a piece of what you need

this might be an unpopular opinion but @ the non-palestinian goyim speaking about what happened at the CDM….can you stop saying things like “discussions about whether it’s ok to use these jewish symbols need to be had, but obviously i’m not the person to lead those discussions” ??

bc that implies that jews should potentially discuss abandoning the magen david as a piece of traditional jewish iconography and allow israel and zionism to hijack it completely, thus removing its historic jewish and religious context, and it also implies that while you know you shouldn’t LEAD those discussions you still think you have a place in them somehow?

like i’m not gonna say that there can never be conversations between antizionist jews and palestinians about how antizionist jews can continue to display our religious symbols in ways that don’t make palestinians uncomfortable – there should be, but nobody else should be a part of those discussions, let alone deciding whether or not they should be had altogether

which again begs the question, why are rules like “don’t speak out of turn” and “don’t decide what’s offensive and harmful to a marginalized group you’re not a part of” completely accepted and understood for..pretty much anyone except jews? why are we not afforded those same courtesies to have intracommunity discussions not interrupted by people who have no stake in the outcome? why can’t we have discussions within our jewish circles and discussions with palestinians without non-palestinian goyim offering opinions and incorrect assertions at every turn? do you all not see the hypocrisy and disrespect there?

New Pride Colors

Recently Phili has come up with a new pride flag with the colors black and brown to be more inclusive of LGBT people of color. Instead of ROYGBV we have BBROYGBV.
Here’s the thing. The lgbt community has nothing to do with color. No matter what you are included. The brown and black are not needed. Your race has nothing to do with gender or sexual identity. The rainbow flag created by Gilbert Baker (who died in March 2017) is a piece of history and perfect on its own.
This might get some people angry but hear me out. The flag stands for everyone in the community, whether you are black, white, brown, purple, neon, anything. The flag is not about race but about a community coming together due to shared differences on sexuality and gender identity. We are all represented under that flag no matter what your skin color is.

2

The cauldron arrived two days ago, and after an hour of scrubbing with salt, and four hours of curing with some remaining lard, this baby is looking good. It cut the shit out of my finger while I was scrubbing, so there’s definitely something to be said for the spirit within taking what belongs to them. It’s not completely ready, though. I need to do some more internal scrubbing and at least a few more curing sessions, but soon this phenomenal piece will be put to use on my brewing.

…you know…IF I CAN EVER FIND A SUITABLE STAND!!!!!!

anonymous asked:

Could you recommend some phanfiction to read please? I usually can't find any good ones...

of course! i don’t have a very long list since i’ve only gotten into phanfic a few months ago, but here are some that i love (favorites bold, all linked to ao3):

Chemistry by howelllesters

(note: this is the first proper phanfic i’ve ever read, and it’s by my friend adie who’s truly amazing, so go read it)

to the start of forever by dizzy

Too Long to the Weekend by in_too_deep_geronimo

Just Need A Light by hunterfics

fifty kisses to christmas by nokomisfics

36 questions by nokomisfics

Those Four Words by blueberryphancakes

Family’s What You Make Of It by insanityplays (xrosepetalsx)

Secrets We Didn’t Need To Keep by Ablissa 

First Impressions (Perhaps I Was Wrong) by Ablissa

speeding through red lights into paradise by dizzy

When I Woke You Up & Said, “Mario!” by LyricalPary

a natural progression by dizzy

Sparks by howelllesters

Pieces of You by howelllesters

Come Back, Be Here by AgingPhangirl (Madophelia)


i also wrote one myself once #spon lmao

Where Demons Hide by goodluckgettingtosleep


these are the ones i loved enough to bookmark, so there you go <3 

xx

You must stay focused. Remember who you are Tenzin. You are the son of Avatar Aang. You are the hope for future generations of airbenders. The fate of the world rests on your shoulders. But what if I fail? [Looks around.] Then your father’s hopes of the future dies with you. I can’t fail. You will. [Covering his ears, while sagging to the ground, arguing with himself.] Ah, stop it! I am the son of Avatar Aang. I am the hope for future generations of airbenders. I am the son of Avatar Aang!
—  Tenzin, “Darkness Falls”

So here’s the thing.

