I think I watch this scene every day

ok, so i was watching escape from beta traz a few days ago. and i realized something. Lance never misses.

here he is, shooting the warden. if those metal arms weren’t there, the shots would be hitting him right in the face. it’s already impressive that every shot is hitting its target, but it’s ALSO implied that for most of those shots, lance was running and aiming simultaneously

and then there is THIS scene. i think lance was overshadowed by shiro here because shiro does some pretty crazy shit! but lance does some pretty crazy shit too.

theres this little screencap, which i love, because it shows lance being serious and concentrating which isnt something we get to see very much.

the two sentries in this photo were taken down by lance in the first few seconds of the conflict. Shiro does some cool fighting shit, using his environment to his advantage, it looks really cool. He then takes down a sentry that Lance, admittedly, DID have. I’m not bitter about it, but Lance is, and that’s why I mention it.

also look at laika shes so cute

but anyway. at this point, the warden and pidge both show up. the REAL fight begins.

lance takes on the big guy asap. again, if not for those metal arms, the warden would be toast. but it doesnt stop there, no. to avoid one of the wardens attacks, lance propels himself in the air and continues to shoot.

and still doesnt miss!! what a badass!!

and, of course, we have the sharpshooter scene. but thats been analyzed already, so i wont go into it.

“but how can you know that this is intentional?”

easy. everything in animation has to be intentional. both keith and hunk also operate guns in the series at some point. hunk, who has little experiencce with guns, has sporadic shots that sometimes do not meet their targets, or take multiple shots in order to do so. In season 2, episode 12, keith shoots at some galra sentries. but not all of his shots hit them either.

These are some screen shots of that particular scene. Keith hits the walls too, not just the sentries. Meanwhile, Lance is making the target with every shot. And I’ve only examined this one episode, so who knows how much i’ve missed.

Anyways, it’s intentional. Super intentional.


TL;DR: Lance is an expert marksman and sharpshooting is his thing. The others just haven’t realized it yet because his talent isn’t as flashy or as obvious as the others and often gets overshadowed

The Kendall Jenner x Pepsi Ad Made Me Want To Vomit

Before you do anything else watch this if you haven’t seen it already: 

Did you watch it? I hard a hard time making it through the entire spot myself without a few grimaces, “wtf were they thinking” faces and a “i can’t believe this shit” to a coworker. 

Let’s look at a few scenes to examine why this isn’t just the worst ad of all time but an ad that is insensitive, offensive and completely thoughtless. 

1.) Co-opting a movement 

Love

Join the conversation

Peace

These are all very nice sentiments and shit we should strive for every single day but they aren’t the typical signs you see at real protests. The protests where people are putting their safety in danger because they’re afraid they might walk outside with a hoody on and get shot, or that their family won’t be able to return to America if they board a plane to see their family in their native country are the images of protest people actually experience. The protestors certainly not as happy as the perfectly casted multi-racial group of actors walking down this very well lit street with no menacing or threatening police officers present any step of the way. Hell, they even found time to place pretty people to eat next to the protests while it was happening. The police aren’t in riot gear, apparently seeing no threat from this massive group of protesters singing and dancing their way towards them. 

Now look, I work in advertising for big brands™.  I know major corporations are risk averse and don’t want to alienate potential consumers who don’t share in what should be non-controversial views like equality and freedom of expression. But they are. But that’s why no one has ever asked a corporation to make a fucking resistance commercial. If you aren’t going to be on the ground with organizers and protesters, or helping to pay legal funds for those wrongly incarcerated or even at the very fucking least, providing food and beverages to people who are taking hours at a time out to speak out on something they believe in, then don’t use a movement for your own commercial gain. 

2- Tropes, (Un)intentional Racism, More Tropes 

All black people are good for in commercials are for hip hoppity dancing, tattoos, giving dap and staring lustfully at white women. 

All the people of color in this ad are mostly used to check boxes provide accent color to what is an otherwise whitewashed scene. 

This is an especially embarrassing lack of effort in representation when one considers the context in which the subjects are being portrayed. 

3- Our White Savior 

Ohhhh boy what in the actual fuck?!!?!

Another white woman swoops in to save the day. I wish Pepsi had Melania Trump’s number so that I can get past a few of the issues currently concerning me. 

I would’ve had a problem with this closing scene if it was from just about anyone but we’ll get to the actual ending in a bit. The fact that it’s a fucking Kardashian Jenner – the physical embodiment of wealth, entitlement and privilege in America – shifts this ad from just terrible advertising toward the realm of parody, absurdity and offensiveness. 

Do you remember the protests in Baton Rouge after Alton Sterling was gunned down by police officers? 

This is the lasting image of those protests. Ieshia Evans is walking up to a group of white police officers dressed like they’re ready to confront ground troops in Northern Iraq, and able at a moment’s notice to gun her down. 

The ending of this thing is even more absurd. Once Jenner hands the very peaceful policeman the can of Pepsi, the crowd goes crazy, like they were all Tyrone Biggums and it was time for the free crack giveaway. 

If I knew all I had to do to avoid being shot by the police while black was carry a Pepsi around with me, I would’ve been doing it this entire time. 

do you ever think about how gay you are and then get this really bubbly happy feeling in your chest where it’s kind of hard to breathe because you’re just so happy that you get to like girls??

  • Maui: the ocean says you're a nerd
  • Moana: I'm not surprised
“Broken” (Chapter Fourteen)

This is a short chapter, too important to add to Thirteen, but not the right scene to turn into Fifteen lol so if you guys want another chapter today give me 145 likes and 50 reblogs and Ill post again. 

For those who are wondering, no good change with my grandma, we are just waiting for her to pass now and I cry every time I think about her, so please keep asks/messages about fics to help keep me distracted. 

ADDITIONAL CHAPTERS HERE

***************************

Bucky’s heat lasted three long, horrible days, and everyone took turns sitting and watching Bucky throughout to make sure he was alright.

First Steve and Tony, for hours, then Clint came to relieve Steve. After that was Natasha, who held Tony’s hand the entire time, and then Pepper who brought a stack of paperwork and kept up a constant stream of chatter about the company and the latest news from SHIELD as a way to break up the quiet. Bruce sat and went over the final design for their new helicopter, forcing Tony to take bites of his dinner in between okaying certain specs and constantly checking on Bucky.

Sam was last, having been gone on a mission for a few days, but as soon as he got home and heard what happened he was downstairs as well, telling a nearly passed out Bruce to go to sleep, and taking up the post next to Tony.

And Bucky never moved.

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Burlesque

Request: Can you do an imagine where when the reader was younger she was an ugly duckling she was friends with Tom and Tom had left and years later present time Tom finds reader and now she is beautiful???

Word count: 1627

Masterlist

A/N: So first of all, I’VE REACHED 500 FOLLOWERS!!! That’s crazy! Thank you so much guys! Second of all: I really loved this request! I actually really enjoy writing requests, so if you guys have some, please send them in! Maybe, someday I will make a prompt list, but who knows?

”Out of every show in London, you choose Burlesque? You know, it’s, right? I’m not complaining, but really?” Harrison asked, while we were finding our seats.

“I just wanted to see something. I like going to the theatre. And besides, one of my old friends are playing. I haven’t really seen her since we did Billy Elliot, but I still talk to her sometimes. I just thought it would be fun to see her again” I answered as we sat down. She was a nice girl when we younger. A good friend.

“You’ve never mentioned her before. Is she some secret of yours? Former girlfriend or something?” Harrison joked. People were still finding their seats, and we were patiently waiting for the lights to dim. I had my hoodie up, not wanting to cause a fuss.

“No. It’s nothing like that. She was just nice, you know. The kind of girl you don’t really notice, but she’s there for everyone. I kinda wish I had stayed more in contact with her. Just wanted to see how she’s doing. I remember her having a hard time finding roles. Something about her not being pretty enough” The amount of people coming in, was starting to thin out.

“So in reality, you feel bad for her, and just wants to see if she succeeded. What role does she have?” I looked through the folder, as Harrison asked. I haven’t really looked at it, after I saw her name.

“Ali Rose, I think. The main girl, or something” I said, as the lights went out, and the music started playing, making us both quiet. A little time went by, as the story started, and a girl walked on stage. I couldn’t believe my own eyes when I saw her.

I could barely recognize her. She had changed a lot over the years. She wasn’t the girl you didn’t notice anymore. She was the girl everyone noticed. Maybe it was the clothes, or something about the make up, but none the less, she was hot.

And her voice was just so powerful. I didn’t even know she could sing. I had spent almost every day with her, for 4 years, and I had never heard her sing.

“Are you sure that’s the girl, who couldn’t get roles, because she wasn’t pretty enough?” Harrison whispered, when her first dancing scene came on. This was so different from when we did Billy Elliot. I knew she could dance, but not like that. This was something else.

“I think she is now. More than pretty enough” I was left speechless for the rest of the show. I was too busy just looking at her. I didn’t really watch the play, as much as I watched her. How could that possibly be the girl I knew from Billy Elliot? I knew what burlesque was, so I didn’t really know what I had expected.

***

“You coming?” Harrison asked, after the lights had turned back on. He was already standing, and half of the people had already left the room.

“Why don’t we wait? Maybe go talk to the actors? You know, just to say hi?”

Y/N POW

“Y/N. Some guys are asking for you. A Tom Holland or something” Someone from the crew said to you, after you had changed back to your normal clothes. You were just about to take the make-up off, but with the mention of your old friend’s name, you decided it could wait. Could it really be him?

You walked out from backstage, to where the audience had previously been, to find two boys sitting in the front row, waiting. You could hardly believe your eyes. It was him. Thomas Holland. He was part of the reason you loved acting. When you did Billy Elliot together, he just made the whole experience so great, that you wanted to continue.

“Tom? What are you doing here? I haven’t seen you in forever!” The happiness overtook you. You were running towards him, and he quickly stood up, spreading his arms, so he could hug you when you got close enough.

