), who is holding the whip and staring at her back. An axis of action, soon to be quite literally drawn in by the whip, is implied between them. Northup continues,

“Stepping to the piazza, [Epps] took down a heavy whip, and placing it in my hands, commanded me to lash her. Unpleasant as it was, I was compelled to obey him. Nowhere that day, on the face of the whole earth, I venture to say, was there such a demoniac exhibition witnessed as then ensued.”

In the film, Epps prepares to whip Patsey himself, but when Mistress Epps goads him, Epps changes his mind and forces Northup (Ejiofor) to do it instead. At the moment that Epps turns toward Northup, the camera crosses the axis of action for the first time. After a long delay during which Northup reluctantly takes the whip and begins lashing Patsey (again, literally drawing the axis of action), the camera begins a clockwise rotation around the post, passing Patsey’s traumatized face. The real Northup goes on:

“Mistress Epps stood on the piazza among her children, gazing on the scene with an air of heartless satisfaction. The slaves were huddled together at a little distance, their countenances indicating the sorrow of their hearts. Poor Patsey prayed piteously for mercy, but her prayers were vain. Epps ground his teeth, stamped upon the ground, screaming at me, like a mad fiend, to strike harder.

‘Strike harder, or your turn will come next, you scoundrel,’ he yelled.”

Epps’s demand to strike harder arrives at the end of the camera’s first revolution around Patsey and the post. The camera crosses the axis of action and begins a second revolution as Northup complies.

“'Oh, mercy, massa! — oh! have mercy, do. Oh, God! pity me,’ Patsey exclaimed continually, struggling fruitlessly, and the flesh quivering at every stroke.

When I had struck her as many as thirty times, I stopped, and turned round toward Epps, hoping he was satisfied; but with bitter oaths and threats, he ordered me to continue. I inflicted ten or fifteen blows more. By this time her back was covered with long welts, intersecting each other like net work. Epps was yet furious and savage as ever, demanding if she would like to go to Shaw’s again, and swearing he would flog her until she wished she was in h—l. Throwing down the whip, I declared I could punish her no more. He ordered me to go on, threatening me with a severer flogging than she had received, in case of refusal. My heart revolted at the inhuman scene, and risking the consequences, I absolutely refused to raise the whip. He then seized it himself, and applied it with ten-fold greater force than I had.”

The camera completes its second revolution and crosses the axis of action again as Epps grabs the whip and brutalizes her. As before, each time the camera crosses the axis of action, some change transpires in the intensity of the whipping: first, Epps puts the burden of torture on Northup, then he demands the Northup strike harder, and now he takes the whip back and strikes even harder. But these crossings not only correspond to narrative punctuations of the scene, they also virtually place the audience in harm’s way — in the path of the whip. As it crosses again and again through the space of the horror, the long take structurally creates empathy.

“The painful cries and shrieks of the tortured Patsey, mingling with the loud and angry curses of Epps, loaded the air. She was terribly lacerated — I may say, without exaggeration, literally flayed. The lash was wet with blood, which flowed down her sides and dropped upon the ground. At length she ceased struggling. Her head sank listlessly on the ground. Her screams and supplications gradually decreased and died away into a low moan. She no longer writhed and shrank beneath the lash when it bit out small pieces of her flesh. I thought that she was dying!”

One may wonder why Steve McQueen and his cinematographer Sean Bobbitt opted to shoot a scene of such intense and abject horror with so virtuosic a camera move. Does this aestheticization of horror cheapen it, or even undermine it? Why, throughout the whole film, give so much space to artful compositions and beautiful moments of color and light? In the very next line of his memoir, Northup supplies the reason:

It was the Sabbath of the Lord. The fields smiled in the warm sunlight—the birds chirped merrily amidst the foliage of the trees—peace and happiness seemed to reign everywhere, save in the bosoms of Epps and his panting victim and the silent witnesses around him. The tempestuous emotions that were raging there were little in harmony with the calm and quiet beauty of the day. I could look on Epps only with unutterable loathing and abhorrence, and thought within myself—'Thou devil, sooner or later, somewhere in the course of eternal justice, thou shalt answer for this sin!’”

