as promised!!!!

carry on, darling, we were built to last

“You are not wearing that tie,” Victor said as soon as Yuuri stepped out into the living room.

Stopping in his tracks, Yuuri looked down at himself, confused. “What’s wrong with it?”

“What isn’t,” Victor replied with a sigh, his lips curled unhappily.

He quickly stepped out of his shoes and strode over purposefully, eyes locked on the offensive garment. Nimble fingers made a quick work of untying the knot under Yuuri’s chin – he spent a good fifteen minutes trying to get it right, goddamnit – and with a snap slid the offensive piece of material from under his collar.

Victor smiled then, charming and lovely and perfect, and adoringly tapped a finger on Yuuri’s chin while Yuuri could only stare.

“I’ll be right back,” Victor sang and disappeared inside their bedroom.

Yuuri sighed, a tiny affectionate smile on his lips. It was just a stupid tie, why was it so important? No one would even care about it.

No one except Victor.

If Yuuri remembered right, back in Hasetsu when he attended the press conference to present his theme for the season Victor complained about his atrocious tie and then burned the thing when Yuuri wasn’t watching.

Yuuri fondly rolled his eyes at the memory. Victor was always so dramatic… but somehow Yuuri had come to like even that side of him.

A small, incredulous smile crept onto his face and he shook his head. He was doomed right from the start, wasn’t he?

Victor chose that moment to return with a box in his hand, opening it on the way and pulling out a royal blue tie: dark, silky and elegant.

“Did you have this planned?” Yuuri asked, narrowing his eyes at the twinkle in Victor’s eyes.

He obediently lifted his chin up, guided by Victor’s gentle fingers.

“Maybe,” Victor winked at him. He stood up Yuuri’s collar and put the tie around his neck, setting it down to work on the knot. “You really have no taste when it comes to ties, my love. I thought it’d be better to be prepared, just in case.”

Yuuri snorted a little at that. “Says the man with a pink Cadillac.”

Victor didn’t even bat an eye. “Says the man who is your date and future husband.”

Finding no witty response to that and feeling the blood rush to his face starting at the word date, and blooming further at by the end of the sentence, Yuuri looked up at the ceiling, unable to look anywhere even remotely in his future husband’s direction. His heart hammered ridiculously in his chest and he cleared his throat, trying his hardest to control the warmth that was making his body uncomfortable in the restrictive suit, but Victor was close, too close, breathing down his face and smiling softly and Yuuri was working himself up into–

Victor chuckled, done with the knot, and straightened Yuuri’s collar. His fingers brushed against the skin of Yuuri’s neck, gentle and teasing. By the playful quirk of his mouth, Yuuri knew Victor could feel his quickened pulse right on his fingertips as he trailed them down his throat.

Yuuri swallowed when Victor leaned closer. A hand ran down the length of the tie, settling in the middle of his stomach, warm and real and grounding.

And then Victor’s lips were on Yuuri’s, soft and pampered and tasting of vanilla, but the kiss was too short for Yuuri to truly enjoy it. Barely a peck, only enough to touch, but not enough to feel and get lost in.

Victor grinned when he pulled back.

“Now we match,” he said.

And they did.

Victor’s tie was a dark magenta, the colour opposite of Yuuri’s royal blue. Any normal person wouldn’t call that a match, but to them the contrast meant something – something subtle, but beautiful and long-lasting, a plea and a promise of Stammi Vicino.

It felt a little silly, a little over the top, but that was who Victor was, and no matter what Yuuri would always take him wholly: the silly and the drama, the sadness and the pain, the past and the future.

Yuuri couldn’t deny the tender adoration in his gaze as their eyes met.

“What’s next?” he asked, soft amusement in his voice. “Couple shirts?”

Victor’s eyes lit up brighter than the sun and Yuuri laughed, shaking his head.

“Victor, no,” he warned over his laughter. They moved to the shoe cupboard and slowly put theirs on. “I am not wearing any of those, they’re embarrassing.”

“But, Yuuri–”

The door closed behind them, leaving the apartment in complete silence.


Regal Cinemas Exclusive Featurette “The Love Story”

Have you ever noticed how Gandalf the White has his own theme music?

When Gandalf the White is onscreen, you often hear a certain musical theme that represents his character.  My favorite version of this theme is the one that plays when Gandalf leaves Edoras with Pippin, at about 1:20 of this clip:

Links to this scene’s soundtrack:
OST: Hope and Memory
Complete Recordings: Flight from Edoras

Although the composer calls this leitmotif Gandalf the White’s theme, and it appears most often when Gandalf is riding Shadowfax/doing something awesome/doing something awesome while riding Shadowfax… it’s also occasionally used for the Rohirrim. You can hear one of the variations I’m talking about at 1:20 in the OST soundtrack Riders of the Rohirrim.

Some (but -not- all) other appearances of this theme:

When The Three Hunters journey with Gandalf to Edoras…(at 0:56 of this clip)

OST Soundtrack: The White Rider
Complete Recordings: Gandalf the White

When Gandalf is freeing Theoden from Saruman’s spell, you hear a version on horns and with a Dramatic Choir instead of the usual violins (beginning at about 2:03 of this clip:)

OST: The White Rider
Complete Recordings: The Court of Meduseld

And of course there’s the Iconic moment when Gandalf charges with Eomer’s troops at Helm’s deep. You hear this theme just as the sun rises over the mountain peak, blinding the Uruk-hai- (at about 4:15 of this clip)

(OST soundtrack: Forth Eorlingas
Complete Recordings: Theoden Rides Forth)

(To request a soundtrack to be analyzed/translated next, reblog this linked post with a request. This one was written after @avoyagetoarcturus requested Hope and Memory! I tag all my soundtrack posts with #lotrsoundtrackfacts.)