“I’m here to see Lion King. Why do you think I’m here? I’m finally back home, and saw your name on the poster. Did you really think I wouldn’t come see you?” He asked with his arms around you. He had gotten taller since Billy Elliot. And a lot stronger. You pulled away from him, taking a good look at him.

Of course, you knew how he looked. You did follow him on social media, but it was just so different in real life. It didn’t seem possible, but he looked even better in real life.

“Look at you! You’ve grown so much! And you’re stronger than you were 7 years ago, that for sure. It looks good on you! You look good Tom” You said, smiling happily. For the first time you looked at his friend, who sent you an awkward smile. “I’m so sorry. I’m being rude. Hi! I’m y/n. It’s nice to meet you”

“I’m Harrison. Tom’s friend, if you hadn’t guessed that” Harrison smiled at you.

“You know, you look good too, y/n. You’ve changed a lot! I could barely recognize you. It’s a good change! Not that you didn’t look good before! You just.. Now you’re just really beautiful” You looked back at Tom, how looked flustered. He was looking down at the floor, and you couldn’t help but smile.

“Yeah, it’s funny how puberty works. You got tall, I got boobs and a butt. And I lost my braces. I’m also wearing contacts right now, and a professional did my make-up and my hair. And you know. It might have something to do with the dances, I can’t take all of the credit” You laughed shyly. “I was actually about to take my make-up off, and get ready to leave. Do you want to join me, so can keep talking?” You asked the boys. They quickly nodded, and you started walking.

“You got your braces off, while we were playing Billy Elliot. I did spend 4 years with you, after all. And you do look good. So I don’t understand why you never post pictures of yourself on Instagram. You should. Then I wouldn’t be so surprised when you walked on stage tonight” You rolled your eyes at him. As much as he posted pictures of himself, you never did. You posted a lot of other pictures, but never pictures of yourself.

“You’re not the first person to say that. Maybe I’ll listen to you, maybe I won’t. Anyway. So how is it being Spiderman?” You asked, as you got behind the scene once again. You sat down in your chair, and started removing your make-up.

“It’s great. It’s really great, I love i-“ “Hey, y/n! Are you coming out with us tonight?” one of the other actors yelled to you, cutting off Tom.

“Nah. Not tonight. But you go have fun.” You answered, as she walked closer. “What? Are you having a threesome or something?” She asked calmly, before she ate the crisps in her hand.

“No, I’m going to kill them” You joked. “No. I’ve got practice tomorrow. So I’ve gotta be there at 8, and it’s not really that fun when you’re hungover.” You talked from experience. You had learned that the hard way.

“Right! You guys want to join. There’s always room for more people” She asked Tom and Harrison. Both of them declined, and she walked away again. It didn’t take long, before the rest of the cast was gone as well.

“I’m sorry about that. We got a lot of inside jokes”  All of the make-up was gone from your face, and you felt so much lighter. “And it’s really not to be rude, because I would really love to catch up with you, and get to know you, Harrison, but I’ve got a long day tomorrow. So I’m just going to grab some take away, and then head home”

“Sure, it’s fine. What are you doing tomorrow? After whatever you’re practicing?” Tom asked.

“I don’t have anything planned. And I’m just going to be dancing, and singing. I’m doing two round of every dance, so I don’t plan on doing anything at all” You smiled, already looking forward to tomorrow. “I could really just use a movie day. It’s the first time in weeks where I have the afternoon off, so I’m going to enjoy that”

“So. You don’t want to do anything tomorrow?” Tom asked, suddenly sounding disappointed.

“Yes. I mean no. yes? No?” You didn’t really know, how you were supposed to answer that question. “I would love to spend the day with you. But can we please, just do nothing? Like, sit on a couch, and just catch up”

“Really? Yeah. Yeah, we could do that! We can totally do that. Harrison, what do you say?” Tom’s dark eyes were almost glowing, as he looked back at Harrison.

“I think I’ll pass. I can already feel the sexual tension between the two of you, and I’m not going to get in between that. So I’m just going to leave right now, and let the two of you schedule your date. I’ll be just outside the theatre” Harrison said, before walking out.

“There’s not. I don’t. what?” Tom struggled to find the words, and you found that you were both blushing.

“So it’s a movie date? Because I would like that. I would really like that” You gathered the courage to say. Luckily, you had become much more confident since you got the role in Burlesque, so you were able to almost play it off.

“I’ve never been so thankful for Harrison”

Taglist: @rock-n-roll-queens @m-sterre

random thoughts finally watching Jurassic World

- Wow, this film is super not impressed with dinosaurs.  Remember the triumphant, “HOLY SHIT A FUCKIN’ DINOSAUR” introduction of the Brachiosaurus from the first film?  There was such a sense of wonder and awe, and despite the 1993 CGI, a willingness to linger on and admire the sheer scale of the thing.

Jurassic World basically puts the dinosaurs in the background until they start eating people.  They’re mostly rushed through, glossed over, off-center and out of focus.  Even their roars are mixed low in the soundtrack.  Why would you do this, movie?  Do you think I care about these kids’ mildly dysfunctional family dynamics, or if Chris Pratt can sexually harass Uptight Bosslady into loving him?  I did not come here for that.  I came here for dinosaurs.

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My Korrasami (TLOK finale) “funny” story

I don’t know how many people are still following my blog but I feel the need to share this with you, because Tumblr is the right place for it. Always.

Years ago I stopped watching Legend of Korra at the end of first season because I. Fucking. Hate. Love. Triangles.
As huge fan of ATLA I decided to wait for it to end and see if it was worth enough of my attention, and after some years… Korrasami happened.
I’m not gonna talk about the amazing feeling of POWER I felt that night when tumblr exploded because of it, and how I screamed and laughed even if I didn’t follow the series.
What I want to tell you, is how I started watching Korra last saturday and how I finished it all in one week (I know, it’s not impressive, but I work 8 hours per day now, so.)
I’m gonna give you a quick idea of what’s going on right now, then:

- I am utterly, out-of-space, crazy in love with Korra.
- Asami is a fucking badass.
- Bolin is my precious baby.
- This show is the most fucking feminist show ever.
- I don’t hate Mako, but he truly needs to improve is fucking relationship skills (meh)
- I have a total unconditional respect for Bryan and Michael.

- HOLY SHIT KORRASAMI

When I watched the finale (even if I have seen billions of gifsets during my last year in tumblr), I imagined my reaction would have been a normal one, I mean… I knew it.

Oh boy was I wrong. 

I cried for 45 minutes, I watched that scene 10 times, until I couldn’t look at it anymore for the heartache. I cried and whipered “no, it can’t happening, this cannot be real.” Like I couldn’t believe it myself even tho I already knew it.

I physically felt my inner child crawling up from my memories, from the places I was hurt the most in the past, and crying with me. I felt all the frustration and the memories of why being gay is so beautiful but at the same time so exhausting, it was like my brain couldn’t believe I was watching something that was about

me,

without queerbating, without shitty compromises or fights, in a animated show nonetheless.

So I cried for 45 minutes and then I got a panic attack because my emotions were too much. It was like opening a gate and let the water flow and crush everything. It wasn’t just happiness, it was also sadness in realizing how much pain I felt and I repressed becuase of the shit we have to put up with every day of our life. It was so overwhelming that I had to take a day off work, and I think I know that it took me so much to watch Korra because I knew it would have such a huge impact on me.

But since that day (two days ago) I feel strange, like something changed within me and I just can’t understand how a scene so simple and short can be so powerful and better than a lot of love stories I’ve read and seen before.

I don’t know how they did it but maybe (I bought all the artbooks already and read some of the notes at the end) it is beause the writers treat us like people, and not just like a rating number.

It’s such a power feeling. I still feel like crying if I think about it.


Sorry for the rant but thanks if you read it all,
patronustrip

esquire.com
Joseph Fiennes on How 'The Handmaid's Tale' Is Just as Disturbing for Its Actors
"A part of me just couldn't wait to get out, and scream, and get back into my hoodie and trainers."

It’s not exactly accurate to say that Joseph Fiennes plays the villain of The Handmaid’s Tale, because no human character earns that label. The villain of this story—both Margaret Atwood’s novel and Hulu’s lauded adaptation—is misogyny, and the forces that have allowed it to metastasize uncontrollably across the nation, transforming the United States into the puritanical nightmare that is Gilead. But Fiennes’ military commander Fred Waterford is the face of the regime, and his slippery cat-and-mouse dynamic with Offred (Elisabeth Moss) is the only arena in which she has any real autonomy. Throughout the season, as she goes from being strictly Waterford’s Handmaid to his mistress, it’s increasingly unclear who is manipulating whom.

“The men are pretty thinly drawn,” Fiennes acknowledges in reference to Atwood’s book, “and they have to be, because it’s not their story.” Though Fred’s lack of depth on the page initially left him skeptical about the role, his trepidation didn’t last long. “Once I got into the book, and particularly the relationship that grows out of his clandestine meetings with Offred, I thought there was great character copy to be had.”

Early on, Waterford seems potentially sympathetic: he treats Offred more kindly than most, almost as though he sees her as a person, and an ominous invitation to his office turns into an endearingly benign game of Scrabble. But by this week’s episode, it’s become clear that his attention to Offred is selfish, putting her in danger in order to feed his needs rather than hers.

As has been exhaustively noted ever since the show premiered, parallels to Gilead are everywhere in 2017—not only to the regime’s oppression of women, but its puritanical brand of nostalgia, and fixation on a return to traditional values. Take the revelation that Vice President Mike Pence cannot dine alone with women who aren’t his wife, and then consider Gilead’s rule that a commander can only be alone with a handmaid if his wife is also present. Fiennes diplomatically calls the parallels “very, very curious, in this day and age”.

Below, Fiennes speaks to Esquire.com about Waterford’s “pathetic” brothel dalliance with Offred, his hopes for the now-confirmed second season, and getting into the mind of a rapist.

