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The Stevenbomb - what happens next...

Warning: Spoilers!

So, now that we’ve experienced the thoroughly explosive new Stevenbomb, there’s a burning question that we all want the answer to:

What happens next?!

Steven’s now willing en-route to Homeworld in order to keep his friends safe from harm, the Crystal Gems powerless to stop this heartbreaking scenario from playing out right in front of their eyes.

They’ll need a plan, and fast.  But the glaring issue here is that their only space craft has been stolen reunited with its rightful owner again.  The upshot of this, of course, is that the Crystal Gems now have no way of reaching space.

Or, do they…?

Originally posted by sakkakumon

Upon being freed from the mirror – and subsequently healed – by Steven, Lapis couldn’t get off the Earth fast enough.  In a relatively short amount of time, she was able to fly herself all the way back to Homeworld without the aid of a vehicle.

We know that, Peridot aside, Steven is the one person who Lapis cares for the most.  She’s already effectively sacrificed herself to save him in the past (this being her logic, no matter how questionable it might have been, when forming Malachite in order to stop Jasper from hurting Steven) – so she’s going to jump at the chance to save him again.

I daresay that the Crystal Gems will be well aware of this and will want/need to enlist her help, along with Peridot’s.  Peridot is, of course, the most “modern” Gem of the group and is the only one with prior experience of the current-day Homeworld.

Originally posted by inqnell

However, another issue could arise here because (in a manner of speaking) Aquamarine and Topaz were sent to Earth because of Peridot.  If she hadn’t filed that report all the way back in Marble Madness, things might have played out very differently indeed.

I’ve theorised in the past that Peridot is internalising a lot of the guilt that she undoubtedly feels for her past actions (trying to kill Steven, the fusion experiments, almost leaving the Earth to be torn apart by the Cluster, etc) and that, eventually, something would cause all of this guilt to come spilling out.  I have to wonder if she’s going to blame herself for Steven’s capture and that, ultimately, this is going to be the thing that tips her guilt over the edge.

Peridot has recently been showing an awful lot of compassion to one individual in particular, continually putting this individual’s happiness and comfort first…

Originally posted by roses-fountain

Lapis Lazuli.

Could it now be Lapis’ turn to be there for Peridot, just as Peridot has been for her?

When Lapis and Peridot find out what happened to Steven, there’s going to be a lot of upset from everyone.  Sometimes upset can turn to anger, and blame might start being attributed all around.  Perhaps the Crystal Gems themselves will begin blaming Peridot for what happened.

I can’t stop thinking about Peridot feeling guilty and getting very upset about the whole thing, prompting Lapis to say “It’s not your fault, Peridot…” before glaring at the Crystal Gems and adding something like “You’re not the one who let them take him!”

I feel like Lapis might be harbouring some resentment for the Crystal Gems and that she’s going to see Steven’s capture as being another reason not to trust them.  As I mentioned earlier, Lapis considers that she actually sacrificed herself to save Steven – so this line of logic could lead her to thinking that the Crystal Gems could have done more to prevent him from being taken.

Is it fair to apportion blame like this?  No – but that’s what can happen when something this distressing and heartbreaking happens.

Regardless of whether or not the “blame game” comes to fruition, everyone will have to calm down from their upset eventually and figure out what to do.  They’ll have to set aside any differences/disagreements that they may have and come together in order to rescue the one person who ultimately binds them all together – Steven.

And this is where things could get very interesting indeed.

Lapis can travel through space, but it’s unlikely that she would have the physical strength to carry multiple Gems with her. However…what if she’s not just Lapis at this point?

I think a fusion between Lapis, Peridot and the Crystal Gems (effectively creating another Alexandrite-esque Gem) is highly unlikely, for a number of reasons.

Originally posted by rozequart

Originally posted by thecrystalgifs

Alexandrite is an incredibly powerful Gem – and so was Malachite, Lapis’ only other fusion to date.  If one were to combine these forces, the resulting Gem would be unstoppable.  This would be ideal, of course; but, from a storytelling point of view, it offers a solution that’s too simple.  A “get out of jail free” card, if you like.

There’s also the aforementioned issue of Lapis perhaps not fully trusting the other Crystal Gems yet, as well as a huge question mark hanging over the stability of a fusion involving six Gems.  Lapis has also been left traumatised by her experience as Malachite, so I feel like she’d only fuse again with someone who she was very close to – with a dire emergency like this one being the catalyst to get her to try fusing with someone again out of pure necessity.

Luckily, there is someone who Lapis fully trusts, who she spends almost all her time alongside, and who she’s living a very harmonious relationship with…

Originally posted by barzeronipizza

…and so this might be where we finally see our Lapidot fusion!

To me, it makes absolute perfect sense.  Lapis can fly through space at an alarming rate, Peridot knows all about modern Homeworld – and, if necessary, their fusion might actually be able to carry the other Crystal Gems along with them!

Imagine a scene where Steven is in a room on Homeworld (or, alternatively, still on-board Aquamarine and Topaz’s ship).  Suddenly, a new Gem – the Lapidot fusion – comes bursting through the door, the Crystal Gems in her arms/clinging onto her back.  That would be an amazing scenario.

Of course, the nature of the show is such that we see everything from Steven’s perspective.  I wonder if the show will break this convention soon in order to show what’s happening on Earth ahead of Steven’s inevitable rescue.  We obviously know he’s going to get rescued somehow, but the tension and build-up would be somewhat watered-down if we see the Crystal Gems’ plan play out in the form of a The New Crystal Gems style flashback episode.  That’s still a distinct possibility, of course, but I must admit that it’d be nice to see the show’s formula get slightly shaken up in the next episodes.

The Lost Special: The One Way to Tie Up Every Loose Thread

In the last month this corner of the Sherlock fandom has thrown out a multitude of ideas for a narrative that could potentially resolve every last inconsistency in Sherlock series 4. Not knowing it, this community has debated different readings – all perfectly valid with only minor holes in logic – but have missed how they might all fit together into an intricate puzzle, each reading validating the other.

I have found one way to connect every loose thread.

Topics resolved include:

– EMP Theory vs “TFP as John’s TAB”: why both readings are meant to be exposed to the viewer (but we just found them too early)
– Benedict’s insanely long monologue they mentioned him having in Series 4.
– How another episode would only be comprised of a few new scenes
– Mary’s character development drifting far from her original plotline
– Moffat’s Doctor Who narrative that includes Toby Jones as a Dream Lord and what that means for Amy in “Amy’s Choice” and Sherlock in The Lost Special.
– How POVs intertwine in TFP, and how TPLOSH inspired the way The Lost Special would end.
– The entire bizarre nature of Series 4
– Breaking the 4th Wall
– The focus in The Six Thatchers on “The Duplicate Man”, “Twins”, “Two places at once”, and “Dead AND alive”.
– Three Garridebs
– Benedict claiming “Love conquers all” while Steven Moffat facepalms.

So if you want to know the one way this could all work, check out the rest of this post. But hear me out until the end, suspend your disbelief until you’ve finished, because regardless of whether or not you believe we’re getting The Lost Special, this reading which combines everything we’ve talked about for the last year is definitely arguable and until something else gets proposed, it is the one I’m sticking with til the bitter end.

Keep reading

A Series of Unfortunate Events : the recipe to a good adaptation

This is a short analysis of the recent adaptation A Series of Unfortunate Events by Netflix. I will not mention everything here, it would require much more time and analysis but here is a general appreciation. Careful for spoilers !

Adaptations are quite tricky to accomplish because being true to the original work while bringing novelty to the piece is not so easy. The best adaptations are often the ones that manage to channel the spirit of the original work. A Series of Unfortunate Events is a very successful example of this. It was already visible in the first trailer where Lemony Snicket actually walks on the set of the filming to tell us not to watch this series. Right here, you have three core elements of the original series : our narrator-character, the breaking of the fourth-wall and the plea not to look into this horrific story. That last element actually is a known way to catch the reader/viewer’s attention and make him want to know more.

When it comes to A Series of Unfortunate Events, the character of Lemony Snicket is crucial. Therefore the adaptation needs to be perfectly true to his features. As a child, I really believed Lemony Snicket was this mysterious author hidding from malevolent authorities. The fact that Lemony is actually out of the story ,since he is the author/narrator, and a full part of it builds the whole myth around this series.
When I saw the movie, I did not get that feeling of mystery around Lemony mainly because it is not cleary explicited that he is part of all this : the viewer doesn’t see on-screen any important hint that Lemony is a central character of the story, he is presented above all as the writer.
In the Netflix series, Lemony is the first person the viewer visually encounters, just like in the books. The fact that you can see him entirely makes him a reassuring presence throughout the show : he is your guide. The show stages this aspect very cleverly by blending Lemony in the situations the Baudelaires find themselves in, usually through his costume.

