because i just rewatched it and i have feelings

anonymous asked:

reg, I just rewatched the 'leave the math to pidge' scene,, and the way keith says it is soo mf soft, and the way the whole thing is framed,,,, like they didn't have to /do/ that

god i know…a lot of people don’t like this scene because they think that keith is insulting lance and that he just made lance feel worse and like. the only thing that comes to my mind when people say it was a bad scene is “ding dong you are wrong.”

(more under the cut because this got so much longer than originally intended):

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5

Moonlight Audio Commentary by Barry Jenkins: “Chiron doesn’t make many choices or he doesn’t make obvious choices. […] I wanted there to be a moment where the door is there or if he wanted to he could choose to decide “this is enough, I don’t like it, it doesn’t feel right.” And I feel like in my mind Kevin has gone back into that kitchen and he’s standing there and he wants to give him again, that space to make a choice. Depending the surround sound you have, the world starts to swirl a little bit and his ear gets closer to that door because he could choose to go or he could choose to stay. I feel like he chooses to stay.”

anonymous asked:

So I was rewatching Miraculous (again) and I just felt like you would understand that wonderful shipper feeling you get when you see the scene of Chat Noir smiling at Marinette's family photo in Animan.

NONY, YOU REALLY GET ME. BECAUSE, OK, ok. Like, I’m not sure why I never made a post about this but now that you brought it up I’m just??????? heck yeah let me talk about this—

because there is more to this scene than you know, anon. THERE IS MORE. So slip on your shipping goggles cuz we about to swim deep in this ocean of shipping feels~

See here, we have our sunshine baby Chat smiling at a picture of Marinette and her family. Now, that in itself is already oodles of cute and fluff because it shows he really likes the Dupain-Chengs—–

BUT WAIT—– THERE’S MORE!!!

See this moment here? When Ladybug calls him, he reacts like this:

What is that face, you tomcat?

Is that guilt i see in your face?

WHY ARE YOU A GUILTY KITTY?

Is it because “the love of your life” has caught you smiling at a photo of some other girl? Or is it because you caught yourself smiling at a photo of some other girl? In the general vicinity of the love of your life and the other girl’s parents?

HMM??

HMMMMM??

are ye guilty of another crush? y/y

4

This whole storyline that started this season about Cam and Arastoo adopting has seriously warmed my heart, but in all honesty, the one thing that gets me about the whole thing is that at the end of the day, Cam went to Brennan of all people to discuss about their adoption plans (you can tell from her ‘you ready to tell them?’ remark earlier that Brennan knew about Cam and Arastoo’s plans all along - and it brings back memories of all those years ago, when Cam first started working at the Jeffersonian and both Brennan and Cam clashed so much, and it was that one conversation in the diner about Brennan being a foster child which led them to working out a plan to function better as a team and colleagues, and all that has led up to this moment now. That she can now confide in Brennan, and Brennan in turn, was there to offer her the advice and support required, is what makes this entire scene even better for me. Because it shows just how far these two have come after all these years, from colleagues who couldn’t get along, to becoming dear friends. And in all honesty, that is all I could have ever asked for with these two. ❤️

7

I don’t know if this is common knowledge or not, but this scene here is the first, and only time Edward cries in the series. From the day he and Al burned down their home until now, this is the only time.

Ed didn’t cry when he and Al discovered what had become of Nina. He didn’t cry when she was killed. He didn’t cry when Scar destroyed most of Al’s body, or when Scar was moments away from killing him. He didn’t cry when Al accused him of creating a fake soul and binding it to armor, of inventing a brother as some kind of sick joke. He didn’t cry when he learned Hughes had died, or when he confronted Gracia and admitted the murder was likely his fault. He didn’t cry listening to Al admit that he was at his wit’s end, that he couldn’t stand all the nights alone anymore. 

He didn’t cry when he learned Scar had killed the Rockbells after saving his life, or when Hohenheim accused him of running away. He didn’t cry when he discovered the thing he’d transmuted wasn’t actually Trisha, or when Envy told him they were doomed to die inside Gluttony’s failed portal, or when Bradley took Winry hostage, or when the fight with Kimblee left him with a ten foot steel beam puncturing his side. He didn’t cry when Pride hijacked Al’s lifeless body, or when he let Al be locked up in total darkness with Pride, or when Father took them captive and used them to kill everyone in Amestris.