Though Waterford is inscrutable for much of the show’s early episodes, Fiennes worked a lot on unseen backstory.

The thing I wanted to explore was the relationship he had with the previous Offred. Coming to my own conclusions about what her death meant, and the reasons she took her life, and the impact that would have had on the household and Fred, was an interesting starting point. In the book, Fred is described as “a pathetic, soft, withered limb that lives inside a tough military boot.” There’s a sense of loneliness, and of his wanting to reach out and wanting to care for [Offred], and then there is this lurking monster—a man drunk on his position of power, and all of these arcane rituals he partakes in to keep control.

You should be thrown by him, as Offred is, and that uncertainty makes her knife-edge negotiation of survival that much more gripping. Because in a sense, you want her to find this sanctuary [in his office]. There’s life, there’s words, there’s Scrabble, there’s an exchange of human contact, and yet Fred is loving that power exchange, and loving the fact that her life is in his hands. He’s ultimately a dark creature, but to begin with I wanted there to be elements that would confuse.

There’s a specific reason why Waterford was unable to perform during the ceremony in Episode Four, directly after he asks Offred to join him for Scrabble later and she declines to answer.

Taking away power from a rapist ends up emasculating him to such a degree that he can’t perform. I think that’s essentially what [that scene] is. Whether it’s subliminal or not, he feels that he has lost control when she doesn’t answer him. Out of nothing, she manages to find a kind of status in her silence, just not saying, “Yes, I’ll meet you for Scrabble at 9:30.” Just delaying that response was enough to throw him into turmoil, and physically we see the repercussions of that.

Though Waterford is probably sterile, Gilead doesn’t allow for that possibility to be voiced–even to himself.

I think there’s probably a two per cent part of his brain that might go there, but he’s used to blaming his wife. So much of his disconnect with Serena is based on the barrenness, the idea that she hasn’t provided them with a child which is such a status symbol. He’s so far down that road of detachment and blame that he wouldn’t dream that [the problem] is possibly him. In the higher echelons of Gilead, as a commander, I think it wouldn’t befit him too well. The revelation would just be too crushing,and maybe we’ll get to see that in the second series. I’d also like season two to really examine how a regime like Gilead comes into effect; the minutiae of that would be fascinating.

Episode Eight reveals the deeply immature impulses that drive Waterford.

He’s pushing this relationship to the extreme, and in one sense it’s a classic setup, the married man and the mistress. He loves having Offred take on his wife’s identity and wear the cloak, and once they cross the bridge into this forbidden territory he’s able to operate as he please, transporting them both away from all the rules and regulations. But I think he also loves the power of shocking Offred. There’s this “naughty boy” side to him, and I think he gets a kick out of this completely pathetic brothel setup–it’s sad in every which way, but I think there’s an immature thrill he gets out of the shock factor. He’s exhilarated by it.

As tough as the show is to watch, it was even more grueling to shoot.

Every day before filming I had to draw a deep breath, because it’s such a creepy world, and such a creepy character to inhabit. A part of me just couldn’t wait to get out, and scream, and get back into my hoodie and trainers. The ceremony scenes were deeply disturbing [to shoot], because they’re so much about rape culture, although Fred has invented this justification for it through scripture. For me, every utterance and every move he makes is tainted with the corrosive effects of patriarchal authority.

It’s ugly, and the fact that it’s human nature makes it more ugly. I’ve met, and read about, and seen, people who just have no sense of equality or humanity. They’re privileged to the point of disconnect, and in this world of Gilead, I think Fred believes he’s untouchable. Scripture and theocracy have allowed him to disappear behind this cloak of authority, and he’s become the mask.

all-name-is-taken  asked:

I really like how much energy you give back with body language. Even a simple standing pose looks so lively. May you share some tips and tricks? I would like to hear how you learned to use poses/body language this good, cause I really adore your style. Keep up the good work! ^^

Aaaah, well thank you so much ;w; Body language is honestly some of my favourite things to try and bring out in a comic page. And those are some really high compliments! >w< thank you!

A big part of it is to remember that no human being (or animal) (or monster lol) in real life ever “stands still”. A person always stands in a way that reflects their mood, a thought, and their physical condition at that moment, if it doesn’t reflect an action. In the newest page, Sans leans a little to see if the human is out of sight. So in my mind, I imagine he has to look past the trees to see properly, which is why he leans. And then to emphasise the pose, I have him on his toes just to push the pose that little bit extra.

In earlier pages, I think a lot about the character’s personality as well as what they’re currently doing or saying. Sans is very withdrawn, so a lot of his standing poses are quite similar. Sans keeps his cards very close to his chest regarding his real thoughts and feelings, and so his standing poses rarely reflect too much, instead relying on things in the environment to change up what he’s doing. Papyrus is the exact opposite. he is very animated and gestures a lot. And so by extension, his poses are very extreme and show exactly what he thinks and feels.

On top of this, I very often give characters something physical to do or play against, which often just gives me a pose to work with so I don’t need to think too hard. Like when Sans and Papyrus reach their home early in the comic, I have Sans take his shoes off as he’s talking to Papyrus. This gives me things to draw while they talk not only for Sans, but then also for Papyrus who picks up after him.

In the morning, I give Papyrus a cup of coffee because that’s something you’d have in the morning. (I also imagine he enjoys spending the morning on the balcony with his hot drink although I couldn’t show that in the comic) So when he starts talking to Sans, the situation kinda just writes itself with Papyrus suddenly having a cup of coffee in his hands me going “ok… so now how does he pose if he’s holding this?” and making it up from there. Every solution is also a problem, which then also becomes a solution etc etc.

Also as a whole, I pay a lot of attention to other people’s art and how they handle poses and emotions. I have a lot of folders on my mac just for poses. I have several folders for photos of models, but I tend to use them more to check my anatomy.

And then I have a folder for “poses” which consists more of other people’s rough studies, tutorials, sketches and free to use references. I tend to use this one this most, usually for things like hand-poses or if I’m stuck on a technicality and I’m not sure how to push it. The hand is the second more expressive part of the human body after the face. Some sometimes a hand pose can actually lead me to know which expression or pose to give a character!

Then of course I look at how other artists have drawn and poses the characters in question in their art. I look at how they handle their poses, expressions, interactions and reactions to the world around them. I take cues from these, but I don’t copy the poses or use them as “reference”. Because I am drawing the same characters, it feels too much like “copying” to essential redraw an exact pose. However, it can help when I’m stuck on something like “how does Sans’ face work when he’s angry??”

And then of course, I have a lot of professional model sheets and production art that also help me problem solve or try to figure out how to express a certain emotion or feeling.

Body language in art and animation is something I’m just naturally drawn to (no pun intended) And so when I watch anything animated, I pay a lot of attention just instinctively to how a character is standing, responding, or moving in a scene. That thing where people say “can’t you just turn off your brain and enjoy a dumb movie?” like… no…. I can’t… because I am ALWAYS using my brain. In many ways but one of which is the constant taking note of what a character is doing. Even if its just on a “oh that’s nice!” level. I still remember it. So that maybe years later I go “What was that one pose that one character did in that thing I saw 5 years ago? That would be a good pose for this scene!”

Originally posted by dezaki

I build up an internal reference library, and constantly take note of things I watch, read and see online. Usually no more than “I like this!” but that’s usually enough for me to remember it. Even if I never use the pose itself, it helps me better think of how characters react and interact with things. And then the more I see it, the easier it is for me to come up with ideas of my own.

(also. I have a deep unbridled love for actions and scenes in completely ordinary normal “boring” situations. Because those tend to be the hardest poses to pull off because they are things we do every day of our lives, subconciously without us thinking about them. So we recognise much faster when the pose is false, but when the pose is on point, it resonates with us a lot more. And normal posing is one of my personal favourite things)

This is also why something like Revolutionary Girl Utena is my favourite anime. because the shown with a limited budget, had to spend SO MUCH TIME on how they make a character stand or pose because they literally didn’t have enough money to make the characters move a lot. And posing is VITAL in utena, because the entire show has less to do with what people are saying out loud, and instead what they are DOING. Because the show operates on metaphors, visual cues, social cues, body language, and double meanings. For instance.

So in a show where no-one talks straight, everyone talks in double meanings, and you can’t trust what anyone says, body language becomes crucial in understanding people’s real motives, what is happening in a scene, and what is actually being said. It’s a great anime to exercise your observational skills. As well as your ability to interpret meaning from actions and body language, more than just speech and dialogue.

And then there’s the old fall backs. LIFE DRAWING. Which can never ever ever be stressed enough. Human observation. People watching. live action movies and taking note of acting (which is why I like movies from the 70s and 80s so much. The act had a more realistic tone to it, and the humanity shines through a lot better) as well as just simply, old fashioned practice.

Practice of EVERYTHING. Practice drawing. But also practice observing. Practice interpreting. practice analysing. practice remembering. Practice noticing. practice engaging when watching something instead of just passively watching. All these things take practice practice practice.

Originally posted by settei

Anyway. This is a very long reply and maybe a little off topic for this blog ^^; but I hope it could at least help you out and give you somewhere to start if nothing else.

The Night Manager: Secrets of Le Carre revealed at TV Festival

The BFI Radio Times Festival hosted key members of The Night Manager’s cast and crew last month, with Oscar-winning director Susanne Bier, executive producer Simon Cornwell and cast members Alistair Petrie and Tom Hiddleston sharing backstage secrets on this magnificent edge-of-the-seat spy thriller.

There will be some paraphrasing – you try deciphering my notes a month later! And apologies to any of the speakers if I attribute a quote wrongly or misquote.

Radio 4’s Front Row presenter Samira Ahmed was on hand to chivvy the info out of them.

What made you want to do it?

AP: The scale – even though it was the BBC – the settings, the budget to make it happen. Thanks to Tom and Hugh’s involvement, AMC and others got on board. The budget worked without being gratuitous.