Thanks to this process, the narrator’s role is fully depicted. A narrator that addresses directly to the reader/viewer is usually out of the story and Lemony is indeed “out” since he is telling the events. But Lemony is also “in” as an important character. The show drops hints along the way which keep getting bigger gradually : his investigation, the letters to Beatrice, the fact that he is being chased, among other things, and of course the reveal of the picture with Olaf in the last episode.

All these proofs show that Lemony really is involved in this story. It is very fortunate that they kept the dedications to Beatrice at the beginning of each segment of the story because she is the one who ties Lemony to the story. She actually acts as his muse, she is the main reason why he writes, the name Beatrice being a reference to Dante’s own muse.
Since he is an « in-between » character, literally the bridge between you and the story, Lemony is the one who constantly breaks the fourth-wall. This aspect is so crucial in A Series of Unfortunate Events. It allows Lemony to act as the antic chorus or Prologue : “If you are interested in stories with happy endings, you would be better off reading some other book. In this book, not only is there no happy ending, there is no happy beginning and very few happy things in the middle.” (The Bad Beginning).
With those few lines, the essence of the plot is completely laid before your eyes, just like the ancient tragedies. In the series, apart from those lines, the opening song has the exact same role : “Every single episode is nothing be dismay.”
The breaking of the fourth-wall is also at the core of both series because story-telling mecanisms are explained through it. In the Reptile Room, Lemony explains the dramatic irony which is then again an aspect of the antic tragedies. As I remember it, the book series crossed the fourth-wall to teach something to the reader : a word, writing techniques and less straightforwardly, literary references. All these elements were fortunately brought into the show as well.

Now Lemony is mainly the one to break the wall, as allowed by his narrator status. What is unsettling for the viewer is when Count Olaf breaks it, usually to advertise the TV show and stare at the camera for a couple of seconds. This leads to the other important aspect of an adaptation : the creativity. The writers did not only represent Olaf, they actually add depths according to the new medium : what would Olaf do if he was in a TV series ? Break the fourth-wall and sing its opening sequence !

A short word on the amazing cast, especially Neil Patrick Harris who pulled out a very good Count Olaf. This character is very complex to play, he needs the right amount of villainy, humor and the talent of an actor who can play a character playing other characters. Jim Carrey brought too much of his own eccentricity to the character and you saw more of the actor than of the character. Neil Patrick Harris really understood and nailed all of Olaf’s facets.

Hence adaptations would be rather dull without creativity and novelty.
Sure a lot of dialogues are actually taken word by word from the books because they are good as they are but an adaptation needs to adapt precisely even more when the media is different.

A book and a  TV show are of course very different mainly because of the images. In a book, a description can only be completed by the reader’s imagination. In a show, what you see allows very little space for imagination. This is why a successful adaptation is one that can get the spirit, the ambiance of the world, conveyed by the original words, and transcripts it on screen. From the language of worded images to the language of filming.

The unsettling ambiance, the faded colours and surreal pastel imagery are very fitting for the Baudelaires’ story. The main aspect of the series is its dark humor and stories that you find rarely in children’s book : one death if not more per book, usually a gruesome one. The TV show manages to render the baudelairian world : this very specific atmosphere, the feeling of being oppressed by all the places in which the Baudelaires find themselves.

Finally the most important aspect of an adaptation is that it must appeal to all audiences.What is complicated about making adaptations is that they are received by two different audiences : the one who knows the original material and the one who doesn’t and their first interaction with the original universe is through the adaptation.
That’s why getting the atmosphere right is so important, it shows the specificities of the work in another way which should not “betray” the original story.
An adaptation is full of references that will be immediately recognized only by the ones familiar with the original piece. These references show the adaptors love for the original work and also creates a complicity between them and the well-aware viewer. Which book lover did not scream at the sugar bowl in episode 2 or at those four simple words : the world is quiet here ?The beauty of references is that they are hidden, they could be seen as completely normal by an unaware viewer : the scene of the sugar bowl seems very innocent.

It allows the adaptors to play on what the reader already knows. Take the first appearance of the Quagmire mother and father: most of the book readers thought them to be the Baudelaire mother and father even though they know very well it is impossible. This builds up until the revelation in the first part of the Miserable Mill. Not only this plays with the well-aware reader but also stages already the Quagmire trio and most of their backstory. Being already intertwined since the first episode with the main story, they meet naturally at the end of the season and do not appear previously unmentionned like in the books.

As thrilling as this is, if the adaptation is only met for the experts, it won’t be a total success. An adaptation also needs to speak to new viewers who have no knowledge of the original work. This is why there is a need for balance of references so the newcomer will not spent his time on Wikipedia trying to figure out what happens. How the series introduced right away the Quagmires is actually rather clever : it allows the newcomer not to be lost in all the key characters.

Lastly, this show really catches the core humor of the original work by playing on the fact that it is an adaptation and therefore needs to depart sometimes from the original sequences. At the beginning of the Miserable Mill (episode 8), Mr. Poe freaks out because the Baudelaires are gone and in the middle of his panicked speech, he says : “It’s off-book !’. And indeed it is, because in the books the Baudelaires don’t go to Lucky Smells Lumbermill by themselves but are brought there by Mr Poe. An adaptation makes choices and the show plays on that aspect.

Of course, this show would need a 300 pages-long essay because of all the references and allusions not only to literature but also foreshadowing the main story. This show completely smashes the movie adaptation which did not manage to really transcript well neither the atmosphere nor the characters.

Remember, an adaptation is not a search of perfection because it will never be exactly like the original material. The change of medium requires changes in the story and the story-telling. The intelligence with which the choices are made makes all the difference between a good and a bad adaptation.

anonymous asked:

Do you have a Deputy!Derek sterek tag??

We don’t have a Sterek Deputy!Derek tag. Just a plain old Deputy!Derek tag. But it’s been a while since we updated it. So here’s a list! - Anastasia

Originally posted by obriengif

Baby You’re Beautiful by supernaynay

(1/1 I 1,089 I General I Sterek)

“God you’re beautiful.”

Derek hadn’t even realized that the words had left his mouth until the whole room went silent, including Stiles, who until about five seconds earlier was busy yelling at him for putting himself in danger yet again.

Lock Me Up by FairydustOnRoses

(1/1 I 3,410 I Explicit I Sterek)

Stiles is home for Thanksgiving break. He traveled across the country from Columbia University and is looking forward to spending time with Scott and his dad and stuffing his face on Thursday. He is not looking forward to running into a certain broody werewolf that he may or may not have left in bed after a hookup only hours before he got on the plane to New York back in August.

the wilderness gave it to me by ceserabeau

(1/1 I 6,940 I Mature I Sterek)

When Stiles pictured Derek’s return to Beacon Hills, he never imagined this: late night in the cereal aisle at the grocery store, Stiles in sweatpants and a shirt long overdue a wash, glancing left from the Captain Crunch and Lucky Charms to find Derek Hale, four feet away, pulling a box of muesli off the shelf.

My Life is not a Horror Movie, Derek by DiscontentedWinter

(12/12 I 38,993 I Explicit I Sterek)

Stiles keeps dreaming of people in robes with knives.
With chanting. In Latin.
And he mentioned the knives, right?
That can’t be good.

Gravidity by readridinghood

(8/8 I 47,309 I Explicit I Sterek)

Before Stiles can get settled back in Beacon Hills, and in the new business he’s invested in, and before Derek allows his decade-long on and off again girlfriend back into his life, barring she agree to some specific ultimatums, Stiles and Derek meet at Cora’s wedding and decide to have a one-night fling. Their lives get a lot more complicated than either of them imagined because of the night they spent together and neither of them is ready for the journey, but they’ll learn that it’s important they make it together and by doing so Stiles may find the muse he’s been missing, and Derek will have a chance to build what he’s longed to have in his life.

Ain’t Nothing so Good as the Cake and Eating it by sofonisba_found

(15/15 I 51,001 I Mature I Sterek)

Derek thinks he’s doing alright in life, with his family at his side and a job he loves. Despite his family’s concerns he remains adamant that he doesn’t need a mate, afraid to take the risk of letting anyone close enough to try to hurt his family again. That is until he realizes that his true mate has been right under his nose for years, and that now through his inaction he may lose him

When you Trust but Verify by hellbells

(26/26 I 54,175 I Explicit I Sterek)

Plans are afoot to wipe out the Hale Pack.
Can the Hales’ deal with outside packs, the Hunter’s Council and Deadpool lists all at the same time?