And he didn’t cry when Al sacrificed his own soul to save Ed’s life.

No. He’s gotten angry; he’s yelled; he’s exploded, but he’s never cried. This is the only time, and it’s when Hohenheim tells Ed to his face that he loves them, more than anything in the world, and only wants for them to be happy—that everything that happened had been his fault, as their father, as an adult, as the one who should have been protecting them, and not Ed’s.

And Ed bawls.

Here’s why: Ed hates Hohenheim, and will easily admit it, but he doesn’t hate Hohenheim in the way he hates other people. Ed enjoys talking smack about those he genuinely hates—he’ll talk about wanting to beat Scar bloody for everything he’s done, and wanting to kick the homunculi’s asses for trying to use him and Al as pawns. Hell, he even enjoys jabbing at Roy for the personality traits he dislikes. Hohenheim is different though. Hohenheim is the only person Ed hates that he also hates talking about. Every time Hohenheim is mentioned, Ed responds with a quick, scathing comment about the man and desperately changes the subject.

And this is all because Ed doesn’t feel right about his hatred toward Hohenheim. For all the others, Ed hates them from a blameless position. The homunculi hurt innocent people, as does Scar, as does Kimblee. Ed securely knows he’s the good guy who hates these bad guys. He’s the moral one, the blameless one, pushing back against a truly antagonistic force. And this is what Hohenheim is not. All of Ed’s hatred toward Hohenheim stems from a place of projected guilt and self-loathing. Ed decided to try to bring Trisha back to life. Ed performed the transmutation that got Al’s body taken away. Ed burned down their home and enlisted in the military, and Ed agreed to do awful things in order to try to fix what he’d done to Al. But, if Ed dials everything backwards, he can almost justify rooting this in the fact that Hohenheim left them first.

If Hohenheim had stuck around, maybe Trisha wouldn’t have died. And if she had, Hohenheim could have stopped Ed and Al from doing something so reckless as human transmutation. He’s their father after all. He’s supposed to be responsible for them. But he left, so Ed can almost rationalize the idea that it was Hohenheim’s leaving that led to everything bad in the brothers’ lives.

Ed knows this is grasping though, and he clings to it in part because he’s convinced Hohenheim hates him too. The clearest memory Ed has of his father is from the morning he left, standing stiff at the doorway, glaring down at Ed before heading out the door and never returning. (A glare which we later learn was the result of Hohenheim furiously holding back tears). Clearly, Hohenheim hated Ed and Al and Trisha enough to just walk out the door one day without saying goodbye. Ed’s probably spent a lot of sleepless nights wondering what they’d done wrong as a family—what he’d done wrong as a son—to make his own father not want him anymore.

So when Ed talks about how he hates Hohenheim, it’s 100% intertwined with a hatred he feels for himself. And it’s an insecurity Ed would never, ever admit to.

Meeting Hohenheim again in episode 20 only works to confirm Ed’s fears. Hohenheim is unbelievably cold to him—Hohenheim confirms that, yes, all of this was Ed’s fault. Ed committed the taboo; Ed burned down their home as a means of hiding the memory. He’s disappointed in Ed. He hates him as a son. And he leaves, again, without goodbye, because Hohenheim didn’t return home with any sort of change of heart.

Learning the truth about Hohenheim only serves to scramble Ed’s feelings. He’s confused; he’s uncertain. He can rationalize Hohenheim’s departure in the context of preparing the counter-transmutation circle, but what about his memories of the man who glared at him, filled with hatred, and left? What about the man who accused him of being a scared, stupid child who’s to blame for all his failures? What about the man who—if only he’d stuck around—could maybe have stopped Ed from doing all of this? The truth makes sense, but it does nothing to alleviate all the guilt and self-hatred Ed feels in relation to Hohenheim, so he doesn’t soften to his father like Al does.

Until this scene.

Until finally, Hohenheim says everything Ed’s desperately wanted to believe for the past ten years. Hohenheim loves him. Hohenheim cares about him. Hohenheim blames himself for what happened—he should have been around for Ed and Al, he should have been there to stop them from doing the impossible, he should have been their father. He wanted to. More than anything in the world, he wanted to just be there for them. Their family was everything Hohenheim had loved in life, and he’s sorry, from the bottom of his heart he is sorry, for how he left them behind. So sorry, that he wants to sacrifice his life in order to fix what little of it he can.