Naruto at their last battle puts Sasuke’s broken pieces back together by saying something among the lines of “I’m always here for you.” and persuading him to keep on living so that together they can change the world.

Sasuke at the beginning of the battle admits he has nothing left but his bond with Naruto. At the end of it all Naruto, who is mentally stronger than him, gives him a constant, the pillar he so needs to hold on and start anew and at the same time a purpose. And what is Sasuke without a goal? Not Sasuke at the very least.

At this point, Sasuke feels complete. His bond with Itachi and Naruto fill him completely. He has no need for anything else.And that’s the fundamental difference between his relationship with Naruto and with Sakura.

Without Naruto he has no home. No constant. Naruto is a precondition.

Sakura is a fortunate bonus. He cares for her. Might even have fallen with love with her at some point. She grants him the illusion of a normal life, despite the both knowing it can never be like this. Their family becomes his portal to the peaceful life he deserves.

But she is nothing that he couldn’t live without.

His relationship with Sakura exists because of Naruto. It is a bond he was able to effortlessly cut off upon descending into darkness. A bond that exists solely because the same doesn’t apply to Naruto.

So why do we all bother fighting over ships? Naruto and Sasuke’s bond is beyond friendship, beyond brotherhood, beyond romance. It’s something that transcends logic and thus cannot be labeled or categorised.

Sakura and Sasuke’s (and Hinata and Naruto’s) is (?) just romantic love.

Comparing them is of little meaning It’s like asking whether a rose is more beautiful than the sunset. A rose can only be compared with other flowers.

And being incomparable is the difference.

mizuyamamoto  asked:

hey cool ghost! You're songs are really awesome and have actually helped me calm down from panic attacks because of their rhythms (especially the communications series). I wanted to say thank you for your amazing pieces and to keep doing what makes you happy. You're awesome, Please don't ever stop being awesome!

aaaaaaa you don’t need to thank me omg i’m glad they help! ( i v i )

OK. Time for one final move.

Cheer on Asriel to reunite both pieces of his soul.

Flowey may not say it but deep down, HE WANTS his soul back, and the Asriel soul inside Chara wants to be back in Flowey. Otherwise why keep struggle to go back to Flowey?

Both these conditions are met for the final piece of my plan.

I didn’t expect Chara to be holding the soul back without meaning to, So there’s no other way. Man, even without intending to they’re stubborn to the bitter end.

We need to trigger Alliance Overdrive on pieces of Asriel’s soul. 

Alliance Overdrive is what I call the phenomenon that activates when links between souls are formed with one wish, resulting in a massive increase in power and transformation.

I am hoping that power will be enough to get Asriel’s soul back and transform Flowey back into Asriel. Let’s do this….though I imagine many of you are gonna do this regardless of whether or not i tell you what about my plan. 

The Toolbox - Vampire Hexmage

In parallel to the “Hidden Gems of EDH” (which is taking longer than I’d like), I’ll be doing these - the toolbox. Price is no object. Rarity level matters not. These are cards/mechanics that fit into a wide variety of decks.

So you have your collection. It’s your decks, your bulk, cube, rare trades, etc. But do you have a toolbox? Something that you can always get what you need from? 

Sure you have a Tormud’s Crypt lying around. Not sure which commander deck, but it’s around. Maybe a spare Rest In Piece. But you need to get organized, so when you want to upgrade a deck or make a new one, there’s a one stop shop for your tech needs.

Time to start working on a toolbox with me.

Keep reading

sera: mori mori.

mordred: whaaaat. what what.

sera: is feeling the veil being thin or whatever a real thing or was solas just fucking with us?

mordred: ya it real.

sera: is it thin here?

mordred: veil’s not fabric, sera, it’s a sound wall that block noise from the other side. lyrium sing the fade’s song, that’s why you hear that creepy humming from it. no s’not thin here it’s usual thickness.

sera: all i needed was those last 3 words.

mordred: well sorry mageness leak thru. >:(

Dragon: “HALT TRAVELER! THIS BRIDGE IS UNDER MY CONTROL! PAY THE TOLL OR CROSS THIS RIVER ELSEWHERE!”