SB: I come from low budget film, so I’m used to expanding small into something worth looking at.

SC: The budget was bigger than many films, we were free to do stuff we wouldn’t normally do.

SB: The story is about being drawn into the world of lavishness. You can’t do that without it being rich. Crucial was Roper’s location. That would set the bar for everything else.

A lavish location was key for The Night Manager

TH: The crew make it look more expensive than it was. The interior of the Alps hotel was inside tents! It’s a testament to an impeccable crew.

SC: When we found the Majorca location – originally Greece in the script – we had to rewrite.

AP: The private jet was a cardboard loo roll.

SB: It was a private jet!

AP: There was a guy with a light pretending to be the shining sun. Secrets revealed!

(At this point, Susanne’s reactions made it unclear whether AP was making this up!)

We revisited the clip of Danny’s attempted abduction, closing in on Pine’s eye through the hole in the door. Remembering how the tenseness set in almost immediately, you could almost taste the IMAX audience relive the original moment. The panel discussed how that frantic scene came together.

SB: Whenever you direct a scene you have one single idea. We had this leisurely, relaxed scene completely turned over.

AP: Susanne’s method is to go straight into rehearsal, thrust straight onto set. The crew can get nervous when cameras aren’t turning and you’ve nothing in the can.  There are so many elements of the story to fit in but endless rehearsal means everyone knows where they should be. Being in the middle of it is a privilege.

The panel discuss the intricacies of a busy scene

SB: You have an idea, you collect material. You know this particular moment is going to be there. There needs to be real emotion. You don’t see the actors acting, you’re in the emotion. And child actors are just as ambitious as adults.

TH: The casting of Hugh Laurie was genius. His presence, his casting presented a conflict, so affable and likeable (in comparison with evil Roper) he (Roper) is charming, funny, loves his family but is responsible for awful things – all the stuff is paid for by arms.

SC: That scene was a Masterclass in acting and directing. A brilliant piece of construction. It’s in the book but came alive on screen.

AP: The nanny was the director’s daughter, Alice, just 19. I felt like a creepy old man but she put me at my ease: no, we’ll have a dance, no worries.

They moved onto the fire alarm test scene, where Pine breaks into Roper’s office looking for evidence.

SB: This shows why Tom is so brilliant. What he does, he thinks, “Who is Roper? Where would he put stuff?” Not many actors can do things just with their face like Tom.

TH: It’s my favourite scene in the book and a testament to Le Carre. You read it with a propulsive momentum. The internal compulsion within Pine is active even when he’s still. It’s classic suspense, a ticking clock time window. The props were chosen carefully: Churchillian. Boxing. Stalingrad. Roper’s fantasy of powerful statesmen yet rough enough for a boxing ring.

We took a moment to appreciate the glory of Tom Hollander in the restaurant scene where Corky loses it.

Corky tries to warn Roper about Pine

TH (jokingly): The manhandling was improvised. He didn’t ask permission. I’m scarred for life.

SC: John le Carre loved the whole experience on set. The scene is in the book but not so bold and exciting.

SB: Tom Hollander went way more extreme than we’d all anticipated.

TH: It was such a pivotal scene and so exciting. The moment of Corky’s demise and Pine’s elevation to the top rank. JLC was magnificent in that scene. Pine settles him quite quickly in the book but JLC refused to be settled – like any great actor, he forced me to achieve more.

SB: I had to direct him to accept the apologies! He was: “What about her? What about him? (being brought their correct food). Well, I think this is very shoddy.”

AP: We’re on the coffee and mints by now on the next table.

“I must apologise for my friend’s behaviour” “I think you bloody well should!”

Pine v Roper

TH: The whole character was an exploration of the malleability of identity. There is something broken and unique about Pine. All his grief curled up inside. It’s why he’s a night manager, he hides behind darkness. Burr identifies that Pine is able to slide between characters. He had to embrace the side of himself that is quite like Roper. They’re looking in a mirror divided by a moral red line.

AP: My dad was an RAF pilot who came across interesting people. One guy became a good family friend. Great company – but he was a legit arms dealer. There was a disconnect between the job he did and what it led to, and the human being. You start with the human being, before the ‘what do you do?’ They do normal things and you layer in everything else.

We’re reminded how Roper likes to show off his arsenal – and then Pine blowing it all skyward.

SB: You need the scale and the drama of the explosions but it was a metaphor of the shoot out between two men. Roper doesn’t know how powerful Pine is until then.

AP: Looks bloody good on IMAX!

TH: There could only be one attempt at the explosion, everything after that had to be shot very fast while we had the smoke and flames. Hugh is magnificent. He realises he may have lost and loses his cool.

Capturing lightning in a bottle

AP: Dr. House, put the gun down! Sometimes, when you’re pressed for time, magical things can happen. Tempers can get frayed. Then it crackles and Hugh grabs the gun, unscripted. An extraordinary thing captured under time pressure. We were blessed with catching lighting in a bottle moments.

SB: In a way, limitations can be advantageous. It forces you to be accurate and push the boundaries.

Twitter got a bit shirty over Pine having sex with the women he rescued after they were tortured – apparently, even Bond doesn’t do that.

SB: That’s not true – Jed is rescued by Olivia Colman. I don’t think they had sex.

TH: He’s in love with Sophie. She awakens his moral duty and he’s motivated partly by guilt.

Any scenes that took you to the brink?

SB: Every day! There’s always an element of not knowing what’ll happen, it’s part of the creative process.

TH: Fight scenes always look violent but have to be very safe. I love shooting action, it’s choreographic, like dance.

The will is there for Series 2!

How do you feel, watching it now?

SB: It was a heart in mouth process but now I can sit down and enjoy! It was so much fun to do – none of us anticipated the impact . We showed it at the Berlin Film Festival and everyone loved it. So rewarding.

AP: If you’re really lucky as an actor you get something that strikes a chord. I’m genuinely bonded to the people involved. You share something very special. A special little gang. You’ve no idea the emails I’ve been sending with ideas for Series 2.

SB: It’s a privilege. I’m also sending emails. JLC doesn’t respond – I’m joking – I’m really scared of saying anything!

TH: I’m really proud of the team effort. The commitment and detail of every department adds up to more than the sum of its parts. It’s like a 1000 piece jigsaw landed intact. I couldn’t possibly comment on my email correspondence.

Having raised the bar for TV drama, is there a green light for Series 2?

SC: We are working on a story for Series 2. There’s no book and no Le Carre adaptation without a book. We’d love to see it happen. There’s an unspoken contract with each other but we have to come up with something really great.

It’s the greatest export in British cinema! (Audience member)

AP: Aw, shucks!

We need to see more of the Petrie Dish

If you think Hiddleston a bit of a charmer (yes, yes, me too) it has to be noted I did leave the room with a bit of a crush on the very funny Alistair Petrie. You might say he’s now my … Petrie Dish. #sorrynotsorry

anonymous asked:

I’m torn! I liked the episode but I also feel really anxious about it. Why Oliver doesn't trust her anymore? He admitted that he and Diggle had let her fall deeper and that maybe she didn't feel like she belonged this season and yet he doesn't back her play. Help me understand this please because I don't want to think like this about him. I wanted to enjoy episode 20 but this is upsetting.

Don’t come to tumblr/twitter much because of my job but I love Arrow, though I’ve only been watching it for a year. There are some I’ve been following that were really vocal about 5.19: they’ve basically been saying Oliver isn’t good enough for Felicity now and are angry at him for not trusting/backing her like she has him. Is it them who don’t understand or me? I thought it showed Oliver afraid. No mistrusting. And Felicity asking for equality. I saw a reply you gave once but I don’t know anyone who does them like that.

I wasn’t going to answer these initially because I feel they’ve been answered so fully by the names just below this but… I HAVE AN ABUNDANCE OF OLICITY FEELS THAT CANNOT BE DENIED.

I needed to vent them! Overuse of gifs ahoy!

OK, first? Q2 Anon: I can give you the names of a few people who answer questions FAR better than I ever could if you’d like?

There’s @jbuffyangel (who did her usual amazing review of the episode which should answer all of your questions/worries) @callistawolf and @louiseblue1

There are others that I’m sure you’ll find if you explore a bit ;)

There isn’t really much I can say past what hasn’t already been said by the 3 above.

But I need to clarify (even though you can’t answer) something Anon 1. You liked the episode?

JUST liked?

Well I just about had a mini coronary. Honey, I don’t think you were seeing it properly. Episode 19 was like a piece fanfiction come to life. It was an episode to grin hard about and watch whilst gripping the edge of your seat. Something to feel deep in your chest the next day.

Everything in it – EVERY SINGLE SCENE – was a moment I’ve been waiting on pins to see.

And I mean, purely from the point of view of a fan: how could you not adore the return of the looks and the talking:

Originally posted by legends-of-today

Originally posted by andjustforthismoment

True, I DO think they made us wait a tad too long (kill me now – @scu11y22 knows especially, after episode 9 how close I came to having a full on shit-fit – but just a shit-fit, not a loss of hope) for this but I also believe that they wanted the whole Prometheus Vs Oliver = Oliver’s lowest moment score to occur prior to any progression that could be made between Oliver and Felicity…

It’s because they want them - their steps back to each other - to be part and parcel with Prometheus’s defeat.

And Prometheus is representative of Oliver’s demons. Of his darkness and his pain. 

Originally posted by mogirl97

Something he can no longer run from like he has been doing for years. What he needs to face and defeat, to strive beyond.

It’s all so that the penultimate moment, episode 20, can mean so much more and have triple the affect it would have had without this.

Oliver can’t defeat Prometheus with his current mind-set. He can’t even stand against him: Prometheus has broken a vital piece of Oliver’s soul: his hope.

Think about it: Olicity closing the gap between them - healing that breach - each and reuniting possibly leading to the defeat of Prometheus. And what’s necessary for the defeat of Prometheus? For Oliver to step forwards into a light of his own making. A mission of his own choosing.