And that’s what breaks Ed. He was strong enough not to cry at any other time, for any other reason, but in these few panels Hohenheim destroys the mangled, tortured sense of fear and guilt and self-loathing that Ed had been harboring for a decade. Hohenheim loves him. Hohenheim is happy to be Ed’s father, proud, and so so sorry.

For the first time, Ed cries. Because for the first time, he feels like he can call Hohenheim “Dad”.

Thoughts after a rewatch...

Stranger things season 3 will have a love triangle with Mike/El/Will and a lot of people will be surprised but tbh I will be surprised if they DON’T do that because I feel like they’ve been building to that over the two series.

1) all the gay coding for Will. It’s either gonna come up eventually or else it’s just another example of creators being too chicken shit to actually have gay characters. Also if it doesn’t come up or figure into the plot then that’s just shitty writing. Chekhov’s gun and whatnot. Don’t allude to it (in somewhat blatant ways imo) unless it’s going to mean something later and actually factor into the plot. Otherwise Joyce going “hey my son is missing and yea ok he may be gay but let’s not get into that now…” seems like bad writing and all the gay slurs seem excessive and unnecessary.
Yes incidental gayness is a thing and should be a thing with characters, but this never felt like that. They kinda clunked us over the head with it (I think. Tho some may have missed it, but I think it’s very obvious for anyone who pays attention, knows how subtext and foreshadowing work, and aren’t blind to the idea that non straight characters exist)

2) all the parallels between Will and El. They both are the closest to Mike. He is kinda their knight in shining armor and they know it. They’ve both now spent a respective season being super close to Mike while the other was out of the picture. So. Many. Parallels. Others have made great posts pointing these out. Calling for Mike in the upside down, hand holding scenes highlighted by camera close ups (once again thunk thunk on the head), scenes that are literally the same for both Will and El, shot wise and dialogue wise. It’s a lot. If it was just to show how Mike is both the closest to those two than its kinda unnecessary? I mean I think you can show that a character is close to two people without literally repeating scenes/scenarios and whatnot. Especially when you are repeating scenes/dialogue that was between a character and his female love interest. It’s just suspicious as hell and once again shows either brilliant forethought or complete ignorance as to how the Mike/Will stuff could be seen (do show runners not realize if you code characters in a romantic way then people will think that? And it’s not ridiculous or crazy when we do? So many times they go “that wasn’t our intention! Not gay!” Yea ok but then why did you write, direct and shoot it that way then? Riddle me that.)

3) Will and El have yet to actually share one scene or properly meet onscreen. Besides that one scene in the first season where El approached him in the void whatever, they have yet to really interact (also was Will the only person she could touch in the void? Am I remembering this correctly? If so that’s interesting enough on its own). This is suspicious. Are they saving it for something big? If not then why not have them finally meet this season? Seems about time, no? Why not a scene with them meeting at the snow ball at last? Yet they didn’t and I refuse to believe it’s just an oversight. Going two full seasons without any actual interaction seems silly and blatant as hell and once again IMO it’s either part of a well thought out plan and good writing or it’s a huge error and lazy storytelling.

4) all the other “couples” have had love triangles more or less. Steve and Jonathan and Nancy. Dustin and Lucas and Max. I’m not sure if Bob and Joyce and Hopper qualify but maybe if you squint? I guess t could since Joyce was with Bob even though it was clear Hopper cares deeply for her, even if it wasn’t a typical triangle situation (aka jealousy, longing looks, tension etc). It would be off trend for El and Mike to not have a triangle as well, and so far who is the only one of the kids to not have a love interest or crush? Will. Well…that we know of.
And some could argue that well wasn’t the Mike and El triangle with Max, seeing as how El was jealous of Max? And maybe. But I don’t really think that works because a love triangle is, well, a triangle. One character being jealous over two characters who don’t even like each other romantically (and Mike barely liked Max at all) does not a love triangle make. If anything it felt like a fake out. A faux triangle. Is the real one coming next season?