Knight: “Nay foul beast! These are the lands of men! I shall pay no such toll, and what’s more I shall slay you rid this land of your tyranny!”

Dragon: “TYRANNY!? FOOLISH MAN! THIS BRIDGE IS OVER A HUNDRED YEARS OLD AND IN DIRE NEED OF REPAIRS! THE STONES ARE ERODING AND THERE ARE TERMITES IN THE WOOD!”

Knight: “… what?”

Dragon: “I GIVE THIS BRIDGE ANOTHER FIVE YEARS BEFORE IT COLLAPSES! I’D RATHER AVOID THAT AND PREVENT SOME POOR HUMAN FROM GETTING HURT!

Knight: ”…“

Dragon: "THE TOLL IS TEN GOLD PIECES.”

Knight: “… Okay.”

Dragon: “ALSO, DOWN THE ROAD, A FRIEND OF MINE IS RAISING FUNDS TO FIX A FARMER’S ROOF! IF YOU COULD ASSIST THEM AS WELL WE’D BE VERY GRATEFUL!”

When I'm Older
  • Some time, 2nd year:
  • McGonagall: You shall write on a piece of parchment what you wish to be when you're older.
  • Hermione: Does being a muggle doctor count?
  • McGonagall: Whatever you desire, Ms. Granger. Scribble it down.
  • Draco: *shoots his hand up the air enthisiastically* Can I be Potter's husband?
  • McGonagall:
  • Harry: My wot?
  • Draco:
  • Draco: Your husband. Merlin, Potter, no need to hint how much you want to hear me say it again.
Why Steve Trevor is amazing Thread

*SPOILERS!!!!!*

  • He never made a comment about Diana not being able to do anything because “She is a woman.”
  • When he said “I can’t let you do this,” he wasn’t underestimating her powers nor thinking he could control her. He was just stating that Ares might NOT exist so Diana might be after a human being.
  • HE WATCHED THE ‘SHIELD’ MOVE AND WITHOUT DIANA EVEN GIVING HIM A HINT, USED IT IN THE BATTLE. SHOUTING, ‘DIANA, SHIELD’
  • when squad said they weren’t worried about Diana, that she could take care of herself, they were worried about him, he didn’t go like “Oh come on i can protect myself too.”
  • When Diana became angry at Steve because she thought Ares affected him too, he didn’t say anything hurtful, he just pointed where the guy is and literally said “GO THERE.”
  • When Diana said men are useful but not necessary for pleasure, he didn’t make any stupid comment nor deny it.
  • He never judged or made fun of Diana for not knowing ‘normal’ stuff, instead he explained them.
  • He kept his promises.
  • During “No Man’s Land” scene, although he said noone was able to cross that place, he didn’t mean it because Diana was a woman. He was just simply stating the facts.
  • However when Diana said “It’s what i’m going to do” and started fighting, HE WENT AFTER HER TO HELP. He could just sit there until Diana finished taking everyone down, you know.
  • Whenever Diana went fighting, he was always supportive, never said things like “No, i’ll go,” or “Let me come with you.” First shield, then warehouse. He just stands there and nods.
  • HE FOUGHT WITH AMAZONS.
  • When he told Diana to stand back and Diana saved him from the bullets, he didn’t become grumpy. Instead he was like “LEAD THE WAY.”
  • He tried to convince Diana that even if people aren’t controlled by Ares and even if they are pieces of shits, she still needs to save the world.
  • He literally told her what is important is what you believe in and that somehow became Diana’s motto. When she remembered his words, although she was still so angry and sad because of his death, she embraced love for humanity once again.

PS:feel free to add to the list.

10

What did this episode teach you, children?