How much more epic can you get?

But you (Anon 1) (Anon 2, you’re fine girl/boy;)) were referring more to the deceptive lack of trust in this episode, correct?

That supposed absence of trust, the very thing that put a pause on this whole relationship? It’s an Oliver Queen smokescreen. Possibly subconscious on his part, at least initially. A not-so-flimsy cover up for Oliver’s real problem. A problem they’re going to bring about, in GREAT and uncompromising detail, in episode 20.

But let’s get into specifics.

It’s what we’ve been waiting for. And all of it, everything, was good. Everything coming will be better.

I think a problem a lot of people might also be having at the moment is the sudden rise of emotional intensity in the show.

Originally posted by yourreactiongifs

Yes, I know: random. But.

Arrow has always been intense but it increases with each season: the actors are pushed into doing scenes and playing roles they’ve never done before, into bending rules and breaking past boundaries. Season 5 has been exemplary in this. But there’s been an upswing from episode 16, especially in regards to OTA and Olicity, that wasn’t as present earlier on. It’s been very welcome, but also, a bit of a shock.

They’ve had to wait you see: there’s been too much story to tell first. We got a lot of Olicity before anything else in season 4 so they needed to be true to their other stories first but you all know the other reasons as well. Lord know’s I’ve gone on about them too.

So now, everything feels powerful. Penetrating. Worrying? The script was so forceful in Dangerous Liasons, so intense: every scene featuring Oliver and Felicity was a scene that left a mark on the audience. People are feeling the heat - the kind of heat exhibited in 3.20 - and it’s such a burn that it people might consider it an omen.

Don’t feel anxious about it: not at all. It’s about facing the truth. About Oliver and Felicity facing each other. About facing themselves…

And they found themselves in each other once upon a time.

Originally posted by curvygeekyfangirl

That still holds true. There was no way in hell that they were going to get to the root of each of their issues without them coming back to each other.

Oliver.

There’s no one he trusts, respects and admires more than Felicity Smoak.

But being honest with her - telling her about his 5.17 revelation (something he had to understand himself first) about his reasoning behind why he’s done what he’s done over the years - is something he thinks will make her fall out of love with him.

But it also might save her from becoming him.

This has absolutely nothing to do with trust.

For the first time, Felicity is the one he and Dig have to worry about… and like big tough Alpha males, it throws them completely out of whack.

Originally posted by emilybuttrickards

It’s not about a lack of trust or a deliberate choice not to be there for her when she has been there for him every single time he needed someone.

He can’t possibly be ok with her behaving like him because she’s more. She’s better. She’s the example he measures all other acts of goodness and evil against. No other woman (or man) has come close.

Originally posted by songbin

Originally posted by meafterdeath

Originally posted by bicanaries

Originally posted by supercanaries

Originally posted by dcvertigodaily

Originally posted by heckyeahsummerglaugifs

Originally posted by valkylicious

Originally posted by dmichellewrites

And that’s just some of the examples and only the women.

But there’s been a lack of understanding between these two for the past year (A year… Christ, it’s been more than a year) and they need to hack it out but they wouldn’t be able to without a stimulus.

Originally posted by felicityssoliver

Originally posted by beemichelle7

Boom baby!

Now, Felicity TELLING Oliver that he doesn’t trust her was soooooo deeply satisfying, not because I agree with her. I don’t. She’s wrong. But I only know that because I’m the observer.

I loved it because she was finally being honest about how he’s made her feel. And how he’s made her feel isn’t just like she isn’t trusted:

Originally posted by andjustforthismoment

It’s lonely. Alone.

Originally posted by felicitysmoakq

She’s felt like she can’t go to him and ask for the assistance she needed, the help she wanted. The kind of love she deserves. Honestly, I’m pretty sure she didn’t want his help either. Not at this stage. She wanted to rely on herself. To decide for herself. To make the choices he and Dig have always made for her. To be their equal.

What she wanted was for him to say:

“I don’t like it. I don’t want you to do it. You’re asking me to stand back and watch you sell yourself because of a problem I caused. I don’t want it. It’ll hurt too much… but I’m going to. I’m going to because I trust you. You already know I love you. And now I’m going to prove what that actually means to me. I’m going to place all my trust in you because I believe. In. You.

Always.”

Wonderful, right?

But this is from the point of view of a woman who doesn’t fully understand Oliver Queen, through no fault of her own. She’s the closest any woman has ever come to truly knowing him: she DOES know him the best of everyone, even Thea…

And that is something he - subconsciously - can’t allow. He can’t have Felicity - the person he loves the most - close to his darkest demon. Can’t have her touched.

If she’d been ready at the time of their break up, maybe she would have seen something else and NOT a man who simply doesn’t trust her the way she craves to be trusted, the way she’d trusted him and still does trust him. Even after everything.

But she couldn’t help missing that because Oliver is emotionally stunted and very unaware of how his father’s promise and his survivor’s guilt have deepened that chasm inside him.

Oliver is also a man of his word.

Originally posted by andjustforthismoment

“We can protect her.”

He made a promise to himself and Dig and he was vehement in that promise.

It was a declaration of intent: I want her in this but not at the cost of what makes her… her.

Do you think that ever goes away for someone like Oliver? And do you think he ever forgets about that promise? No. It just grows stronger. It was crucial to him; especially right at the beginning of it all.

And for Felicity Smoak it is an absolute - a requisite - STRONGER than his need to protect Thea.

He grew to accept at the end of season 3 - after choosing for her for most of the season - that Thea’s life was her own, that her actions were her own, her body was her own to throw it onto fire if she wanted to.

He’d hate it… but he’d get it.

He can’t do that with Felicity because she’s his cornerstone.

Originally posted by oliverqueennn

Originally posted by nugetae

Originally posted by bazingagubicorn

Originally posted by andjustforthismoment

Originally posted by andjustforthismoment

Even after they broke up, even months later with this distance between them, she’s still the person who balances his world, who gives him structure.

Originally posted by lucyyh

When she first joined the team, she enabled his night work in a way he didn’t think possible and she was as safe as he could make her. Behind her computers. In HIS Foundry. Perfect.

Originally posted by yet-i-remain-quiet

She was where he could keep an eye on her and control how deep into the life she was. In fact she only ever touched close to danger when she was in the field, which was few and far between for this exact reason.

Originally posted by andjustforthismoment

Even when she opted – even when it was her choice – Oliver (and by extension Dig) only agreed when they could control the danger level.

Originally posted by andjustforthismoment

But even then, things can still go wrong.

Originally posted by fponthedl

The problem is that Felicity has always been just as ‘in deep’ as the boys.

But she’s their precious gem: their lucky charm. Their lighthouse, their way home. The heart of the team.

Originally posted by andjustforthismoment

Originally posted by songbin

What happens when a lighthouse goes dark?

Originally posted by sporkageddon

The way home – your eyes – vanishes.

You loose sight of reality.

It was taken for granted, Felicity’s natural light. Her faith. He thought if he left it alone, it was stay exactly as it was…

Originally posted by gothsmoak

The light on Oliver’s path – as pitiful and as small, as narrow and filled with thorns and without forks and choices as that way has become – was, in his head, taken fully away in episode 19. He was left asunder and confused.

Originally posted by olicity-i-believe-in-you

Adrift. Lost at sea…. he’s already lost at sea.

Originally posted by feilcityqueen

He was lost at sea for years until he chose to stay away from Starling (I prefer the name Starling City to Star City btw).

After his return, she became his anchor. Slowly.

Originally posted by bratvaolicity

Overtime.

Originally posted by nugetae

Moment by moment.

Originally posted by thecwarrow

Until she became irreplaceable.

And he didn’t realise just how deep that went… until he broke her heart. Until she left him. Alone.

Originally posted by andjustforthismoment

They’re as alone as each other. Even when they’re with others. Even in a crowd. Even as they reached out to others, romantically or otherwise and it didn’t heal them.

Case in point: look at where they are right now. He thinks he’s a sociopathic serial killer and she’s willing to destroy her life to bring down the man who made him feel that way.

She is doing for Oliver what Oliver did for Thea in season 3.

All she’s asking is for him to let her.

But he can’t.

He promised Dig he’d protect her. Just her. 

Not Laurel or Thea or Sara or anyone else, not even Dig… Felicity was the one whom he’d never have twisted. The one neither of them could or would sacrifice. IRREPLACEABLE.

Most importantly, he can’t have her become him. He’s been protecting her from that since day 1: he can’t fathom its possibility.

Oliver has paid a lot of prices, sacrificed so much of himself. And he’s lost things and people.

Her soul is the one price too high to pay.

Yet Oliver feels like everything he has touched, every person who’s into contact with him, has suffered because of him.

And now? …He feels what’s she doing with helix, how she’s behaving is because of him. A darkness that never comes out created by him. To Oliver, he has created this path of a deepening darkness for the woman he loves. Now he has to put up with what she’s been putting up with for years. And he doesn’t like it.

Drink it is:

Like a husband who’s argued with his wife, had his words royally and correctly thrown back at him and in the dog house. Big time!

What Oliver doesn’t realise is that light can alter over time. It can grow warmer or more distinct. Stronger. Can shift and shine a new way. A better way. A softer way. Some lights can draw weaker ones out and strengthen them.

Has anyone noticed the increased use of both purple and green this year on Arrow? Oliver’s and Felicity’s colours. 

Not a coincidence.

Originally posted by whoeveryoulovethemost

When he sees her for who she really is, when he finds out how her view of him – in walking in his shoes – has changed, has grown, when he discovers that his confession doesn’t have the affect on her he thought it would, when she actually gives him a new and brighter understanding of herself… he’ll see her light for what it is. For the beauty in it. And he’ll love her all the more for it.