And yes I realize Will was super busy being kidnapped and possessed over two seasons to like be a normal teen and worry about crushes and whatnot, I grant you, but if they wanted to they could have easily had a throw away line or two about liking a girl or wanting to ask a girl to dance blah blah. They didn’t. Ever. And I feel like with the kids most likely moving into high school next series, this is going to become glaringly obvious that Will hasn’t had a love interest or even the inkling of one. And I think it would be the perfect time to go there with him.

I just read an article from Indiewire where the Duffers were saying that series three will be less about expanding their universe, and more about intimate moments, aka character building and getting to know more about these characters, as well as dealing with the things that happen with a group coming of age/teenage stuff. So yeah, basically a perfect time to get to know more of who Will is as a person.

Why not fire that Chekov’s gun and reveal that Will is gay and likes Mike? Not only would this be an original and interesting spin on things, it would be a great surprise twist to the majority of the public who are too stupid to pick up on these things, and also be very inspiring to kids who desperately need to see this kind of representation.

If a fucking DISNEY show can have a gay preteen/teen or whatever then this show, that def skews more adult, can have one. And no I am not here for the “sexualizing kids” wank, so don’t even start that shit. Gay relationships are not inherently sexual and if you immediately go there then the issue lays with you and your prejudices. Gay people do not spring forth fully formed as adults. Gay adults come from–surprise–gay kids. And there should be depictions of that onscreen. It’s not dirty or wrong, and if you think a teen having an crush on a boy and holding their hand, or giving them an innocent peck or something is “omg sexualizing!!1” but it’s a-ok if it’s a boy and a girl, then you need to investigate your own hang ups and biases. I’m not here for that.

Anyways that’s my thoughts on the issue. I look forward to next series, and with a focus on the characters and their relationships, plus all the build up from the first two series, I really can’t help but feel like they are going somewhere surprising (to others, not me or to anyone who pays attention) next series.

But I will admit I’ve been here before–convinced that the foreshadowing and subtext and everything was so clearly saying one thing when in the end….it was not. And it was a huge let down (and more often than not an obvious cop out). So we will see. If there isn’t a love triangle angle then fine, but more than anything I am convinced they will move forward on the whole Will/gay thing (but truly I think all the build up so far screams that there will be at least some sort of…~tension there between Mike/Will/El)

In the end I am here for a good story. An original story where original things happen. So far this show hasn’t let me down on that front. I’ve yet to be truly let down or disgusted with this show yet so my hopes are high.

And I don’t have any skin in this game–I am cis straight woman–so if they don’t go there then it is what it is. But my passion comes from wanting to see the best story. To see the outcome of the tale they’ve been telling from the start. To see the foreshadowing and subtext that’s been there all along pay off in the end. To not see creative people cop out. To see representation and diversity in fiction. I value that in creators and I think more of that is needed.

But as I’ve been saying, it’s either shitty writing in the end or it isn’t. We shall see.

10

top 50 otps of all time ☆ #45. Peyton Sawyer & Jake Jagielski 

“Yes, losing your heart’s desire is tragic, but gaining your heart’s desire? That’s all you can hope for. This year I wished for love … to immerse myself in someone else and to wake a heart long afraid to feel. My wish was granted and if having that is tragic, then give me tragedy because I wouldn’t give it back for the world.”

How was the Series of Unfortunate Events movie literally the best thing ever and the worst thing ever at the same time

Like how could they nail the casting, atmosphere, music, narration and basically everything aesthetic so perfectly while completely disregarding the actual story that they were adapting beyond the point where it can even be enjoyable

luanna801  asked:

So, interesting thing: I've seen you and other posters talk about how Shiro has to close his eyes and compose himself for a minute before he sends Keith into the Galra base. But I was rewatching BoM today, and I noticed that Keith does exactly the same thing before he says "Shiro, you're like a brother to me, but I have to do this." And in both cases they're trying to steel themselves to do something they don't want to, and not let their feelings for each other interfere with the larger goal.

Oh yes yes, you’re definitely right, that’s a good point!! I noticed it too on one of my rewatches. 