  1. Erwin fucking Smith is a crazy bastard.
  2. Erwin fucking Smith is daddy dominant level 100: hanging from a Titan’s mouth and still giving orders.
  3. Erwin fucking Smith is fucking crazy.
  4. Erwin fucking Smith lopped off his own fucking arm with his own fucking sword and managed to do the daring young man on the flying trapeze to Eren.
  5. God knows how long Erwin fucking Smith hung there like a piece of lettuce in the Titan’s teeth before deciding ‘welp, time to chop chop outta here’
  6. Erwin fucking Smith is a crazy bastard who needs to impregnate me or Levi as soon as possible.

anonymous asked:

Any advice on how to write a heist story something like oceans Eleven?

Well, you can start by watching Ocean’s Eleven, and Ocean’s Eleven, and then Leverage, and then Burn Notice, and then The A-Team, and then Mission: Impossible, and then all the other heist stories like The Italian Job or Heat. Watch, read, uncover as many stories about criminals as you can from fiction to nonfiction to reading security analyst blogs. Read the spy memoirs, the thief memoirs, the fake ones and the real ones. Check out magicians, hypnotists, card tricks, and sleight of hand. Watch the making ofs and director’s commentaries looking for clues behind the thought process of these stories. The hows and the whys as you look into the research they did. Burn Notice, for example, is famous for using stunt props and technological rigs that work in real life. Like using cell phones to create cheap bugs on the go.

The worlds of criminal fiction and spy fiction rely on being able to present (or convincingly fake) a world which feels real. A heist is all about exploitation. So, you need a world with security structures to exploit. You’ve got to know how things work before you can craft a way to break them. Social engineering, hacking, and every other criminal skill is about breaking the systems in place. So, you’ve got to get a baseline for how law enforcement and security analysts work. What security systems are set up to look like. The ways we go about discouraging thieves. Better yet how people behave. Real, honest to god human behavior.

So, you know, pick somewhere in order to start your research. Get an idea of what you want write about stealing, then learn everything about the object, the museum, the city, the country, and its customs as you can.

If you’re setting a heist in a futuristic or fantasy setting then luck you, you get to make all of it up.

Learning the plot structure and conventions of the heist genre is the first step. This means watching lots and lots of heist movies, shows, and reading books. Over time, as you become better at critical analysis, you’ll begin to see specific story structures and character archetypes emerge.

The Heist Story is a genre. Like every other genre, it comes with its own structure, cliches, archetypes, plots, and genre conventions which necessitate the narrative. The better grasp you have of those, the better you’ll be at writing a heist.

For example, a heist story like Ocean’s Eleven relies on a collection of thieves rather than a single individual. The character types are as follows:

The Pointman - Your planner, strategist, team leader, and the Jack of All Trades. Can also be called the Mastermind. They’re the one who can take the place of anyone on the team should they fall through. They’re not as good as a specialist, but they’re very flexible. Narratively, he plans the cons and subs in where he’s needed.

The Faceman - Your experienced Grifter, here for all your social engineering needs. These guys talk their way in.

The Infiltrator - Your cat burglar or break-in artist. Basically, the conventional genre thief. Your Parker, Catwoman, Sam Fisher, or Solid Snake. The stealth bastards, they’re all about silent in, out, and playing acrobatic games with the lasers.

The Hacker - The electronics and demolitions specialist. Usually this is the guy in the van overseeing stuff remotely. Your Eye in the Sky. Their skill set can be split up and swapped around as necessary.

The Muscle - The one who is good at fighting. They’re combat focused characters, usually with mercenary and special forces backgrounds. Though, that’s optional.

The Wheelman - The one who handles the getaway. They’re your often overlooked transport specialists. It’s not just that they can drive, they’re skilled at getting lots of people around, figuring out how to move your valuables, and exiting hostile cities or countries undetected. They get the team in and they get them out.