I think he’s going to tell her – when their air is ruining out, whilst he’s hurt and she’s defenceless – his painful truth and he’ll be waiting for the worse case scenario reaction from her.

And… I feel like he’s going to be given the shock of his life. Or something to that affect. (Am I just desperate?)

Whatever happens, it’ll make him view her as an equal in every sense of the term – he thought he already did, but there was still that last layer of bubble wrap for him/her to pop.

And in walking in her shoes – in trying to move on, in watching her make the hard choices and being powerless to stop her, in being on the other side of the fence and being the one who doesn’t get listened to – his understanding and already super high regard for her will shoot past the stratosphere.

Like Wendy said:

“She’s been through something now, and she sees him in a different light — and he also sees her in a different light. There’s a lot more mutual understanding, and even though I think it’s hard to top the mutual respect they already have for each other, that goes up as well.”

Won’t be surprised if they leave the bunker shooting each other awed, heart-eyed looks and thinking ‘wow’.

Remember the song?

I am so sorry that I bothered you
Now I know why you have to hide
I didn’t know what you were going through
All I could see was my own sign

I will just fade away
I will let you be here
I won’t say a word until you come to me
Until you come to me
Until you come to me

They just tell me what you’re in there for
How could I know you did not say?
But now I know what I am living for
Tomorrow will be just another day

I will close my eyes
And I hear a quiet peep
I will wait in the shadows until you come to me
Until you come to me
Until you come to me, oh

Ah, sweet youth will all too quickly end
And we will never be this free
So all I ask is that we look again
Before we grow too old to see

I will fall alone
My elm was sweet and envy
Still I will be crying until you come to me
Until you come to me
Until you come to me, ah

Understanding. Readiness. Love. Trust. Heart.

I’ll be waiting for you. Until you come to me.

It’s a mutual thing (though I do think this refers to Felicity more than Oliver).

And then it’ll be almost as easy as falling, his new ideal. I think she’ll give him a new point of view. Or, at the very least, a way to see it differently.

Very soon they’ll be ready for each other. The right fit.

A hero for a hero.

Originally posted by klarolicityswan

She has to open the door but he needs to make her want to first. Strip each other down to the core.

And, come 5.22 (?) he needs step on through it all on his own.

They’re going to fall in sync.

And by 5.23 we’re finally going to breathe that breath of sweet relief.

Originally posted by 6pinky-winky

Naomi Nagata Appreciation Day 1: Moment you started liking Naomi 

Coming into the show with all the love for Naomi already set in place, it’s hard to pick a specific moment I fell in love with her character. If had to pick, I’d definitely go with this scene. Every moment leading up to this scene hints at Naomi’s Naomi being competent, composed, smart, and reliable, but I love watching everything come together in this scene. There’s absolutely no lag time when it comes to thinking of how to get the amplifier up and running, and she’s quick and efficient when directing the others. As soon as there is a plan of action, she dives into it without a moment of hesitation. And then there’s this comical 
assumption that everyone else was going to hop to, as well. And the salt when they don’t, man, how can you not fall in love? Listen, when you’re on a time crunch, and Naomi elects herself as your boss, you don’t get to stand around with your thumbs up your ass. No fucking way.

It was just such a relief to watch her become fleshed out into this raw, authoritative, counted on,and respected human.

Legion

A/N: If you get the reference in the title, I will love you forever! Hint: Charles, Xavier. -Admin Germane :3

Originally posted by fawnave

Word Count: 1482

You first saw him at a club a few days ago. You normally didn’t frequent these places, and were feeling out of place in your little black dress. You had only come to listen to the new band that was performing, but the booze was plentiful, and soon you were tipsy and starting to become bold in your actions. Out of the corner of your eye, you noticed him sit down next to you.

“What’s a pretty lady like you doing in a crappy place like this?” he asked you. His voice was smooth, his eyes dark, and his face was beautiful. Honestly, he was prettier than most people in the world, and it was a wonder why he was talking with you.

“I needed to…release some tension.” you said. You picked your words carefully, his lean but muscular body was eye candy for you and you had to bite your cherry stained lips from releasing a groan.

“Oh, is that so? Have you been able to release this tension?” he smirked, placing his hand on your left thigh. His thumb stroked the exposed skin carefully, thoroughly, before his hand squeezed softly. You licked your lips, subconsciously moving towards his touch as you shook your head. The man tsked, his eyes growing darker as his hand moved higher. He leaned down towards your ear, nipping the skin softly before speaking.

“Would you like me to help you feel good?” his voice grew husky and his lips were plush, hot, and wet against your skin.

“Please?” you moaned softly. The man led you out to the dance floor, molding himself to you as his hips moved sinfully against yours. You returned his passion, moving your hips and throwing your arms around his shoulders as your lips nibbled at his neck. You could feel the man growl in his throat and he leaned down to place a hot kiss on your lips. You melted in his arms, kissing him back with fervor. His lips were so soft, you didn’t want to stop kissing him. But the nagging voice in the back of your mind woke up and red sirens flashed in your mind.

“H-Hey,” you mumbled, pulling his hands off of your body. “I-I’m sorry, but I have a boyfriend.” you admitted softly.

“What he doesn’t know won’t kill him.” the man smirked, leaning down to capture your lips again but you stepped away.

“I’m sorry. You’re really attractive and an amazing kisser, but-”

“Then stay.” he tempted, trying to get closer to you but you kept stepping back.

“I can’t. Sorry.” you rushed, making a run towards the door but he grabbed your wrist.

“Will I ever see you again? I didn’t even get your name.” he looked at you with pleading eyes and your heart skipped a beat.

“Don’t count on it. I’m sorry.” you ripped your hand away and left the club in a rush. You felt awful for betraying your boyfriend, but why did you feel even worse for leaving this mystery man behind?

~*~

You were out of milk. That was the only reason you went to the grocery store two days later. It was supposed to be a get in, get out mission, but the coupons and sales at the door tempted you. Before you knew it you were ripping out coupons and putting bargain priced foods in your shopping cart.

“Hmm, there’s a buy one get one free deal on pints of ice cream. Should I?” you muttered to yourself, looking down at the ad wearily. You had already picked up deals on discounted pasta, peanuts, and salad mixers. Also grabbing a deal on tomatoes and garlic for 69 cents a pound. You turned down the frozen isles subconsciously, staring at the ice cream in the case with a glare.

“You’re the devils food, you are.” you muttered, grabbing one chocolate and one cookies and cream. Your roommate was on her period, and she’d thank you later for picking up her favorite ice cream. That’s when you saw him.

He stood at the other end of the isle, looking at the frozen vegetables. He looked different from when you last saw him; he wore dad jeans and a pastel pull over sweater, and he had large, circular wire-rimmed glasses perched over his eyes. His hair was tousled and messy, but that somehow only made him look more attractive. His lips were just as you remembered; pink and plump. You were so shocked you dropped one of the ice creams, and it rolled and rolled, gently hitting his foot. He looked down, picking up the ice cream and searching for the owner when his eyes locked with yours. He moved towards you, a small smirk etched on his lips.

“I believe this is yours?” he asked, handing you the ice cream.

“You look different.” you spoke without thinking, and he chuckled at your outburst.

“I could say the same about you,” he eyed you carefully, staring at your low-cut shirt, gray sweatpants, and black converse.

“I didn’t expect staying here for long.” you admitted, running a hand through your messy hair.

“It’s alright, I’m a bargain hunter too. You look cute though.” he smiled and you stared at him in shock; whether out of the compliment or that you met someone that liked couponing as much as you did.

“Do you mind if I shop with you?” he asked, you bit your lip hesitantly.

“I guess.” you agreed, and the man’s face lit up.

“It’s Seokjin, by the way.” he held out his hand to you when he brought his own cart over to yours. You took it.

“Y/N.” you allowed a small smile to spread over your cheeks.

You forgot to buy the milk.

~*~

After the shopping incident you allowed Seokjin to become your friend, letting him over to your place more and more; mainly to have a fun cooking buddy. He was sweet, corny, but seductive at the same time. Multiple times you had to remind him of your taken status when his hands traveled too low during a hug or when his eyes lingered for too long. And multiple times you had to excuse yourself, trying to stop your racing heart.

You were at his place today, curled up on his couch as you watched a chick-flick with him. Your boyfriend didn’t like the sappy romance much, but Seokjin did, so he became your movie buddy. You both were watching “The Notebook” today.

“Don’t you think it’s so romantic Seokjin? He wrote to her, every single day.” you gushed. Seokjin chuckled, the arm he placed around your shoulders tugging you closer.

“Yeah, it is. But I’m a much better kisser than Ryan Gosling is.” he tsked, watching the kissing scene in the rain with dissatisfaction.

“Oh c'mon, that scene is iconic! You’re just jealous.” you protested.

“Am not! I can prove it though.” he smirked, leaning his head down closer to yours. You scooted away.

“I have a boyfriend, remember?” you reminded him and he groaned.

“Alright! Fine! I cave Y/N, you win! Now please, just kiss me. I haven’t kissed you in a week, your boyfriend is dying here.” Seokjin begged, giving you the biggest puppy dog eyes in the world. You giggled and gave him what he wanted.

His lips attacked yours, savoring the feel and the taste that was purely you. You smiled at his eagerness and cupped his cheeks, giving him more stability to work with. His hands ran through your hair, pulling you closer in a frenzy of passion and pent up frustration. He made out with you for what seemed like forever, his tongue joining the party somewhere in the mix, before he finally let you go, both of your faces flushed and lips bruised.

“Jesus babe, I didn’t think you’d last that long.” you laughed as he brought you into his arms.

“What can I say, I’m pretty amazing, but your acting is getting better baby!” Seokjin encouraged, giving you a peck on the cheek.

“Thank you, but you owe me dinner now, and it better be beef. I think I deserve it for not touching my boyfriend for a week.” Seokjin scoffed.

“You?! What about my pain? I had to flirt but not touch to stay in character, that was torture when you looked so pretty.” he whined.