Personally I think the reason why people point out Shiro’s instance more is because the pause seems like longer and more deliberate somehow?? It’s also easier to illustrate if you just like compare Netflix’s subtitles between the two. For Shiro, you can see the spacing of his words right there on the screen. But ya, Keith does it too! And I think if you look at the way Keith delivers this line, he definitely looks torn apart about everything; I think it’s possible what he said was in a way kind of shoving down personal desires–as lines like “desperate” would suggest–in order to try and say whatever he thought would make Shiro stay. 

Actually, this reminds me. @kcgane has a really neat meta about Keith closing his eyes to concentrate, because it’s something he seems to do a lot to center himself and focus. And as kcgane pointed out, it’s especially apparent when he’s internalizing the whole Patience yields focus thing. So maybe this was another habit he picked up from Shiro, a kind of grounding tactic to help stay calm?

anonymous asked:

Did you start shipping sheith back in s1 and if so why? Not an anti! Just curious.

Oh, I have no problem believing you’re just curious. Back in s1 days I had not one but four of my friends ask me why I shipped it.

So yes, I did start shipping it back in season 1 but it’s not like they were an OTP or anything. In fact, I only started to actively ship it at the s1 finale. Here’s how it went for me. 

There I am, watching the pilot episode, having a grand time and feeling nostalgic and really enjoying myself. When this happens. 

This scene set off all kinds of alarms inside my head. Now, it’s not like I started shipping it here but this interaction caught my interest because it indicated that these two clearly knew each other. This was further confirmed after Shiro is awake and they have their little shoulder touch “Good to have you back”/”Good to be back”. So I was eagerly awaiting some backstory, that I have yet to get >_>

The series moved forward though and I was enjoying the ride. Shiro quickly became my favourite, so I always paid particular attention to him when he was on screen, even if he was in the background. So that meant I noticed that Keith was just there a lot too. That led me to realize that it wasn’t simply that Shiro and Keith knew each other, but that they were really close, and had been as such before the series started. Even just in the first episode I kept noticing things.

Also Keith is always looking out for Shiro and is very protective and worried for him.

Meanwhile Shiro really respects Keith’s abilities and trusts him 100%. 

There’s just a lot of subtle moments between them that build up to the finale. And oh boy, the finale!

That’s when it really hit me because Keith is desperate and brutal in his attempts to save Shiro and the Black Lion. Keith also has no personal reasons to be as invested in taking down Zarkon as he is in the finale, to the point of shutting off Coran, so I have to assume that it relates to what the Galra did to Shiro. I mean, rewatch that fight. It feels so personal and I was sitting there watching it thinking damn Keith, what did the Galra ever do to you? Well, they took Shiro away and tortured him for an entire year. 

And Shiro saves Keith back which was really great.

So yeah I already shipped it in season 1 because these two were clearly close, had a lot of mutual respect and trust in each other and were just very tender and intimate with each other. And that’s my shipping aesthetic. 

8

It’s just the committee, you know? Yeah, since when do you listen to a fucking committee?

About Harry Shum Jr.'s Magnus Bane

There are a lot of things I love about Harry Shum Jr., but whenever I see him in anything else beside “Shadowhunters”, it always strikes me how his Magnus is absolutely specific and very peculiar (and perfectly Magnus-like).

If you watch, even for some minutes, other shows or movies he starred in, like, for example, the first episode of “Single by 30” (available for free on youtube), or the shorter “Caper” (again, free on youtube), and if you know “Glee”, you will immediately understand what I mean.

As I said, there are a lot of things I love about his acting in general. Here are some aspects about the way he plays Magnus that I just LOVE:

  • Body language

Everyone already noticed this: it’s always a pleasure to watch him move. He’s basically dancing through the scenes without even specifically doing so, nor forcing it. Harry makes it so natural, it’s impressive.
When Magnus moves it’s never sudden nor harsh; there’s always a softness in his walking or turning. When he just stands, his posture is very specific: his back is straight, almost arched but not too much; it’s a typical position in dancing, if you think about it (at least, I was taught so). He’s never hunched, his shoulders never drop, his head is always high.

All the details listed above make Magnus a graceful character. His movements are elegant, almost delicate. His clothes automatically need to mirror this aspect of him; hence his wardrobe is full of beautiful jackets, elegant shirts and fascinating accessories. It’s very interesting how, being immortal, he has to adapt his style through the centuries and how he probably never had any difficulties in doing so, thanks to his natural movements and posture.