The film must be beautiful because Northup said it was beautiful, and because he thought that we could not understand the horror without also encountering the beauty that surrounded it. For this and another reason, the flaying scene is a master-stroke of cinematic adaptation. The other reason comes from John Ridley’s screenplay: in the film, Northup says aloud that line which he could only imagine saying in the book. But in the film, Epps also answers him. The camera stops its rotation and crosses the axis of action once more, but counter-clockwise this time, as Epps puts down the whip, glares at Northup, and tells him that there’s no sin in his action, for Patsey is his property. As he stomps off, Northup rushes to untie Patsey. She drops the cake of soap and falls flat on her lacerated back. The camera descends to the soap and lingers on it, slightly out of focus. Hard cut to the wounds on Patsey’s back, and the story continues.

anonymous asked:

OH MY GOD I SAW YOUR POSTS WHILE I WAS SCROLLING AND I HAD TO DO A DOUBLE TAKE CUZ I COULDN'T BELIEVE WHAT I WAS SEEING ANYWAY WELCOME BACK!

i just realized that i’m spamming everyone with random asks so i’m glad SOMEONE ENJOYED HI ANON HOW ARE YOU

anonymous asked:

stop calling yourself an artist. u make manips lol

You know, I’ve had this sitting in my inbox for awhile because at first I just rolled my eyes and was like eh, whatever, just another stupid anon! But actually, I hear this a lot and it really gets on my nerves.

Manip artists have to know real life perspective, proportion, lighting, and coloring. We have to match skin tones and shape bodies, facial features, and build/paint on what we don’t have. I make a lot of my own clothing for my manips, and a lot of the hair.

I design my manips from start to finish, and sometimes the after product looks nothing like the base photo. Manip artists strive to make something real, something that will make you double take and think for a split second “Omg is that a real photo?”. Most artists will draw or paint based on a real photo, where digital artists make a photo that’s never been seen. Being an artist is about taking something from your mind, or the mind of others, and making it a reality. Just because I do that with a computer screen instead of a pencil doesn’t make me any less of an artist. 

Jealousy ain’t cute and it’s annoying, especially since I consider myself to be a super nice and approachable person who would have no problem promoting or helping with your art (assuming your a bitter traditional artist and that’s why you’re sending this pointless and sad hate). I love traditional art and would have loved to look at yours or whoever else you consider to be worthy of the “artist” title. Hope sending this ask at least made you feel better.

All I Ever Wanna Be is Somebody to You.

Inspired by The Vamps - Somebody to You
Admin I
Jeon Jungkook x Reader
Word Count: 1189
Genre: Romance/Fluff (IDK I write this before I actually start the fic lmao bye)

Originally posted by comfyjimin

Jungkook rubbed his temples as he walked down the now almost vacant sidewalk. His eyes wandered across the street and settled upon a small coffee shop. He jogged across the road, only to find the ‘closed’ sign on the door. But he could careless, coffee was exactly what he needed right now. He swung the door open, the bell chiming in the process.

You jumped up, a shriek escaping your mouth as you flipped around to see a tall man standing at the door, his chocolate browns eyes boring into yours. You shook your head taking in a deep breath before turning back and wiping the last table for the day, “We’re closed right now, please lea-”

“I’d like a regular please.” He cut you off, taking a seat at the table you had just wiped down with your bright green hand cloth. 

“I don’t know if you heard correctly, but we’re closed. Get out.” 

You were getting angry at his rude behavior, but what would be expected from a rich spoiled brat. Jeon Jungkook. The son of Mr. Jeon, the multi-billionaire that owns the famous Jeon Law Firm.  Jungkook’s face has been plastered on every newspaper and magazine’s front page for the past two weeks. He was the heir to the company and was soon to become the head of it as well, so his father was having him work as a lawyer to prepare him. Or at least that’s what everyone is saying. There’s also speculation going around that he hasn’t even attended college at all, forget about even studying law. People who get things handed to them on a silver platter infuriate you. Not because you were jealous of what they had, but because they don’t make any use of what they have. Life is so easy for them, yet they decide to misuse it.