“You broke character first, and rules are rules.” you teased, and Seokjin pouted.

“Fine. But we’re not doing another role-play session for a while; I need to memorize your body again, it seems like it’s been forever since I last touched you.” he said, letting his hands wander down to cup and squeeze your ass.

“You’re so needy Seokjin.” you moaned softly, and he smirked.

“You’re one to talk babe. C'mon, I don’t think I can wait any longer before I lose my self-control.”

13 Days of Outlander - Day 13 Dragonfly in Amber

The last and longest episode of the season and the final day of our 13 Days of Outlander/A Month of Outlander (and the anniversary of the battle of Culloden). This episode is a bit of a mixed bag for me with my opinions and favorites about it changing every time I watch it. 

Favorite Scene: Claire and Roger sharing whisky. This is consistently my favorite scene though I do occasionally like to torture myself with the farewell at Craigh na Dun. The double meaning to what Claire is saying and thinking compared to what Roger takes her meaning to be and the heart-wrenching grief behind his question is just so touching. It goes a long way to establishing their sense of one another, their recognition of their understanding of one another, and I think the seeds of why he’s willing to give her the benefit of the doubt later are sown here. Plus it’s the scene that solidifies…

Favorite Performance: Rik Rankin as Roger Wakefield. I have a really hard time with Roger in the first few books where he plays a significant role but from the first few scenes of Rankin inhabiting the character I was completely won over. There’s a subtlety to his performance that just isn’t there on the page and having Rankin in mind is making rereading through those difficult Roger passages in the books much easier. I mean, he hits the somber and sorrowful notes in his scene with Claire (where he is easily his most vulnerable) but then turns around and has the best reactions to Bree’s meltdown at her mother once she learns the truth; and after hearing Claire’s story he performs as a mediator between mother and daughter with surprising skill and charm.

Favorite Music Moment: Geillis’ speech. As with my favorite scene, this is a favorite that tends to change but I have to give the edge to Geillis’ speech because I find myself skipping ahead to the White Roses of Scotland track more than others. 

Favorite Location: Culloden Moor. Habit tends to push me towards Lallybroch but in this instance, seeing it all run down and roofless, it isn’t my favorite; Lallybroch can only be my favorite when it’s thriving and full of life. Instead I find myself preferring the gorgeous shots of Culloden Moor. It’s so open and yet somber but without bringing up the pain of something like seeing Lallybroch’s front doors chained shut. We haven’t seen Culloden in the show since 1x05 in a flashback with Frank but it’s not a place that can really get run down or fall apart the way Lallybroch can and does. It feels static in a way, unchanged by time; as somber and weighty as it must have been in the weeks, months, and years after the battle ended. It is a location that feels frozen in time so that, even though Claire goes with the intent of saying goodbye, it makes perfect sense that through Brianna’s discovery she is as far from leaving Jamie behind as she will ever be. 

Favorite Minor Character: the helpful researcher. We don’t get this character’s name but she is so helpful to Claire and her whole attitude and demeanor just gives me major Mrs. Graham vibes, I can’t help but love her (and we know she’s efficient because look at just how fast she got Roger’s genealogy chart complied).

Favorite Book to Screen Adaptation: Dougal’s death. I know there are folks who aren’t fond of the fact that they changed the scene so that Claire and Jamie kill Dougal together, but I kind of love it. I’m pretty sure this is the first time on the show where we have seen Claire take part in actively killing someone (Colum doesn’t count because he asked for her help and the Comte doesn’t count either for a few reasons, some of them spoilery for The Space Between). In the books, however, Claire has a bit more blood on her hands at this point. I also love the way the scene is choreographed and acted. Dougal’s crazy eyes as he just repeats the word, “anger,” a few times, Jamie’s shielding of Claire (and the bairn) as Dougal builds towards open attack, Claire getting to knock Dougal over the head with a crate in an echo the way she did the same with a small stool back in The Gathering, the horror on Jamie’s face as he realizes what he’s done and the tremor in his voice as he says, “I’m sorry, uncle,” and rests his head on Dougal’s shoulder… there’s just so much going on in this scene.

Favorite “That’s not in the book” Part: Jamie and Murtagh. Claire is pretty distracted through most of this part of the book so we don’t get a whole lot about what transpires and in the show, she’s absent from the scene altogether (and with good reason), but it means so much to me that we get this beautiful moment between Jamie and Murtagh. It’s a wonderful companion to their scene back in Prestonpans when Murtagh is confessing to his feelings of insignificance before the battle. Murtagh knows what’s going to happen and has an idea of how he’ll be one of so many men to fight and die on the field but where before it made him feel insignificant, he has finally found something about it that will make his death meaningful, even if it isn’t in the way he’d originally thought/wanted (god, that season three premiere is going to hurt).

Favorite Line: Roger persuades Brianna to go to Craigh na Dun. Favorite line is probably the favorite of mine that changes most frequently. I love Roger’s repetition of Geillis’ “fucking barbecue” as well as Murtagh observing to Jamie that “he isn’t surprised [that Jamie killed Dougal] only that it took him so long”; I’m also always fond of the fact that they worked in both the Da mi basia mille poem and Jamie’s “I will find you,” speech. But this time through I was struck again by just how quickly Roger thought on his feet when Claire announced she wanted to see if they could stop Geillis and especially how he persuaded Brianna to go along with it despite her misgivings and stubborn resistance to everything Claire has been saying. “This could be our chance to make [Claire] actually face it” and when Bree still resists wondering what if Geillis is crazy too and only supports Claire’s obviously deluded claims… “Well then maybe we all get to watch her slam her head into a five ton block of granite.” He manages to inject enough humor and logic for Bree to lighten up a little bit and yield. 

Favorite Jamie and Claire Moment: parting at the stones. There is so much from their farewell in the book that simply couldn’t make it to the episode (for a multitude of reasons, some of them stronger than others) but what does make it to the screen is absolutely beautiful and heart-wrenching. Jamie’s initial mood is almost dazed as he smiles and reassures a completely distraught Claire that he can’t go through with her but that he’ll find her if he has to wait 200 years… but then as soon as the first canon sounds the weight of it all seems to hit him and a measure of fear sets in. It’s Claire who begins taking the lead as she offers him the dragonfly in amber and starts the vow that he continues. It’s enough to ground him again as they get to their feet and he settles her against him for that incredible slow-dance to the stones and them reaching to touch it together. They rely on each other through the whole scene for reassurance and strength, for every last second of being together and united as one before they’re alone and will have to take their next steps with only the memory of that strength to carry them forward. 

Favorite Costume: Bree and Roger’s matching knitwear. This is something I only noticed this latest time watching and probably noticed it mostly because I’ve spent a lot of time staring at Brianna’s scarf in those final scenes at Craigh na Dun so that I can try to recreate the pattern but her scarf has the same knit pattern as the sweater he’s wearing. It’s the sweater he’s been wearing all day and it’s a darker yarn (part of why I think I missed it before) but the honeycomb-style pattern is the same. It’s just a small detail (and it’s really hard to see on Roger in the pic below but if you scroll back up to some of the other pics of him, it’s clearer) but it’s exactly the kind of detail I love from the costume department on this show (like Claire’s two traveling outfits back in the season premiere using the same color scheme). 


A massive thank you to everyone who participated in the 13 Days of Outlander and the 16 Days of Outlander and the A Month of Outlander and all of this celebratory stuff that @gotham-ruaidh and I have thrown out into this latest Droughtlander to help us all keep ourselves going. I’ve loved reading through everyone’s posts and looking over the gorgeous edits, gifs, stills, photos, quotes, etc. Keep them coming as we get more and more promo for Season 3 and Droughtlander enters its final stages. 

Newsies Live, a review of sorts

Originally posted by whenyourfallingintheforest

So it’s looking like the reply I wrote up last night for @party-with-books on mobile, during a wifi issue, is just not going to ever post and is lost to the netherworld, which is unfortunate because, even if nothing I said was coherent, I wrote it while everything was still fresh and I was still on the most beautiful ecstasy high - the kind you can’t get arrested for. But I’m gonna try to do the play justice here, and using a lot of gifs, XD so we shall see.


Guys. Guys. Guuuuyyysssss. I just can’t. Let me start by saying I have never seen a stage production of Newsies. I’ve been listening to the soundtrack for months, but for a lot of the bits the stage show has added or edited from the original film’s story, I had absolutely zero context for, and the soundtrack is sadly missing like a crap ton of reprises. Therefore, if you care about spoilers, I suggest you stop reading this and wait for the dvd to come out or something, because I don’t feel like holding anything back.

After that note, where the heck do I even begin? The production itself. And by that, I don’t just mean the sets and the cast and the lighting and the camera. Nah, primarily at this point, I mean Spectacle.

I’ve now seen a good number of shows, in various formats, but none of them have been so energetic, alive, and overwhelming. The dancing is superb. I know for the filming they pulled out all the stops, with bigger leaps, more twirls, and a larger number of Newsies on stage, and let me tell you, IT WAS WORTH IT. A stage filled with forty or more singing, tap-dancing, leaping Newsies is a sight to behold.

I mean, there was this:

Originally posted by peregrintoook

This is Ryan Steele, as Specs, doing the full-out twirl. Our Specs was played by the amazing Jordan Samuels, but it’s a different cast member entirely who performs this move, and we get a sky high view of the spin, which I’m pretty sure is faster and longer, and the entire theater gasped and applauded.

There were hundreds and hundreds of flips, spins, cartwheels, splits, jumps, tricks, and moves I cannot name. There was tap dancing on tables. I HAVE NEVER SEEN A DANCING TROUPE OF THIS LEVEL OF EXCELLENCE IN SUCH AN EXTRAVAGANT SHOWING EVER.

Originally posted by pontmarius

The set and staging was absolutely dynamite, and it will never cease to astound me how theatrical productions can amass an entire world on a few hundred feet of stage.