  • Magic

The way Harry decides to perform Magnus’s magic is absolutely linked to the way the character moves. Thus, when there’s magic involved, Magnus is almost dancing.
You can notice that in the way his legs and muscles balance him; how his torso shifts to follow the movements; how is arms are free to move, going wherever he wants to. I just love seeing hints of Harry dancing in there: it’s hidden but still visible and it’s amazing how he manages to find the correct balance between simply moving and breaking into dance. It’s never awkward, nor forced (no matter what Clary tried to show to AU!Magnus in episode 1x10); it’s still elegant and very Magnus-like.

  • Voice

His voice is one of the things that changes the most between his acting roles. Harry voices Magnus in a specific and completely different way from how he speaks normally or how he performs in other roles.
Magnus’s voice is always soft. He never truly shouts, not even when he’s angry. He can be harsh if he’s upset but you can’t hear it in his voice per se: it’s more in the words he chooses and how he wants to deliver what he wants to say.
He’s well-spoken as well; he’s usually direct but he can be evasive as well. Nonetheless, and no matter the situation, his voice is always soothing and warm and I just love that about Magnus.

  • Expressions in emotional scenes

I remember the fandom praising him during 2x15 and I couldn’t be prouder. Harry is always amazing as Magnus, but his emotional scenes are just incredible to watch. From the way he manages to make us understand that Magnus is closing off (1x12 or 2x12 until 2x15, for example), to the way his anger and upset show (2x03 or 2x17).
Most of all, I adore how Harry manages to show Magnus’s surprise or disbelief when Alec does something unexpected (2x07, 2x10 and 2x20, all Malec scenes). It’s not a visible surprise, it’s not exaggerated nor forced. It’s the surprise of a person who got through so much and that at first doesn’t believe what he sees or hears. Magnus clearly needs time to process the fact that there’s someone loving him as much as he loves and that demonstrates how Harry understands the character perfectly. His surprise is a breach through Magnus’s walls, not a crumbling of those defenses. Alec is destroying them little by little, so Magnus is going through a new and unexpected experience, and I always find Harry’s expressions and behaviours on point.

  • Details

In the end, as I said once, it’s all about the details. This is probably the aspect I love most about Harry: nothing is done by chance, nothing is random; there’s always a purpose and a meaning behind every movement or emotional disclosure. We all know, through interviews and comments, how Harry works. He studies every detail and he manages to portray and gift us of everything he can think of.

Magnus is never still. Whether there’s a close-up or he’s in the background, if you follow him with your eyes, you will notice that Harry always does something. Maybe it’s Magnus sniffing a weird object; maybe it’s him gradually disappearing from the room to avoid a discussion; maybe he does funny faces to another person (or to Camille’s snake).
Whatever he does, I know it’s never unintentional. And that makes his scenes so interesting to watch, follow and study carefully. There’s a joy in examining what he does and in trying to understand why he does it. When he plays Magnus I just love it even more, because he does everything I’ve ever imagined Magnus would do.

I’ll be forever grateful for this cast. But even more, for them to choose an amazing actor like Harry Shum Jr. to portray one of my favourite characters ever.

I just rewatched Civil War again and I realized something as I watched it - seriously, people need to pay attention in this end fight because Tony, if he had wanted Bucky or Steve dead, he could have killed both of them by simply blasting his center repulsor unibeam at them and they’d have died.

Tony Stark was pulling his punches, I’m calling it. He was fucking pulling his punches.

Yes he was furious and betrayed and angry, he wanted to hit someone, he wanted to make them hurt as he does, he wanted someone to pay and feel the pain, he wanted all those things. But even in that furious blind anger, there’s that part of him that couldn’t do it - Tony came into Siberia to help them, he just spent an entire movie trying to shield them from a firing squad, hell he let Natasha walk away and didn’t even go after her, Tony didn’t want any of them to die. Yes there’s so much anger he’s feeling, so much pain, but buried beneath all of that is a man who still doesn’t want to kill someone, who doesn’t want to kill his friend.

If he was truly so furious, truly so full of rage that he just wanted Bucky or Steve to die, all he had to do was blast them all with that unibeam and they’d both be done for it.