You’ve Got Mail by Shinhia

(18/18 I 56,532 I Mature I Sterek)

Stiles Stilinski is one of the few people left who still likes to write letters, no matter what advanced technology has given us in 2014.

For Stiles, there’s nothing like receiving a letter or writing one. Feeling the paper under your hand, letting the ball of your pen glide along the surface, the sound of them both when they make contact with each other. There’s a romanticism, a beauty in it that texting or emailing won’t ever be able to recreate.

It’s with these thoughts in mind, after another very bad and hurtful break-up, and another restless night, that Stiles decides to pick a random place on the map of the United States, and find someone to write to. That’s how he ends up finding Derek Hale.


The story where Stiles and Derek are strangers who exchanging letters, fall in love, and wonder if they’ll ever meet in real life.

Seeing Wolves (Where There Are No Wolves) by MellytheHun

(16/16 I 67,901 I Explicit I Sterek)

Or otherwise known as “Derek Goes to the Doctor,” wherein Derek gets the therapy he so desperately needs and gets healthy. The clearer his head gets, the more room it seems to have for Stiles.

Just Act Normal by zosofi

(10/10 I 78,677 I Explicit I Sterek)

If someone had told Stiles back in high school that he would be an Oscar winning actor by the time he turned 25, he would’ve probably told Scott to punch them. The thing is, though…they would’ve been right.

Which makes returning to Beacon Hills, center of all that is supernatural and better left avoided, all the more awkward.

Past, Present, and Future by Code_Zackary

(24/60 I 182,513 I Mature I Sterek)

Deputy Derek Hale has just become a single parent, after adopting abandoned five-year-old Isaac Lahey, and drowning in his new responsibilities as a father, and Alpha. Add the babysitting of his new rookie partner, Jackson Whittemore, and the weight of his past bubbling to the surface, Derek isn’t sure how he’s going to keep his head straight.

Meanwhile, Stiles Stilinksi returns home to Beacon Hills to give his son, Scott Stilinksi, a better quality of life. However, raising a werewolf pup, as a human, is something he struggles handling on a daily basis. Stiles wishes nothing more than to find a werewolf willing to show his son “the ropes”, so Scott can fit in with all the other pups come the first day of Kindergarten. But where would he ever find a werewolf willing to help a human?

When the two meet, their struggles in life will come to the forefront, as the loners become an invaluable support system for each other, and build a unique Pack all their own.

I Held a Swastika.

Part of my hospital chaplaincy duties is to write a reflection on how it’s going. Identities may be altered for privacy. All the writings are here.

The nurse told me that the patient, Willard, had taken a bite out of another nurse. He had swung at one of the doctors and thrown urine at a surgeon. Willard had multiple organ failure and he couldn’t walk; he kept demanding to go home. “Get me a wheelchair, I’ll flop in and ride over you people.” The staff kept trying to get him to stay, to get treated, despite his violent non-compliance: because nurses and doctors have the guts to look past that stuff.

They called for a chaplain to ask about Willard’s family members, to see if anyone could pick him up when he was discharged. I was the lucky chaplain who took the order.

When I walked in, I immediately noticed the patient had a tattoo of a heart on his hand, near the inner-fold of his thumb, with a swastika in the middle of the heart. The cognitive dissonance was startling. Not “I love mom” or his wife’s name, I thought, with a bit of snark. But hate in your heart. Very subtle.

“He’s one of those, you know, angry old fogeys,” the nurse had whispered right before I walked in. The nurse was a Middle Eastern man, about my age, and I couldn’t imagine the awful things he had to go through with this patient the last few days.

My eyes locked on the swastika first. The symbol held a terrible place in my memory: when I was a kid, someone had spraypainted a red swastika next to the front door of my dad’s business. Though my dad had tried to paint over it, I could still see it on hot summer days, a scar on the wall and a scar in my head, a mad throbbing declaration of all the world’s ugliness dripping in crimson. I still dream about it sometimes, and in the dream I’ll peer down at my wrists, which are engraved with the same red marks down to the veins.

The patient, Willard, saw me and said, “Thank God, a chaplain, finally someone who can hear me.”

But I don’t want to hear you, I thought. And a sick part of me also thought, You deserve this. I hope you never leave. Then you can’t hurt anyone out there.

He said, “Look, I see your face, I’m not trying to hurt anybody. You get it? I just want to go home. Fetch me a f__ing wheelchair, would you?.”

Willard got louder. He clenched his fists and waved them around. It was rather sad to see someone so animated and aggressive while pinned down to a bed, like the blanket had eaten his lower half and he was trying to crawl out. “Come on, I told you people that I wouldn’t hurt nobody. I got a dozen things wrong with me, I’m not a danger to you, I want to go home and to die in peace. You hear me? I’m ready to go home and die.”

He went on like this for over a minute. That’s a long time to stand there and let someone monologue with escalating hysteria. He dropped more f-bombs and jabbed a finger at me and tried to point at the whole hospital. His voice got so loud that I was worried about the patients nearby, and that maybe the nurse would call security, or that Willard himself would keel over. At several points it looked like he wanted to hop out of the bed and punch my ankles. The strange swastika-heart tattoo flashed before me like a flag on fire.

I had half a mind to leave. I didn’t have to stay. I didn’t want to stay. I kept looking at that swastika. I kept thinking he deserved to be here, to be sick and sorry and helpless.

When Willard stopped talking for a moment, I said the only thing I could think of.

“I’m sorry, Mr. Willard. It sounds like you have a lot going on and it’s been really hard for you.”

He said, “Yes, yes it’s been hard. I swear, I’m not a bad person.” And he burst into tears.

Just like that, his face flipped from anger to grief, and his entire body melted into the bed. Just a broken down old man, crying.

Then he motioned so I could hold his hand. He needed me to hold that hand.

For a second, I stood there, confused and bewildered and infuriated. This is not okay, I thought. You’re everything I hate about the world. Why would you think this is okay?

I pictured two of me, one turning about face and never looking back and absolutely unable to endorse what this guy stood for, and the other me stepping forward in an ostensible betrayal of my deepest values, of my father, of that little child who had to ask why someone would paint such a dirty symbol of hatred over us. I remembered going with my dad to buy new paint, his face set and smiling and determined to be better than this, to make it in a harsh, lonely country that never fully welcomed him, but that he welcomed anyway, because he dared to believe in bigger dreams than the ones that had been painted for him. And I wondered if we were ever going to make it like this, that if we walked away from each other that we would ever heal, and if maybe the very same hands that could carve such scars could also build a life through those wounds, too.

Dad, you showed me something better. You dreamed bigger. You built the dream in me.

So I stepped forward anyway.

I held that man’s hand. I held his swastika, that ugly little tattoo with the heart tattooed around it. 

Willard sobbed, loudly. I asked if he believed in prayer, and he did. I prayed. When I finished, I tried to pull my hand back, but he wasn’t having it. The nurse walked in, a little alarmed, giving me that look: This guy is a real human being who cries, huh?

The nurse prepared a syringe and gave Willard a few shots. My hand was nearly crushed. Willard kept sobbing; I must’ve held his hand for fifteen minutes while he wept and wept. I was silent. No words would work here. And at some point, our hands together, I didn’t want to leave anymore. This all made sense somehow, some kind of crazy giddy exuberant kind of sense, like God or the universe or fate had aligned and unlocked and we were exactly as we were meant to be. I still wasn’t entirely comfortable, and I wasn’t okay with all this man represented: but I pictured a river breaking through, breaking up our old walls and taking down the guard-posts and making the roads new. I wish I could fully describe the lightness in my being right then, a kind of diffused outwardness from my elbow to my fingertips, like my arm was stretching with a pulse. We were painting something different, maybe for our first time. I didn’t think this made me the “bigger person,” because I had every instinct to leave, and there were plenty of times I had failed at this before. I only knew that I had to choose against myself, and choices like this matter, maybe more than the ones we want right now.

When we parted, Willard looked up at me with eyes brimming red.

He didn’t say anything. He only nodded. And inexplicably, we both laughed, just once. I don’t know why we laughed, but it was good.

Later, I told my fellow chaplain, “I have to tell you the craziest story.”

And my friend, at the end, laughed at the obvious symbolism.

“I guess you were the heart around that guy’s swastika.”

I could only nod. I was my father, painting over old scars.