For an example of these archetypes, I’m going to use Leverage. Nathan Ford, The Pointman (technically, he’s written like a Faceman). Sophie Devereaux , The Faceman. Parker, the Infiltrator. Hardison, the Hacker. Eliot, the Muscle. They all take turns being the Wheelman.

Other examples like Burn Notice: Michael Westen, the Pointman. Sam Axe, the Faceman. Fiona, the Muscle. They all take turns with explosives, Michael will invariably take all the roles during the course of the show.

Ocean’s Eleven has multiple variants of these archetypes, all broken down and mixed up.

You can mix and match these qualities into different individuals or break them apart like in Ocean’s Eleven, and more than one character can fill more than one role, but that’s the basic breakdown. For example, your hacker doesn’t need to be a guy in a van overlooking the whole security grid. One guy or girl with a cell phone can sit in the lobby of a building with an unsecured wireless network and crack the security. Welcome to the 21st century. The skills don’t necessarily need to take the specific expected shape.

What you do need is the basic breakdown:  You need someone to plan the con, you need someone to be your face or grifter, you need someone to break in, you need someone to watch the security/electronics, you need muscle to back you up, and someone’s got to cover the getaway.

These shift depending on your plan, but this is the expected lineup for a heist narrative. The first step of a heist narrative is not the plan because we don’t have one yet. We’ve got an idea. Pick your target. Maybe it’s a famous painting. Maybe it’s a casino. Maybe it’s a rare artifact from a private investor’s collection loaned to a museum for a short period of time. Maybe it’s art stolen by the Nazis during WWII. Whatever it is, figure it out.

The next step is simple. If you want the thing, you’ve got to find a way to get it. This is a big job, your standard thief won’t be able to pull it off alone. So, you gotta go recruiting. Get your team together. Make sure to establish the goals of the different members for joining. Who they are. Their pedigree. One might be an old flame or an old enemy. This is where we lay out some character driven subplots.

When everyone’s together, we’ve got to lay out the plan. Before we have a plan though, we need to establish where the object is and the issues in getting it. Why this has never been done before. So, what are the challenges? Invariably, an object worth a great deal of money will have a lot of security protecting it. Figure out what that security is, who the item belongs to, what sort of retribution do the thieves face beyond what they might expect. Lasers, pressure plates, cameras, security, other career criminals, mob bosses, the rich and powerful, whatever.

After that: How do you get it? Then you’ve got to plan the con, while taking everything into account.

Then, We prep the Con. There will be steps to take before the con can be put into place, your characters taking their positions in plain sight. Stealing whatever pieces you need to make it work. Casing the joint. Etc.

Then: Run the Con. This is the part with the actual stealing. Better known as the first attempt. Things go well, there may be a few mistakes, but things are going well and then we…

Encounter Resistance. While running the con, something goes wrong, pieces fall apart, the thieves come close to success but the object gets moved and they suddenly need a new plan. New information may pop up, it may be one of your artists was running a con of their own separate from the rest. If there’s a double cross in the works then this may be when and where it lands.

We’re ready now, so it’s time hit up: Steal the Thing, Round Two. Your characters put their new plan into play and get about thieving the object of their desire.

Lastly: The Get Away. This is the part where your thieves make for the hills with their stolen treasure. This can be short or long depending on the kind of story you’re telling and other double crosses may occur here. It could be the end of the story or the beginning of a new heist.

Heist stories are like mystery novels. They’re all about sleight of hand and misdirection. You’ve got to keep just enough information on the table to keep your audience on the hook, and just enough information off the table to surprise them later on the twist. Yet, when they go back to re-read the novel again, they’ll find the answer was there all along. They just didn’t see it coming.

If anything, learning how to write a well-done heist or a mystery or any kind of novel in this genre will teach you a lot about how to manage your foreshadowing and create superb plot twists. Like any good con, you need to lay out all the conflicting pieces where people can see them, let them draw their own conclusions, withhold the critical context, and then hit them with the whammy.