Jungkook sighed before fishing out his wallet, sliding a fifty dollar bill towards you, “A regular please.” You continued to stare at him, not planning on letting him buy you off with his money.

He then proceeded to pass you another fifty. You picked up the money, grabbed his hand and shoved the money into his palm, “Wait here.” You walked to the back to prepare his coffee so he could drink it and finally leave and you could get back to closing the shop.

You rolled your eyes as you handed him his coffee, “Quickly drink it and get the hell out so I can go home.” 

He gave you a side smile while muttering a small thanks. You walked back to the cashier, beginning to count what you had made today. 

“You’re acting differently. Usually, everyone else treats me like royalty, unless you don’t know who I am.” He tried to start a conversation.

“Wowowow, you must feel real offended since I’m treating you like I would any other human, huh?- “ you set the money down and leaned over the counter, cocking your head to the side, “I know you real well, Mr. Jeon Jungkook. I know your type of people, but trust me you guys aren’t superior to any other person in my book. I’m not acting different, I’m acting normal.”  

Jungkook felt his stomach churn, something about this girl was intriguing, and he liked that very much.

“Typical.”

“Typical?” You arched your brow.

He took a sip of his coffee, “Yeah, typical. A girl who doesn’t have all that she wants in life will obviously think that way. You’re probably “optimistic” too? Princess, I know your type.” He mimicked your voice, sending you a wink.

“Listen, I do have everything I want in life. I’m living a life that isn’t based on materialistic things and I’m quite content with it. My future probably isn’t as bright as yours, but at least I can choose what I want my future to be like, right?” He was taken aback by the sudden roast but held his cocky smirk you wished so badly to slap off. 

“You can continue to tell yourself and others your happy working a full-time job at a coffee shop and living in a one-room apartment honey, but in reality, you’re not so close to happiness as you would want to be. My life might be sad at times, but one look at my bank account and I’m the happiest boy alive.”

You scoffed, “Money doesn’t buy happiness. It’s the little things in life that do. I truly am happy with my current lifestyle, even if it’s not filled with expensive cars and extravagant houses and partying all night long. I’ve worked all by myself to get this far, and I will continue to work harder to get farther in life, by myself, I’ll be abe to experience the real world, be who I want to be, and honestly that’s all I want. I’m not down to have things handed to me on a gold platter. I’m fine where I am.”

Jungkook liked they way she thought. He admired her positive mindset, it was something rare nowadays. Most of his life he did have things done for him, but as he grew older he wanted to be able to do things for himself, earn his way to where he was destined to be. No one had any idea how hard he worked his ass off in college, how many sleepless nights he had, or how many times he was admitted to the hospital because of dehydration from over-working himself. He planned to keep it that way, he was tired of being treated like a superior being, he knew that if people found out, they’d treat him even better, and that made him feel worse. He’d rather be thought of as the stereotypical spoiled rich boy. 

“Well, you seem to know how to live life, huh? How about on Saturday you teach me a few things on how to live life like a normal person. Show me the little things in life that create the happiness you speak of?” He sent you a genuine smile flashing his teeth and his eyes crinkling up. You swore your heart stopped at the way he looked. So innocent, like a little boy ready to explore the real world, ready to put his imagination to the test.

You gave him a small smile back, “Alright. Maybe you could lower your ego a bit as well.” He laughed, walking up to you with a folded piece of paper.

“Alright-” He slid the piece of paper towards you, “here’s my number, give me call when you get off work and teach me about the life you’re talking about, princess.” He sent you one last wink before stalking out of the cafe with a smug look. 

Let’s see how this plays out, Jeon Jungkook