“We’re living in a time of real change,” says Depeche Mode singer Dave Gahan, a vision of intensity dressed head-to-toe in black. “As I get older, the things going on in the world affect me more. I think about my kids and what they’re growing up into. My daughter, Rosie, was deeply affected by the election last year. … She just sobbed, and I was like, ‘Wow.’”


Depeche Mode Look Back on 'Violator’ 25 Years Later

The album was “the pinnacle of us having fun,” says Martin Gore

It’s an overcast mid-January day, and the singer, 54, is picking at some tagliatelle in a corner hotel restaurant located in downtown Manhattan, where he’s lived for about a decade. Despite sharing his alarm about the state of the world, he’s in bright spirits and can look at himself objectively. “Martin [Gore] and I both live in America, so we’re both very affected by what goes on,” he says. “Martin said to me, 'I know to some people, this will come off as rich rock stars living in their big houses in Santa Barbara with not a care in the world, and it’s true that we’re very fortunate. But that doesn’t mean you stop caring about what’s going on in the world. It’s really affecting me.’ And I said, 'I understand. I feel the same.’”

That sense of worry informed Gahan and his Depeche Mode bandmates while writing their upcoming album, Spirit, which is due out March 17th, as many of the LP’s 12 songs deal directly with the general Weltschmerz circulating the planet lately. Although Depeche Mode became megastars to a legion of black-clad, disaffected malcontents with serious songs about universal compassion (“People Are People”) and more personal revelations (“Enjoy the Silence,” “I Feel You”), the new tracks seem like a different chapter for the group. “I wouldn’t call this a political album,” Gahan says, “because I don’t listen to music in a political way. But it’s definitely about humanity, and our place in that.”

He sings of bigots “turning back our history” on “Backwards,” cheekily calls for change in “Where’s the Revolution?” (“Who’s making your decisions,” he sings, “you or your religion?”) and looks inward on the brooding “Poison Heart.” Musically, these songs are dark-hued with complex textures that are both icy and warm sounding, harkening back to the group’s Violator era while still sounding musically like an extension of their last album, 2013’s Delta Machine.

The realization that Gahan and Gore were on the same page with regard to world events came early when they regrouped last year with bandmate Andy Fletcher to begin work on the album. When they looked at everything they’d brought to the table, they saw a through-line. “We called the album Spirit, because it’s like, 'Where’s the spirit gone?’ or 'Where’s the spirit in humanity?’” Gahan says. “We considered calling it Maelstrom – that was a bit too heavy metal.”

They brought in producer James Ford, whose work with Florence and the Machine, Arctic Monkeys and Simian Mobile Disco had impressed the group, and he helped get the musicians get back on the same page. Other than a few disagreements between Gahan and Gore that Ford settled (“We really had it out,” Gahan says with a laugh, “It got pretty emotional”), the recording process went relatively quickly and easily, with sessions in Gore’s Santa Barbara studio and in New York.

Now the group is releasing the record’s first single, the Gore-penned “Where’s the Revolution?” The slow-building number, which features fuzzy synths, serves as a call-to-arms, on which Gahan sings, “The train is coming/Get on board,” along with the title question. “Martin wrote it in a very sarcastic, English way,” Gahan says.

It’s a mood that continues in another Spirit song “Backwards.” It opens with Gahan singing, “We are the bigots/We have not allowed/We have no respect/We have lost control.” It goes on to lambaste some people’s “caveman mentality” and how others “feel nothing inside,” amid jabbing keyboards and pounding rhythms and complete with Gore’s backing vocals. “If we want things to change, a revolution, we need to talk about it and about caring about what goes on in the world,” Gahan says. “It doesn’t seem the way things are in London. We seem to be going in another direction, and I think Martin felt like he needed to express that.”

That theme also resounds in another song written by Gore, “So Much Love,” a more upbeat, electronics-driven number about realizing that everyone has love inside. “It’s like we have so much love here, we really do, but we’re afraid to use it and access it,” Gahan says. “It’s the old John Lennon thing, like, 'love and peace, man.’”

But while Gahan sees a connection to the Beatles, the tune sounds nothing like the Fab Four with its dense, noisy pastiche of keyboards, drum machine and an eerie guitar line. Gahan says that the song, musically, has more in common with Depeche Mode in their earliest days.

“Back in '79 or 1980, we would play these 25-minute sets where I would write the little dots on the drum machine and shift it up and down to make it go faster or slower,” Gahan recalls. “It was a wall of sound. We’d plug these three keyboards into the drum machine, and three microphones – Vince [Clarke], Martin and myself – so it was three-part harmonies and a very distorted drum machine. … ['So Much Love’] also reminds me of early electronic stuff, like Tuxedomoon and Cabaret Voltaire, who did kind of punky, distorted songs.”

It’s the exact opposite sound of the ballad “Poison Heart,” a particularly catchy and euphonious number Gahan concocted with the group’s drummer, Christian Eigner, and keyboardist, Peter Gordeno. “They sent me this guitar line, and it had a bit of a Muscle Shoals vibe,” Gahan says. “It was a very different feel and I got this melody in my head.” It opens with a slow, funeral march in the vein of Screamin’ Jay Hawkins’ “I Put a Spell on You” and builds to an almost Beatles-like bridge with only a smidgen of noisy guitar. Gore, whom Gahan says is “not a man of many words when it comes to others’ songs,” called “Poison Heart” the best song Gahan had ever written.

“You have poison in your heart,” he croons outright at the beginning of the song. And later, he sings, “You know it’s time to break up/You’ll always be alone,” but Gahan says it’s not intended to be a breakup song.

“I was watching the news on TV and I was writing through my own inability to really relate to another human being,” he says. “There must be something wrong with me, poison in my heart or whatever. So it was fun to play with that imagery, and it became more worldly – greed and lust and wanting what you want when you want it and nothing else matters. So I was breaking up with myself – trying to evolve, trying to break up with old ideas that I think are working for me but are not in actuality. Fortunately, that’s not my relationship with my wife.”

He laughs, picking at his pasta, and says that “Poison Heart” complements another song on the album, which wasn’t played for Rolling Stone, called “Worst Crime.” “The lyrics to 'Poison Heart’ are more of an internal dialogue, but 'Worst Crime’ is looking outward,” he says. “It’s bringing about the change. You’ve got to do something different or act differently. We can all talk about whatever is going on until we’re blue in the face but you have to take real action, and sometimes we don’t know what that looks like. Individually, I believe people are inherently good, but we’re really distorted by the information we get and we act out on that information out of fear.”

Another way he expressed that opinion on the album is in a song called “Cover Me,” which he describes as a story song. “It’s about a person who travels to another planet only to find that, much to his dismay, it’s exactly the same as earth,” Gahan says. “It’s a different planet but the same. He really can’t get away from himself. If he wants things to change, he’s going to have to implement it.”

If that premise sounds like pure Bowie, it’s only because the Starman loomed large as an influence on Gahan and Gore throughout their career. “When Bowie died, we both didn’t know what to do with it,” Gahan says. “There was a personal connection there. It was a huge loss.”

Gahan recalls sobbing last January when he heard that Bowie had died. He had gotten used to seeing Bowie in surprisingly normal social settings – Gahan and Bowie’s daughters are about the same age and attend the same school – and Gahan would sometimes chat with Bowie at school functions. “It was very different to the Bowie that I grew up adoring and living vicariously through,” he says. He’d become a fan as a young teen watching Top of the Pops and latched onto Bowie’s androgyny because his mother didn’t like it. When he turned 16, he scrounged together some money (“I’m sure I stole something and sold it,” he says) to see Bowie perform at London’s Earl’s Court in 1978, and he calls the double live album, Stage, which was recorded on that tour, “some kind of pacifier” for him, his go-to Bowie.

“I had seen the news but it wasn’t until my wife told me he had died that I just broke down in tears,” Gahan says. “My daughter came out and they were both hugging me. It really affected me. I felt a huge gap. One of the things I was most regrettable about was that I had never really gone up to him at any time I’d seen him in passing and said, 'You know, David, I bump into you every once in a while, but I’ve never told you how much your music has meant to me and continues to mean to me.’”

To right this, Depeche Mode paid tribute to Bowie at a special concert they recently recorded at New York City’s High Line public park. They filmed the performance – which they did without an audience and which included several songs from Spirit – with just a drum machine and Gore on guitar, and they capped it with a cover of Bowie’s “Heroes.” “I was so moved, I barely held it together, to be honest,” Gahan says. “Martin listened to 'Heroes’ once it was mixed and randomly told me, 'Wow, that was really fucking good.’ And I said, 'Yeah, it was, wasn’t it?’”