I mean, seriously, look at that scene, when Bucky was tearing at his arc reactor, he only blasted the metal arm off, and once Bucky was down, he could have unibeam again and Bucky would be dead but instead he used that same hand repulsor blast that he used on Sam, a non lethal blow.

Tony Stark may have been furious as hell, may have been overwhelmed with pain, but there was still a part of him that could not take the lethal shot. He was still holding back, however unconsciously, but he was.

So i just rewatched the scene where Clarke and Bellamy are arguing and she says, “I’m sorry–but I knew I could leave because they had you.” and I realized when he looked away that he was probably thinking, And who did I have? 

And now I have a lot of feelings.

scutellatebooted  asked:

Hi Wil. I've been rewatching TNG and I got to the episode with the infamous "Shut up Wesley" quote and I gotta say, Picard was out of line. Wesley is smart and observant, and was correct when he said that if an adult had been delivering the report, it would have been listened to. I wish people would look at the whole context of the scene because I feel that last part is important: kids know what's up and shouldn't just be brushed off like that.

I appreciate this very much. I agree with you, and I wrote in Memories of the Future that I believe this is the moment that seals Wesley’s fate with that part of the audience who wants to dislike him, and hamstrings the character for the rest of the series.

Things I Love About LoK

Goal: Write 1 thought every day re: why I love The Legend of Korra until I finish rewatching the series.  

#174: Korra saved Kuvira from the spirit cannon in “The Last Stand.”

Discussion about “The Last Stand” often gets dominated by opinions about the Korrasami ending. I happen to love the ending (despite not having really seen it coming). But my absolute favorite scene in “The Last Stand” (and perhaps my favorite  in all of LoK) is the one I feel doesn’t get enough love: the scene where Korra defends Kuvira from the spirit cannon.  Because HOLY SH*T.  EPIC.

I mean, LoK had just spent two episodes showing us how incredibly friggin’ destructive the spirit cannon was.  It was a weapon of mass destruction that completely obliterated anything and anyone in its path.  It blew up entire swaths of buildings with no problem.  Also, EXPLOSIONS.  MASSIVE EXPLOSIONS. See, e.g. this: 

And this: 

In “The Last Stand,” Kuvira is about to get a taste of her own medicine and get completely obliterated by her own spirit weapon…

… when suddenly Korra leaps in front to her enemy’s defense:

AND PULLS OFF THE SINGLE MOST AMAZING THING SHE HAS EVER DONE OR THAT WE HAVE EVER SEEN DONE IN THE AVATAR UNIVERSE:

She bends the pure spirit energy, forming a protective bubble around both her and Kuvira and deflecting the full brunt of the enormous spirit cannon blast: 

AND HOLY SH*T IT IS AMAZING: 

Seriously. Amazing.  Seriously.   This scene in particular is why I’m always baffled by those fans who think Korra’s avatar state is somehow “weaker” than Aang’s.  BECAUSE DID YOU SEE HER SINGLE-HANDEDLY STOP THE SPIRIT CANNON BLAST THAT BLEW A HOLE CLEAN THROUGH A MOUNTAIN AND DESTROYED AN ENTIRE CITY?!  

In fact, the force of the spirit weapon blast that Korra spirit-bent was so powerful that her actions BROKE THE SPACE-TIME CONTINUUM CREATED A NEW SPIRIT PORTAL:

I love love love this scene so much. The colors are beautiful. Korra’s courage is beautiful.  And this was Korra’s defining character moment.  It was so fitting. It made me cry. It made my jaw drop with awe.  The young woman who started out the series quick to fight and lacking in any spirituality whatsoever ended the series by defending her enemy, spirit-energy-bending in epic fashion, and creating a new spirit portal. And it was her defense of (and empathy for) Kuvira that ultimately brought Kuvira to heel. 

Some fans lament that Korra didn’t go all elemental sphere batsh*t on Kuvira like Aang did on Ozai. But Korra and Kuvira already had an amazingly choreographed duel in the head of the Colossus. Besides, that kind of final fight may have suited ATLA and the journey that Aang went through to confront his destiny as the avatar, but it would not have suited this show

This is the scene that, in my mind, completes Korra’s four-season-long journey. AND I ABSOLUTELY LOVE IT.

sooooo what I’m about to say next probably counts as SU Critical, but I’ve been thinking about it too much to not say these two things:

1. Y’all complaining about “fillers” need to take a seat and watch some earlier episodes again. This show is not nor has it ever been a plot-centric show: it is a character-centric show. Now you are aloud to dislike episodes - that’s okay! But some of y’all who don’t know much about stories or plots or writing need to shhhhhhhhh.