Near the end of “Once and For All” the Newsies completely drop out on the vocals and then come roaring back in, and again, my entire theater gasped in awe and delight, and I was crying and covered in goosebumps.

As for Jack…

Originally posted by theatregraphics

Jeremy Jordan is the definitive Jack Kelly for me, okay?

Originally posted by coreymcott

If you’re a die hard Christian Bale or Corey Cott fan or anyone else, I’m sorry, but it’s true. There will never be another player who so fully encompasses that role for me. His Jack is so intense and passionate the. entire. time. Every single thing he says and does. The only moments we see him physically relax at all are when he’s with Crutchie (and we’re too busy crying to notice) or sharing the stage with Katherine.

And that brings me to Katherine Plumber. I was not especially anticipating her role, I have to admit. I love my Denton too much, and I was horribly concerned that the romantic angle between her and Jack would be too strong, taking away from the real love story of the play, that of this family whose name is Newsies. But I couldn’t be happier with her character and Kara Lindsay’s performance. She was amazing, and I could feel the rest of the audience connecting with her too. “Watch What Happens” is just one of her shining moments, and I am in love with her, and so happy of the way the writers brought her character in.

Originally posted by jginorton

It’s also beautiful to weave in the feminine vocals of Katherine with the only other female singing cast member, Medda Larkin (our very own being played by Aisha de Haas) in the middle of all those guys. Don’t get me wrong, because the Newsies chorus is the epitome of what makes the show so great, but having those softer moments and the gals singing brings enough of a change that it completely enlivens every other male vocal in the story.

Okay, enough being calm, rational, and technical for a minute. Let me “be real.”

I Am Not Okay. Not in this or any other universe will I ever be the same.

(The rest of this post is probably going to just be me screaming at random about different things.)

CRUTCHIE. HOLY COW. CRUTCHIE MY BABY. “Letter From the Refuge” absolutely killed me. THE FREAKIN ATTACK ON CRUTCHIE FREAKIN KILLED ME. Just him standing with Jack in the prologue with “Santa Fe.” THERE ARE NO GIFS FOR THIS. Andrew Keenan Bolger is of such high caliber, I can’t even begin to describe how much I love him in this role.

I BASICALLY CRIED SO HARD WHEN THE BULLS CLOSE IN ON THE NEWSIES. AND WHEN JACK SEES THEY HAVE CRUTCHIE. I THOUGHT I WAS GOING TO BE SICK.

Oh, yeah, also, little itty bitty detail here i was completely unaware of BROADWAY VERSION JACK KELLY IS A FLIPPIN ARTIST?????!!!! LIKE WHAT????!!!! OH.MY.GOSH. I LOVE THIS ANGLE SO MUCH. KAJLLGDFHLJFGHIERUNZUIZLGRF. HE’S PAINTING SANTA FE GUYS. LSLDGJAGKJHRUIGKNG. During “I Never Planned On You” he draws Katherine and the LED screen that assisted the set showed him sketching her as they talked and sang AND IDK IF THAT HAPPENS USUALLY IN THE STAGE PRODUCTION BUT I AND MY FRIEND AND PROBABLY EVERYONE ELSE WAS LIKE “HOLY CRAP AWWWW OHMYGOSH HOW PRECIOUS HOW PURE I’M NOT CRYING AT ALL NO” SO YEAH THAT IS A THING THAT  HAPPENED.

Little Les is amazing. Like, in the old movie, he wasn’t so much a character as a plot device. He was literally the little boy with the cute face who could sell the papes. In this, Les is the one who strikes up the deal with Jack, and Les is the one who shouts a message for Pulitzer as the guard closes the door in their faces. He is so precocious and adorable and perfect, and so much more a character in his own right, I am so pleased.

DID I MENTION BEN FANKHAUSER AS DAVEY???

Originally posted by mrsanselelgort

HIS SINGING. HIS ACTING. HIS CHARACTER AND INTERACTIONS WITH JACK AND LES. The confrontation between him and Jack later on when Davey is trying to get Jack to rejoin the Strike, and he says “it’s not like anyone died” and Jack whirls on him in rage, because of what happened to Crutchie, who could very well die at that point. I COULDN’T HANDLE. And when Davey reminds him what they’re fighting for, and why they shouldn’t stop. PERFECT BOYS, PERFECT.

AND I ALMOST FORGOT RACETRACK LAJKDHF. Race is my favorite Newsie from the old movie, and I was not disappointed by him here. Benjamin Cook is an adorable angel and my favorite bit of him probably has to be when he is staring wide-eyed at Governor Roosevelt at the end, so happy and in awe. Unfortunately I can’t find any gifs of him either arg.

AND SPOT, HOW COULD I MISS SPOT CONLON Tommy Bracco’s performance left nothing to be desired, he was as spot-on as his character’s name. WE ARE BROOKLYN NEWSIES

Originally posted by wildhorns

Oh.

Oh, and then there was This:

Originally posted by winnifredfoster

I HATE/LOVE THIS PART OF THE STORY SO MUCH. When Pulitzer forces Jack’s hand, makes him face the Newsies and turn on them, in order to save them and save Crutchie and Davey and Les, but Pulitzer also gives him money to go to Santa Fe and that is all the Newsies ever see. LKDJFLHDHFAJDHFLA MY HEART HURTS

I love Jack Kelly more than Raoul or the Phantom, or Dimitri, or Valjean or Marius or Enjolras, or even arguably Fiyero. I feel every single beat of “Santa Fe” as it blooms and changes from dream to dust to dream.

I adore how the stage version plays up the affect the Newsies strike had on child laborers everywhere, how Jack proclaims it isn’t only Newsies’ rights they’re striking for.

The singing was absolutely flawless. Flawless I tell you.

Originally posted by playbill

Originally posted by playbill

IDK GUYS I JUST DON’T HAVE ANY COMPLAINTS OK

This is on par with the night I saw Wicked on tour. I will be buying the DVD. I will watch it at least once a year. I guess, if I wasn’t before, I’m a Fansie now.

So, yeah, to close: I don’t think I will ever find another thing on this earth that impacts every bit of my soul as much as musical theater does. That is a part of me I will never outgrow, and never give up. Doesn’t matter if I ever make it to see a show on Broadway, or if I ever get on behind the scenes at a theater company. This is me.

This is an experience I want to relive every day for as many days as I have. I laughed, I cried, I came home to my roomies in such a state of embarrassed, blissful exhilaration you’d think I just came home from my first date with the love of my life - which is a completely accurate comparison.

I cried so much, I laughed so hard. #NewsiesForever and all that. There is so much more I could say, so much I feel like I am completely leaving out. But truthfully, when it comes right down to it, there are no words in the human language to describe this experience and how thrilled I am that I was able to go, that I live in the same universe as this caliber of artistry and storytelling. This phenomenon is beyond anything I can say, so I’ll stop trying. ;)

I hope that answers anyone’s questions to whether or not I enjoyed Newsies Live.

Originally posted by pontmarius

This Timestamp in 13 Reasons Why Could Be a Very Important Detail

Warning: Spoilers below!

It’s been a few weeks since 13 Reasons Why hit Netflix, and fans of the show have been picking apart every detail to see if they can uncover hidden meanings. For example, did you catch that the camera filters are much darker in the present day without Hannah? Or that some people think Alex didn’t actually shoot himself? Something that caught my eye the very first time I watched the show (I re-watched it immediately) was the very obvious and deliberate timestamp in episode 13. Zach Dempsey (Ross Butler) is the first student to give his deposition in the lawsuit between Hannah Baker’s parents and Liberty High School. The first shot of this scene is made to look like it’s from the actual camera the lawyers have on the table to record their conversation and includes the month, year, and time of day it takes place: November 10, 2017 at 8 a.m.

Up until that point, I had just assumed this all took place during the Fall of 2016. Since we know Hannah kills herself shortly before Halloween, and we see Clay listen to the tapes in the few weeks that follow (the Halloween decorations around town and the kids TP-ing Hannah’s house back this up), it never occurred to me that there was some time jump into the future (after all, the book takes place back in 2007 when Jay Asher wrote it). So, what could this date mean? I have a few possible theories below.

Related:
16 Things You Didn’t Know About 13 Reasons Why

  1. They’re hinting at season two. The cast has already talked about wanting to do a second season, so could the producers have slid in a clue about when we can expect to be back in Crestmont? While this is definitely a possibility, the show would be in a bit of a time crunch as they would have to get the green light for season two, film everything, and have the premiere ready for November.
  2. It’s a cautionary message. The show has been praised for its honest and unfiltered portrayal of teen suicide, depression, and bullying, and the producers could be sending their audience a bigger message with this date. When you think about the show in the present-day timeline, this means that Hannah is alive right now. She and Clay are wrapping up their sophomore year at Liberty High and this coming Summer is when she decides to cut her hair and start fresh. Jessica’s party also hasn’t happened yet, which means Bryce hasn’t raped Jessica or Hannah. The message could be that if you know someone in your life that’s currently struggling, you can change their future if you decide to do something to help then right now. It also could be encouraging people to immediately re-evaluate how they treat others before it’s too late.
  3. It’s hinting at season two’s plot. While there are solid arguments both for and against a second season, the show could really go in a number of different directions. Since a second season would be missing Hannah’s tapes, which were the driving force of the show, this timestamp could mean that season two takes place after the lawsuit’s trial. The new “tapes” could be these depositions as each character reveals new things about their pasts or hides things to be uncovered in the court room. It could show the aftermath of the trial and have flashbacks to what went on, much like Clay’s flashbacks of Hannah in the first season.

But does no one remember in “Bad Blood” when Magnus and Isabelle are studying the Forsaken body and Isabelle is so excited to start the preliminary autopsy and says, “I want to get my hands on that thing” and Magnus smirks and replies, “Speaking of which, how IS Alexander?” because I think about it 24 hours a day 7 days a week