Although Depeche Mode have not yet decided how they will release this film, Gahan is eager for people to see the whole thing and especially “Heroes.” In the meantime, he’s getting back into the headspace of performing live, and spreading the band’s new message of world awareness to audiences. By his estimation, the band has already sold over a million tickets to a few dozen stadium European stadium shows later this year, and the group is still finalizing plans for a U.S. tour; rehearsals begin in mid-February.

But it’s the early interest in the upcoming European leg that Gahan is most excited about, since many venues were nearly sold out before the release of the new single. “We spent a lot of years just fighting to be heard and to be respected,” he says. “One or two reviews of our past albums over the years have been pretty harsh. And you go, 'Oh, those people really don’t get us, they don’t get it.’”

But over the last nearly four decades, Depeche Mode have amassed a dedicated fan base, something that resonated with Gahan recently when he was working on a side project with the cinematic production team Soulsavers. One of the members of that group, Rich Machin, told him that Depeche Mode records like Violator and Songs of Faith and Devotion were among his favorites when he was 13.

“They were like what Diamond Dogs and Ziggy Stardust were to me, those albums where you sit in your bedroom wondering why you don’t fit in with the rest of the world,” Gahan says. “That’s what I was doing with David Bowie at that age. I had found somebody in him that I could understand, where I felt I was part of his world, when I felt alienated. And I think that’s why Depeche Mode appeals to a lot of people. Somehow it’s comforting, like, 'You’re not alone.’ You’re not, of course. None of us are. But music is the thing that crosses all boundaries and brings odd people together.”

It’s a sentiment that also echoed last year when it was announced that Depeche Mode were nominated for the first time to enter the Rock and Roll Hall of Fame but ultimately didn’t make it. “We’re not just part of the fabric, and I’m proud of that,” he says. “We stick out as being something that’s a little bit odd. We knew we weren’t going to get up there with the Rock and Roll Hall of Fame, but someone wrote something like, 'They’re a band wearing eyeliner, writing pervy songs about twisted, weird, depressing subjects.’

"I took that as a massive compliment,” he continues. “Because we are a little odd, and we’ve always appealed to the odd out there, the odd in the world. Our fans and the people like ourselves are a squad that maybe didn’t quite feel right hanging out with others. We’re a little awkward, a little nerdy, a little different. We found each other and it became a gang.” He laughs, looking proud. “And it’s a pretty big gang now.”

(via Depeche Mode’s Dave Gahan on Urgent New LP, Bowie Influence - Rolling Stone)

So this post was getting kinda long so I’ll reply to @hedgehog-goulash7 here.(you only have to read the first couple paragraphs for my response i kinda go off)

You won’t see me argue with a lot of what you said, but if you came out of the theater with that opinion I have only one thought. God, I wish that was me

I saw cap 3 when I was only a casual fan, almost a Cap stan, and I came out of that theater with my mom (shut up she’s my best friend) and we both got the  impression that “Tony fucked shit up. And in the end cap was the bigger man for apologizing.” 

Yup. That was really my impression.

It was a captain america movie and I knew that Cap was going to be the hero. The entire time I knew. And so I went and saw the movie and I heard the lines “plant yourself like a tree” “You move” “I could do this all day” and I completely bought in to Steve’s side. He was righteous. He was good. And if he didn’t support the accords they must be bad. Just like anyone on team cap, every time steve makes a decision i agree because “Captain’s orders.”

Rhodey’s line at the end where he “doesn’t regret supporting the accords because they were the right thing to do” for me, was a relief. It shows me that this character that was only trying to do the right thing, still has spirit. It shows me that even though he’s wrong, he still has conviction and he’ll make it through his injury. To me, at that time, it was a way to display that there wouldn’t be any serious consequences for Rhodey’s actions. That yes, he’s paralyzed but Tony can build him something to walk and more importantly his psyche is intact! Someone losing the ability to walk could severely impact their mental state but Rhodey’s okay! Plus he spoke in the past tense. “I supported the accords” meaning the accords don’t really matter anymore because they don’t exist! (I stand by this, I will eat my hat if the accords still exist/aren’t thrown out in the upcoming marvel movies)

Steve’s letter was much the same. Relief. Now I can’t listen to it without being enraged but when I first heard it all I heard was “No hard feelings. I’ll still come when the world needs saving.” and felt relief. Look at cap! Putting aside their differences over the accords to assure tony that he will be there in the future! What a mature adult! (literally kill me)

Rhodey speech didn’t leave an impression on me. Hell, more people can quote “Tony Stank” than they can a word of what Rhodey said. The last thing we see is steve looking fly as hell as he rescues the rest of the avengers. That is what I remember. Steve Rogers being a hero and rescuing his friends.

It took me thinking “hey, I really liked that movie. Lets see what other people think!” that introduced me to other opinions. And let me tell you, most of the mainstream opinions were all “Yes the accords were awful whatever thats just fact LOOK AT HOW SIMILAR IT IS TO BATMAN V SUPERMAN.” When I finally came across an opinion that was about the accords in universe that summarized was basically “Um, actually cap is a complete jackass” it gave me complete whiplash. It also kinda pissed me off because I was basically a casual cap stan. So I read what they had to say and it blew my mind. They obviously put a lot of thought into it but it didn’t really change what I thought. It was common sense to me that cap was right and tony was wrong, because that’s how it was presented to me in the movie. Steve finds bucky-tony locks up bucky. Tony creates the accords(yes i honestly thought that)-team cap becomes fugitives. Tony locks up the avengers-steve breaks them out. 

It was only because I was starting to really get into marvel that I was exposed to the idea that, um, maybe steve is just an irrational immature fella who didn’t care about the accords- and only wanted to save his friend. And then post after post of people defending tony. Like “No he didn’t make the accords” “yes he constantly admits his faults and takes responsibility” “Um, was he responsible for ultron?” and on and on and then oh my god. They had such good ideas it made me rewatch the entire MCU with a new perspective and for me to get INCREDIBLY frustrated. They just, they just shit on Tony so much. The more i watched the more i couldn’t ignore it. He fucking didn’t do half the shit they blame him for. They shit on him for having money. They shit on him for having been a weapons distributor, something that he OBVIOUSLY feels guilty about god. They shit on him for basically anything he does as an individual and the more I watched the more infuriating it became. He tries so goddamn hard and yet it always turns to shit and wow #relatable but also he needs rest.

So anyways, that is how I went from a cap fan to a tony fan and sorry for the rant but every casual fan I’ve met accepts that the accords are bad as fact, because that was how it was presented to them and forming a different opinion would require effort that the casual watcher will not do.

anonymous asked:

hows youre day? and whats youre favorite kind of Shance au?

I’ve been actually doing pretty eh for the past few days tbh. But I don’t really need to rain on anyone’s parade today.

Ooooh boy favorite shance au. Let see, I really really love space pirate au, but I also really love college aus. (Both of which I’ve been building. One on my own now and one with a friend.)

Space pirate au I love as you can tell (-cough- shameless drawings/charms-cough-) because my gosh the story I’ve been developing is getting better. Which I haven’t shared all that much so I’m going to.

So basically the plot is the basic team voltron vs Zarkon. However, in this au, the lions have been destroyed save for the black lion. Their parts spread through out the universe. By chance (or is it?) each of the Paladins come across the cores of their lions. They’re drawn to them and eventually they are drawn to the castle of lions.

Shiro is also drawn to the black lion. Which is still in possession of Zarkon. Because he gets close to the lion Zarkon easily has Shiro captured and thrown into prison. He should have killed him quickly but he wanted his entertainment for the gladiator ring. However as punishment to shiro his colony is wiped out.

In this au the humans are more advanced and have colonized several planets so the Paladins all come from different ones. Minus Lance and hunk who come from the same island planet.

Lance comes across the blue lions core in the market being sold as a house decoration or something. After all the altean technology is kind of a lost knowledge. (At this point I’m not sure if the cores are kind of small or large I’m leaning towards quite large.) Which is followed by hunk and him finally getting off their world for a bit on their own personal ship hunks been working on. It takes a lot of convincing hunk to actually go, but luckily hunk also is pulled to the core of the yellow lion. He agrees but only because he’s curious about the tech. (Hunks still a great engineer.)

They follow hunks gut feeling and discover the core actually buried on a desert planet with a few other pieces of the lion. Which is of course made of a material hunk has never seen. Once they get it on board, they either again listen to the cores and go to the castle, or they actually find the coordinates once hunk figures out how they work a bit more through diagnostics.

(I haven’t decided I’m still working out the kinks.)