Like lots of audiences, new writers (and even some old ones) can get distracted by the shock and awe. They see they’re impressed by the conclusion, not the lay-up. If you want to write any kind of fiction, you need to learn to see past the curtain and pay attention to the critical pieces leading into an important moment rather than the moment itself.

Good writing isn’t modular, you can’t just strip out pieces and run with them because you’ll end up missing the crucial, sometimes innocuous pieces that ensured the scene worked. Like the Victorian Hand Touch, every moment between the two leads and most of their scenes with secondary players are working for that singular instance of eventual, gleeful catharsis.

If you’ve got a plot twist coming in your novel, every sentence from the second you start writing is working towards it. You start laying out your pieces, funneling in your tricks, and playing with misdirection. You may have multiple twists, to cover yourself, divert your audience, congratulate them for successfully guessing your ploy, and reassure their initial suspicions before catching them again on the upswing.

The clever writer is as much a con artist as their characters. The only difference is the target of their con is their audience. The tricks in their bag are narrative ones, and they work with the understanding that it doesn’t matter if someone guesses the end so long as they’re entertained by the journey. A great story stays entertaining long after the audience has figured out all the twists.

So, don’t get caught up in Red Herrings and frightened about not being able to outsmart other people. Tell a good story with conviction and heart about a bunch of crooks out to steal their heart’s desire.

That’s all there is to it.

-Michi

This blog is supported through Patreon. If you enjoy our content, please consider becoming a Patron. Every contribution helps keep us online, and writing. If you already are a Patron, thank you.

Drarry Headcanon

for anon (because I couldn’t wait to post this… I’m still on hiatus…)


  • Narcissa and Harry thanking one another for what the other did during the war over letters
  • Narcissa telling Harry that Draco still fawns over him
  • Harry learning more and more about the real Draco
  • and soon, falling for his personality
  • Narcissa setting them up without telling Lucius
  • because she knew he’d be going insane with even more ‘Potter Talk’
  • Draco becoming super flustered when he finds out about what’s happening 
  • because he totally doesn’t still talk about how bad he wants to be Potter’s friend
  • and how they’ve hated each other since the beginning
  • the most awkward first date
  • and an even more awkward second
  • but bonding over old stories from their days at Hogwarts 
  • them finally telling each other about their feelings towards each other during school 
  • Draco breaking down in front of Harry while telling him how bad his rejection felt
  • “I felt as if someone had ripped out my heart and tore it into a million pieces…“
  • Harry describing the guilt and pain he felt after using sectumsempra 
  • “I didn’t mean to hurt you…”
  • Them feeling they need to see each other at least 3 times a week 
  • Harry teaching Draco about muggle things 
  • Draco falling in love with movies
  • Harry putting his arm around Draco as they watch one together 
  • Draco laying his head on Harry’s shoulder just after
  • That first kiss they don’t know who started 
  • but knowing they can’t be apart for very long
  • Draco always staying at Harry’s flat
  • because he’s is afraid to live alone
  • and he’s not quite sure what his father would think 
  • “I don’t think my father will hear about this”
  • During their time off of work, they just like to hang out
  • whether that be visit the shops, make a homemade meal, play a 1 on 1 Quidditch match, or just lay in bed until noon
  • Little inside jokes about each other
  • Draco teasing Harry about his horrible eyesight 
  • “At least I’ll have you to help me around if I ever lose my glasses, Malfoy.”
  • Falling asleep while snuggled up together 
  • Harry visiting Draco at work every chance he gets 
  • and Draco doing the same for Harry
  • Him finally gaining the courage to show Harry his scars
  • Harry tracing over each line with his fingers as he feels the guilt come back
  • “I’m sorry”
  • Draco still warming up to the Weasleys and Granger
  • The Weasleys taking him in as their own and treating him like they did Harry for all of those years
  • both of them being afraid to say what’s really on their mind
  • because they think the other won’t feel the same
  • but Harry gives in first
  • “I love you”
  • Draco feeling butterflies in his stomach 
  • “I love you too”
3

Ricardo liked this post on my Instagram today!!!!!!!!

I am not breathing.