Charlie Rose interviews the screenwriter and director of “The Promise”, Terry George along with three of its actors, Oscar Isaac, Angela Sarafyan and Christian Bale.

Sleepover convo #14

Dallon: ah yes much good sleepover

Josh: did y’all get any chips

Ryan: not this again

Ryan: *sighs*

Ryan: i did have some cheese whiz in my bag but i left it there so its like dead cheese

Brendon: its dead

Brendon: like mcr

Josh: oH NO


Gerard: im just gonna go over to the corner



Dallon: u guys ok

*all swiftly turn to face dallon, the intro to I’m Not Okay begins*

The Promise

So I saw The Promise last night with my sister and ho boy, emotions were real. I’ll try not to spoil too much because I’m not a complete ass. But if you want to know more specifics, you can always message me or whatever. Tagging the people I regularly pester for ease in tracking @fandom-writes @poe-also-bucky @rinskiroo 

So that said, LET’S DIVE IN. 

Originally posted by oscar-isaacs-eyelashes

The movie is a treasure. It is absolutely flawed, and on some levels can feel amateur, despite the sheer talent and work put in by all involved. I would say that it is due mostly to the fact that this is the first work of its kind; unlike the 47 million movies about WWII, where directors, screenwriters, and actors can pull for inspiration and also spot traps and storytelling mistakes, this is the first major Hollywood film to address the Armenian genocide. For fucks sake, nations and governments (including the US and Turkey) still refuse to acknowledge that the Armenian genocide ever even occurred. So for me, the movie’s flaws are nowhere close enough reason to discredit the movie on the whole as an important and pivotal work of art. 

The emotions of this piece are very raw and real, and I believe that’s a huge part of why it didn’t play well with critics. Unlike The Help, there are no White Saviors to come in and save the day. There is Chris Myers (Christian Bale), an American journalist with a passion for discovering The Truth (and also discovering just how drunk he can get). There are moments in the film that build him up for that role, and then just as quickly and masterfully deconstruct that narrative and push Chris into the role of an actual ally; someone who is there to help, not to Save The Day. Even Chris’s most monumental contribution to actually rescuing Armenian refugees is actually cause by and attributed to the sympathetic son of a Turkish general, who is immediately and brutally punished for his “treason.” When Chris is asked what he can do to help, he is told by Mikael to help carry a wounded old man down the mountain, and Chris does so without complaint or praise or heroics. Because that’s what he should do. 

And then there is Mikael. We all know the heart eyes I have for Oscar are so very real, yet I can honestly say that this is one of my favorite roles of his in a long time. Mikael is gentle, unfailingly so, but he is not frail. He is a man of honor, respect, sacrifice, and hope. To watch everything ripped from him, not all at once, but again and again is so heart shattering, but more importantly it is real. I know that it does not do in cinema to crush your hero too much; it ruins the storytelling and makes people sad, after all, to watch the protagonist suffer so greatly and not have redemption. But that IS what happened to 1.5 million Armenians who were slaughtered, and even more who were driven from their homes. They suffered, endlessly. They had everything stripped away. They were murdered. The deep and aching loss you feel watching this movie is not supposed to go away by the final scene; it is supposed to haunt you. You are not supposed to feel better about what happened, as if it is a distant memory or a nightmarish fairy tale told before bed so you’ll behave. It is real. And it is happening again. 

There is a moment where Mikael faces the Turks looking to slaughter him and every other refugee, and even then, with so much pain and need for revenge, he cannot pull the trigger. Instead, he instantly springs to the side of an Armenian man who has been shot in the leg and works on saving his life. Because that is who Mikael is. The film does not comment on whether or not shooting a man makes him good or bad, or if being unable to shoot makes Mikael strong or weak. Instead, it focuses on how Mikael keeps the core of himself; he is a man who loves his people and loves healing. Medicine and life are his passions, and he clings to those things when they are most threatened. Bless Oscar Isaac for the heart wrenching way he played Mikael because I’m not getting over it any time soon. 

The marketing campaign played up the love triangle much more than was present in the movie, and that’s a theme we see a lot to get people interested in a historical drama. While it is an important part of Mikael’s life and story, it takes a backseat to the Armenian genocide, as it should. To my pleasant surprise, there are no obnoxious Macho Man fights between Mikael and Chris over Anna (Charlotte Le Bon). There are no heated words between them over who Anna “really loves.” In fact, it’s rarely talked about, and exists within the audience as a series of emotions. Anna loves both men for very different reasons, and they both love her for their own separate reasons. In Mikael, Anna is reminded and reconnected with her home and heritage. In Chris, Anna finds a home and a safety that hasn’t always been present in her life. The resolution of the love triangle crushed my heart, because of how genuine and compassionate it was.

So, exceptionally long winded story made short (I know, this is the short version, FUCK), go see the fucking movie when you can. It is wonderful. It is beautiful. And I hope there are many more on the Armenian genocide, and all of the history we fight so hard to keep hidden out of shame and pride.