Pidge works about the same way. Her colony is already under galra rule and once her family is taken she has the motivation to follow the feeling and see if it can help. She is the first to arrive at the castle. Her background of already working with tech making it a bit easier but it’s harder for her to steal a small galra ship.

Keith finds reds core when trying to find shiro after their colony was wiped out, both as punishment as well as to ensure that no other person had the chance to become a pilot for black. (Eh? Like my nudge at Keith being able to pilot black?) He finds it on a galra ship which again he steals same as pidge. He’s the last to arrive at the castle.

With Pidge being the first to arrive Allura and coran are already awake and raring for a fight. The fact that the cores, and possibly the parts of the lions, are intact give them hope. However allura is soon to grow angry as she knows the black lion is with zarkon. (It’s not hard to catch up on some news from the Paladins.) This begins their adventure to not only fight against the empire but gather the other parts of the lions so coran, with help of some blueprints he was entrusted, can rebuild the lions.

They travel together for about a year. Building up alliances, becoming a nuisance enough to the empire they are labeled as pirates and have a bounty on their heads. (It’s at this point Lance demands they all look the part and gives them all a make over. ‘Say good bye to your crop top jacket Keith.’) Though with the black lion in hand, and the other lions destroyed. Zarkon isn’t too worried about them.

That is until they break shiro out of prison. (And possibly steal the black lion on their way out. Still debating.) Shiro is at this point known to be one of the galra empires most dangerous criminal even though they have him captive. It’s Keith’s idea to break him out after convincing allura it would damage the empire to loose him. shiro being already chosen by black is a threat but luckily the year of having a bounty has taught the team how to sneak about without being caught after they break shiro free. Coran possibly having worked with pidge and hunk to mask themselves too.

And so the story goes on with them fighting zarkon. Slowly rebuilding the lions as they pillage places for the parts, and also money because “altean money has no backbone coran. ”

For the shance side of it, Lance is instantly drawn to shiro, he’s a good looking guy and hey once he’s in the new clothes dang does it compliment his body. (Lance chooses his clothes of course. ‘We have to look like a team pidge thank you very much.’) However the romantic interest, rather than the physical interest like Lance to shiro, actually builds up first on shiro’s side. He enjoys Lances ability to keep the mood light for everyone through stories, and he’s actually pretty good at filling shiro in on everything. He annoys keith, which Shiro finds amusing, because from what he’s known it’s hard to get Keith so riled up so much. Sure he’s hot headed but he usually has a good head on himself.

Shiro just kind of slowly starts learning this team of people but Lance always seems to catch his eye, and usually when dealing with people. He’s good at it. However as he keeps watching Lance, more out of curiosity in the beginning, he notices his up and downs. When he’s faking or genuine. When he’s down Shiro always seems to find him and talk it out.

To which Lance starts to do the same after shiro comforts him for awhile. After all the man gets stuck in his head too often for his own good. So it starts going both ways. Lance helping shiro through his moments when his ptsd kicks in and shiro comforting Lance.

Things don’t start to develop between them till shiro finds out that Lance sleeps around with informants in exchange for information they need, whether it’s info on the galra or more lion parts. Shiro feels a need to defend Lance and eventually fights with another captain. Which leads to the loss of an ally.

Lance is mad at shiro, because getting information was his thing. It’s where he found his place in the team and without it he felt he was the fifth (seventh) wheel. Yet when shiro comes to check on him, and he gives this rant to shiro, he can’t help but be grateful. The captain was a creep and shiro actually saved him from having a continual unpleasant timewith him. He gives shiro a kiss in thanks and that’s when they both know they’re in trouble as they start falling a bit faster for each other.

And well that’s about it. It just follows the plot line as they fight zarkon and romance blooms XD I just really want to keep building and adding and changing things for this au. I love it so so much.

Wow this was a long reply… I apologize.

Kitten (Part 29)

Note: Fast approaching the end. Yeah, the conversation was pure self-indulgence on Kuro’s part.  There wasn’t actually a need for him to do that.

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The key to a good trap is having the right sort of bait for your prey. You want a lioness, you dangle her injured cub. You want the paladins of Voltron, you release a few choice screen shots with easily traced upload locations. He’d chosen some of Kitten’s tamer pictures for his bait. Hinting at the extent of their time together, without showing too much. Wouldn’t do to reduce the value of his leverage by giving the good stuff away for free.

If the Castle didn’t appear soon, he might not get a choice about making that sacrifice. The ‘allies’ he’d gathered for this trap were fair weather at best. The longer this dragged on, the more likely they were to decide to try and turn on him. He hadn’t been foolish enough to give them his location, but a brute force search of the sector would surely reveal him. No, losing the opportunity for more quality time with Shiro’s kitten and having to fight his way out, is much worse than sharing a few more pieces of his prized collection with the unwashed masses of the galaxy. Besides, the look on Kitten’s face when he reads all the appreciative comments from his new fans would be something worthy of immortalizing.

A little red blip appears on his sensors, and a second later, a wormhole rips through the fabric of space on his view screen. His estimates on the best strategic entry point had been correct. The paladins were right where he wanted them.

He opens the hailing frequency. Someone much more technologically apt than himself, had kindly volunteered to rout his hails through the same station he’d made the uploads from. Given time he could be found despite the extra step, but by then he planned on being long gone.

The Altean bitch picks up the call again. “Kuro.” She says with all the venom of a rattlesnake. He ignores her, examines the other residents of the bridge. The orange idiot is there, with something approaching a serious expression for once. He might as well be a chair for all his potential amusement value. The green gremlin is at her station. He never did get around to sending her that video. She’s not as amusing as Kitten, but he imagines her anguish could be worth the effort. Be more fun if Matt were here though, more history to build on with that one. Last but certainly not least, his weaker self is glaring up at him, hatred etched into the grit of his jaw and the flare of his nostrils. He must be barely keeping his temper in check. Shiro’s been fantasizing about confronting Kuro and killing him, between wrapping his kitten up in blankets and nursing him back to something human all sickeningly sweet. Kuro knows this for certain. That’s the fun of Shiro, he never has to guess what he’s feeling.

“Miss me?” His giddiness is showing, and Shiro’s fist are clenching in reaction. Maybe he can get him to break something in a fit before they’re done here. Wipe off a bit more of that golden boy shine to show his team the broken gladiator beneath.

“What do you want?” Shiro growls, stepping forward to stand by the princess. From the look on her face, he’s already going off script. Did they try to stop him from coming to this meeting? Not surprising they failed. His weaker self can be so stubborn about putting himself in situations that hurt him. Almost takes the fun out of emotional torment…Well, not really.

“I just wanted to chat and catch up with my two most favorite people in the universe,” Shiro’s going to crack a molar if he grits his teeth much harder, “Speaking of which, where is your kitten?” Did he know about this meeting? Or did they just make a jump without telling him where or why? Oh, maybe he’s really lucky and they haven’t told him what Kuro did. Tried to hide the evidence for his own good. That would mean he’d get to see the initial shock and horror himself.

“His name is Keith!” Shiro shouts, his face going red. The princess reaches out and grabs his arm. The struggle to pull his temper back under control is obvious on his face.

“Kitten,” Kuro says with a smirk, “Why don’t you go ahead and call him in? It’s not nice to hold conversations about someone behind their back.”

“You will never speak to him again.” Oh, Shiro should know that you never say never. Especially in a galaxy as big as theirs.

“Call him up,” Kuro pulls his recorder into the line of sight of the camera, “Or I start releasing more on the galactic Internet every minute until he arrives.” He presses the play button and the video on the recorder starts with a panicked cry from Kitten to ‘stop’. This was one of their more vocal play sessions, perfect for an audible reminder of all he still has left to offer.

Shiro chokes. The princess steps in to cover for him, “We will not be blackmailed.” She says without a trace of doubt someone might disobey her. He’s certain if she was the only one he was negotiating with, then they’d just stand by and let him. Maybe even leave the sector without further comment. Good thing she’s not.

Kuro gives her a dismissive glance, then very pointedly looks back at Shiro, “Are you going to make that decisions for him? How do you think he’ll feel when he finds out you chose to humiliate him in front of the entire galaxy rather than ask him if he wants to talk to me?” He has him. Shiro knows how much Kitten hates to show weakness in public. He’s always been so intensely private. His weaker self could never allow this to happen without his permission.

Kuro watches patiently, while the princess and Shiro have a quiet argument. She’s not nearly cold blooded enough for this job, she caves before a minute passes. Shiro turns to leave, “Send the Gremlin,” Kuro calls out, “I want to visit while we wait.” If Shiro goes, he’ll help prepare Kitten for what’s to come. Much better to have someone less good at handling him go to retrieve him. Bonus, with the green paladin gone from the bridge, it will take them even longer to locate him.