2. Though I have noticed a change in art. Now this is not anything negative to more recent episodes, because I know that art is hard! And I appreciate every person who has made an episode of Steven Universe.

I’ve just noticed when I rewatch old episodes, more time was put into having the art tell the story, too.

Just, for example, I watched Indirect Kiss last night. We got some detailed drawings that worked for comedy as well as story. For instance:

Comedy. 

But It also used art to slow down the story and really connect with the characters:

Remember when Steven talked about his complicated feelings for his mother? Or when, after the water came, he imagined the stature reaching down to him?

Do you remember how quiet this scene was? How the wind blew their clothes? How Steven’s hand pulled at his jeans? 

That’s what I feel like the newer episodes are missing - the extra touch that uses art to further the emotions of a scene.

But I’ve gotten the impression that those who have noticed the same things I have are thinking the reason for this is laziness - which I believe to be greatly incorrect, and, honestly, a horrible assumption. I know I’m not an artist - but I am a writer - and I can assure you, those who create art take it seriously.

So then, what is it? My guess should be a little concerning. Remember how it takes almost a year to make one Steven Universe episode? You can see that in episodes like Indirect Kiss, can’t you?

I think, ahem, production is being forced to produce episodes quicker or funding is less or different than it once was.

I guess I have no proof other than deduction. And I don’t really know what to do this info. But I thought I’d say it, maybe get a conversation going.

I still love this show, and I will forever love this show and support it. But supporting it also means pointing out what has made the show great - its art. 

j-u-u-z-o  asked:

Have you ever watched the first official fan meeting/letter to army by bangtan? If so, did you cry? 🤧🤧😭 i really like watching it a lot because they've come such a long way. y'know? Sorry. I just rewatched it and just had to ask you that question. Ps: when people cry I cry as well... (mirror neurons activated) 😔😭🤧

How can anyone not cry to THIS. I was bathing in my tears. Seing BTS crying is like a switch button that makes me sob even harder I hope every ARMY who haven’t seen it does, just to know that these boys feelings towards their fans were so sincere since day one. . :

Sorry for taking an eternity to answer @j-u-u-z-o <3

12x11 Episode Review - What a Ride That Was!

Having just completed my second watch of this episode I have to say I am slightly stunned. I guess the best way to put it is ‘not what I expected’. But then what did I really expect? I was expecting pain, heartbreak, drama, interspersed with some humour and a big “no homo” scene to counteract last episode. I was expecting some dudebro Dean to appease certain types of viewer, along with a nice helping of deep subtext into Dean analysis for us to eat up that would go straight over that type of viewers head. I was certainly not expecting… Larry.

I haven’t looked at tumblr yet, except to glance at my askbox. I assume that you are all suitably going mad over Larry. Over the implications of Larry. Over the sheer insanity of the episodes biggest innuendo fuelled moments and probably laughing about it. I expect a hundred gifsets. I want to reblog those gifsets. I am also sure that Larry has already been meta’d to death… But what’s the harm in a little more meta to add to the massive pile gonna do? Because I wanna meta the FUCK out of Larry.

But there is a lot more to this episode than just Larry. We did get heartbreak. We did get drama and we did get some really nice character moments. Rowena particularly was amazing this episode (who am I kidding though she is always amazing) and I loved learning more about her thoughts. Overall I think it was entertaining, though not one of the best episodes, but that could be because the writing was a bit sloppy and sometimes the story didn’t make sense. I’ll get to why in a bit. Let’s just say that Meredith Glynn isn’t my favourite of the new writers by any means. I didn’t even review The One You’ve Been Waiting For because I didn’t feel particularly inspired by it at all.

But having said that she gave us Larry, and for that I will forever be thankful… even if she didn’t intend for us to take it the way I have (and I am guessing most of you reading this have too).

Anyway, main points to take away under the cut:

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