Shiro hesitates. Kuro ups the volume on the recorder, no need to verbalize the threat, “Pidge, tell Keith what’s going on.” Shiro’s tone is clipped. He’s hating every moment of having to dance to Kuro’s tune, but he’ll do so. He’s a self-sacrificing weakling like that.

They don’t end up talking while they wait. Shiro fumes in silence, and Kuro double checks his playlist in preparation.

He’s just beginning to entertain the thought that the paladins don’t plan on holding up their side of the bargain, when Kitten arrives. He immediately stalls. What little color he has draining from his cheeks. Kuro would like to think his presence alone has such an effect, but likely the pretty thing is reacting to the audio still belting out from his recorder. Someone forgot to warn him about the ambient soundtrack to this meeting. Kuro smiles, “Come here, let me get a good look at you. It feels likes it’s been ages.” Kitten walks stiffly into the room to stand by Shiro. His weaker self’s expression has gone from anger to concern. He was probably hoping that his kitten wouldn’t show. Give him free pass to ignore Kuro’s threats and try to hunt him down instead.

“I’m here,” Kitten is still pale as a sheet, but he’s putting on his brave face. Like Kuro hasn’t wormed his way into being one of his worst nightmares, “Say what you have to say.” A particularly loud cry on the audio makes him flinch anyways. So cute and high strung. He’s going to have so much fun breaking him again.

“I was wondering, have you been dreaming about me? Have I been in your thoughts, while we’ve been apart?” From the way Kitten sucks air past his teeth, the answer is yes. He can just imagine how that’s been. Kuro’s presence clinging to him like a stain he can’t wash off. Shiro hovering over his shoulder trying so hard to make it better. The expressions, the feelings, oh yes, he doesn’t need to have been there to know exactly how it went.

“Fuck you,” Kitten spits, just as powerless to stop him from inflicting pain as when he was tied up on Kuro’s shuttle floor. That gives him ideas. Maybe when he gets Kitten back, he can find them a nice barren planet and let him run. Chase him down again and again for play until he’s too broken to try anymore. Having him back can’t come soon enough.

A flashing purple alert goes off in his peripheral vision. The Galra are in position. He’s stalled long enough. He smiles down on his soon to be playmate, “See you soon, Kitten.” Kuro disengages the call before he can respond.

It’s finally time.

Next >  Complete Version

Heartache and Confessions

fSummary: Life had seemed like it was going great, hunting with the Winchesters, killing evil sons of bitches. Hanging out with your boyfriend Josh and balancing hunter and normal person. 

Word Count: 2169

Warnings: It’s a little sad at the beginning, but then it turns fluffy and sweet. 

A/N: What’s this? Another fic challenge completed?? (I promise I’m working on everything else, just I’ve fallen into the Dean/Jensen trash pile again and this is(n’t) helping) This was written for @klaineaholic​ 400 Follower Fics challenge, congrats Kiri on the milestone! (I have my quote bolded so it stands out)

Originally posted by hunterchesters

“And where are you going?” Dean asked, looking up from his laptop.

“Out. It’s date night.” I said, placing a hand on my hip.

“We just got back and you’re already heading out?”

“Yes. Some of us actually have lives outside of hunting.” I rolled my eyes, preparing for the fight that was about to break out, “Just because some of us are happy living with random hookups, doesn’t mean all of us are. Josh is hot, and he understands, and I don’t even know why I’m explaining this to you, you don’t really care.”

“Nope. Not one bit.” He said turning back to whatever he was doing, “Have fun.”

“Damn right, I’m going to have fun. Going to have an awesome night, with my awesome boyfriend.” I grumbled under my breath, stomping my feet like a child all the way up the stairs.

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Short: It’s Complicated

Cas touched a knuckle to a bead of condensation that had begun crawling down the side of the bottle’s brown glass; the surface tension on the droplet burst and Cas lifted away half the droplet to examine, turning his hand this way and that. Dean watched Cas’s careful study for the space of several heartbeats before he asked, in a soft voice so as not to startle the angel, “What do you see?”

“Hmm?” Cas flicked his eyes upward at Dean.

“You were looking at it pretty hard. What did you see that was so special?”

“Oh.” Cas shrugged, grabbing the bottle and lifting it to his lips. “It’s…complicated,” he said after a long sip.

Dean swallowed a sip of his own. “Try me,” he offered.

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The Cello Player | Part 1

Brian x Reader/You
Third Person P.O.V
Summary: (Y/N) is a flute player who attends the same music university as Brian, a talented cello player. Their horribly strict conductor pairs them up to play many duet pieces for the upcoming concert as well as playing with the full orchestra. (Y/N) struggles with the heavy workload as Brian helps her through the stress.
1963 words
Updated: 13th May 2017

Part 1 | Part 2 |

Story inspired by the movie ‘Whiplash’

Originally posted by charmsome

Music was a way of communication. It brought people together from all around the world. Music was a universal language that everyone could speak. But music was also so much more than that. It was an expression. It was something you can feel. It shouldn’t be restricted or forced; that was ruining the beauty of it. When someone plays, everyone should feel what they’re feeling in the pull of the strings or in the blow of the mouthpiece. It should travel through a person note by note, like a ripple of pleasure. Their hairs should stand on end as they understand what the player was trying to say. It should build up to a huge climax, leaving people speechless. Breathless. If everything hits a person like a tsunami then it was being played wrong.

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Madness | 1 | TAEKWOON

Genre: underworld!au | fluff | angst

Member: Taekwoon / Reader

Word Count: 4 812

Warnings: language, violence, death, mentions of mental illness, mentions of suicide

Part: one | two

Originally posted by at-taekwoons-mercy

“Do not be afraid; our fate / Cannot be taken from us; it is a gift.”

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anonymous asked:

hi there, do you know any civil war fix-fics for stony?

hello anon!! yes i do hahahah. in fact i’m pretty desparate for fix-it fics after crying my heart out for tony for the whole day. here’s some of them!

Never Finish a War Without Starting Another (WIP) - Currently 16.4K by smokeynights

“Don’t act like this is my fault, Rogers,” spits Tony, tinkering with a random piece of tech to occupy his shaking hands.

“Whose fault is it, then? Stop running away from your responsibilities, Tony! You’re not a child anymore!” Steve exclaims, running a frustrated hand through his blonde hair. “I’m trying to make this work between us, but it’s a little difficult when all you do is avoid me instead of sitting down and talking to me, like an adult. Don’t you love me anymore?”

“Don’t ask me that like you don’t already know the answer, Steve. That isn’t the problem.”

“Then explain it to me!”

“I’m scared, okay?!” yells Tony, slamming the wrench down onto the work bench with a dry sob. He seems just as startled, if not more, than Steve feels at the sudden admission and it stuns them both into a suffocating silence. Finally, Tony turns to look at him with sad eyes and a trembling lower lip, and he whispers, “I’m terrified, Steve.”

Steve feels a wave of anxiousness roll through his body and he gulps reflexively. “Of what?” he murmurs, unable to look away from the crumbling man standing before him.

“Of you.”

(honestly im not sure whether this is going to be a fix-it or not but it’s really good and i have hopes for this fic to develop into a fix-it)

One Phone Call Away - 7K by ann2who

“Tony,” Steve said after another beat, and heaved a low breath. His voice was crackling, electronic clicks breaking through the receiver. “I know it’s you.”

It shouldn’t feel good to hear the man’s voice again, the rational part of Tony’s brain knew that. And yet, Tony had to close his eyes for a moment, forcing his heartbeat to go the fuck down.

“Tony?” Steve prompted cautiously, then sighed, when Tony didn’t answer. “I’m glad you called… Wasn’t sure you would.”

I said to call me when you need me (But it is I who need you now) - 2.2K by rz_jocelyn 

Steve never lets go of the phone. Sam thinks that it’s time for him to use it.

Aftermath - 2.5K by Potrix (Steve/Tony/Bucky + Mpreg)

One moment they’re fighting, yelling scathing insults and ugly accusations at each other, and the next they’re kissing, all teeth and anger-fuelled desperation. Steve backs him up until Tony’s shoulders hit the closest wall, and hoists him up, giving Tony no choice but to wrap his legs around Steve’s waist for support. Tony bites Steve’s bottom lip, hard enough to draw blood, and Steve growls, and grips both of Tony’s wrists in one big hand, his hold bruisingly tight.

Like a Postcard Phrase - 5.1K by isellys

How to say ‘wish you were here’ without actually saying so, as done by Captain Steve Rogers.

Detente - 1.4K by MassiveSpaceWren

Steve isn’t the only one to reach out.

(I’m not sure if this is counted as a fix-it though, but I’ll just put it in anyway!)

talk is cheap - <1K by allourheroes

Tony keeps staring at a flip phone–flip phone, Peter can barely believe his eyes–like it holds all the answers he’s too afraid to ask.

Need is just a word(WIP) - Currently 11.6K by masterlokisev159

A month has gone by since the war and Tony has never felt more alone. of course, with the unrest within the government, the disappearance of the Avengers and the obvious lack of Steve Rogers, it was only a matter of time before the UN finally flipped out and decided to act on the last available Avenger. Too bad they didn’t realise a promise had been made by Captain America to be there when Iron man needed him.

At the Tone(WIP) - Currently 6.1K by mgsylvester

A relationship so decimated takes more than just words.
(or the one where Tony takes the note and the burner phone and the request to call whenever need be very, very broadly.)
(Alternatively: Tony Stark Just Really Sometimes Needs Steve Rogers)

And here are some that are written before the actual movie came out! It’s technically not civil-war compliant but i think it’s still the same kind of situation?

None of Us Were Angels - 3.8K by badcaseofcasey

Tony’s missing Steve after the war and when someone shows up to kill him, he doesn’t even move to stop them. But things might not be as desperate as he thought.

Purgatory - 3.7K by tictocficsoc

AU. Two years ago, Captain America ended the superhero civil war when he killed Iron Man during the Battle of New York. But no one ever stays dead in the Marvel universe. Now Tony is back, and he doesn’t want to fight anymore.

Something Better - 4.5K by ann2who

For them, the line between love and hate had always been thin, always tenuous. It used to be defined clearly, but somewhere along the way, it had blurred until both sides became inseparable. 

Heroes and Other Childhood Delusions(WIP) - Currently 6.8K by cavtain (typeBfan)

Steve tries to fix his mistakes, Bucky was never supposed to be anyone’s hero and Tony…Tony needs a hug.

God Knows I … (series) - 63.3K by Fangirlingmanaged

Tony’s side doesn’t win the war. Tony doesn’t want to hurt any more people. Tony’s tired.
So, when Cap and Barnes corner him and proceed to beat him into submission, he gives them what he wants. He can lay down and watch the other man crawl over him. He can stop fighting. He can give up his crusade. He can give in. For Steve, he can give anything. Even the only thing keeping him alive.

(pretty slow-build but it’s super worth it for the ending)

Hope this mends your stony shipper heart!! 

Math, computer science, physics – if you’re in a highly cumulative subject, you know it. Every class builds on the one before it, and if you fall behind, you’re in trouble. So how can you make sure these subjects don’t become the bane of your life?

1. Review a little after every class

  • Yeah, yeah, this is on every studyblr list of tips ever. But it’s important! Even if you don’t have time to recopy your notes or pour over them, skim over what was covered in class and jot down the key ideas within ~4 hours of finishing class. Make a note of anything you don’t understand.
  • If you have time, rewriting your notes is one of the best ways I’ve found to keep things fresh in your mind! But if it’s a busy day and that can’t happen, don’t ignore the material until you get time– glance over it for at least a minute or two.

2. Do the assigned work

  • This is self-explanatory, so I’m going to move on to tips for getting the most out of your homework.
  • Math and physics and other computational subjects tend to have problems that come in sets asking you to do a specific thing. they typically get slightly more involved towards the end of the set. If you’re having zero trouble with the first few questions of a set, it’s ok to skip to the middle– but if you find yourself really struggling, go back and do the basic stuff from scratch.
  • Be active while doing your work. THINK about what concepts you’re applying, the different ways you’re doing them– flip through your textbook and consult it, consider different ways the problem could be addressed. Eventually you want to try the problems under “test conditions”, but immediately after class is about learning, not about performing– it doesn’t do you any good to work out problems through luck or an intuition that you can’t articulate.
  • If you’re struggling with something, get help!!!! Right away!!! This is so key for cumulative subjects. Pinpoint what you don’t understand and WHY, if at all possible. There’s a good chance you’re weak on something that came beforehand. Plus, when you go to office hours, it’s great to be able to say “I’m having a really hard time with trigonometric substitution, and I think the issue is that I don’t quite understand when to use which substitution. Could you explain that to me again?” rather than “I can’t get these questions right and I’m going to fail!”

3. Get fully caught up every week

  • Make getting 100% caught up on these subjects one of your top priorities for every week. This isn’t something where you can wait for Reading Break or until before the midterm– if there’s something you’re a bit shaky on, the weekend is your time to master it. If you’ve realized you don’t have a great grasp on something that came earlier, go back and review it. One of the nice things about cumulative subjects is that you don’t usually need to go back and fully review old subject material a lot, because you’re using it continuously– so use that time you’re saving to get super super up to snuff on the new stuff!
  • Seriously, this is at the same priority level as finishing that essay due on Monday. Pick a time that you will work on this subject every single week!! Do all the assigned problems, recopy your notes– do whatever it takes to solidify this in your head.

4. Use multiple resources.

  • The textbook and the prof are a good place to start. But hearing something explained in a few different ways can be a lifesaver! Try online resources like open source textbooks, Khan Academy, and your studyblr community! Also try your TAs, any resources like tutoring centers offered by your university, and other people you know taking the course.

5. Look ahead.

  • As you’re getting comfortable with the material you’re covering, check out the next week’s readings and see how this week’s concepts apply. This has the double benefit of helping you see how this learning fits into the “bigger picture” and giving you an idea of the biggest concepts to focus on.
  • Also, check out the real life applications of what you’re learning! Google “uses for ____” and get an idea of why what you’re learning is important.

6. Prioritize more cumulative subjects.

  • Yeah, we all want to be caught up on everything all the time. But with heavy course loads, work, outside obligations– sometimes it just doesn’t happen. If you have an arts class like psychology that’s mainly about memorizing definitions, it’s okay to put that off to make sure you’re up to date on your bio. Personally, I prioritize a) classes with looming midterms, b) cumulative subjects like math and physics, and c) everything else. Sometimes everything else gets put off for a while! That sucks. I hate not being caught up. But I can always take a few hours and get up to date on that psych unit I didn’t do the readings for a couple weeks down the road– as long as I get to it before the midterm or final, I’m good. A couple weeks down the road, if I don’t know how to integrate by parts, I’m going to be failing quizzes left and right and I’m not going to be able to follow the class anymore.

I hope this was helpful for someone!

Ok but PLEASE consider an AU where after ferid killed akane and all the other hyakuya kids tiny yuu somehow manages to drag tiny mika out of the vampire city before krul and the vampires get there and they both run into guren and join the moon demon company together because:

  • Yuu dragging a passed out, losing blood Mika and spotting Guren and the moon demon company people on that snowy mountain place and screaming that his friend needs help
  • “The prophecy was true. Want to kill some vampires, kid?” “I don’t give a damn about those bloodsuckers, just help Mika!”
  • Mika stays unconscious for days and gets a shitload of blood donations because he’s still human and he’s not getting that arm back and even though Yuu tried to stem the bleeding they’d been going for miles and he’d lost a lot of blood
  • During the time when Mika’s unconscious Guren sets up a place for the kids at his house and tries to get Yuu to come home with him, but Yuu refuses to leave Mika’s side and he’s just so terrified because he’s just lost everyone else he loves and Mika is all he has left but won’t wake up and he just can’t lose Mika too, he can’t
  • The nurses know immediately when Mika does wake up because the sound of Yuu screaming at him can be heard from down the halls
  • They wonder if they’re going to have to break up a fight between an emotionally broken twelve year old and his one-armed, half-dead, equally emotionally broken friend, but by the time they get to the room Yuu’s started crying and he’s buried his face in Mika’s lap and Mika’s running a hand through his hair telling him it’s okay, he’s okay, they’re okay

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I’m so over it. 

I’m so over seeing the phrase “reduced to a love interest” in reference to Natasha Romanoff. 

I’m so over the fact that I’m still seeing this shit in my tags. I’m over the mean-spiritedness. I’m over the weird revisionist history tumblr seems to go through with every new Marvel movie.

Natasha is literally the aggressor and instigator of every potentially “romantic” thing that happens onscreen. She picked something she wanted and she tried to go for it, and unluckily for her, it was a person who has, somewhat understandably, willed himself into a state of emotional submissiveness and distance and has probably forgotten what it’s like to be thought of as a person someone could find romantically appealing. She literally instigates all of the flirting, the emotional appeals, she tries her damndest, and sadly, picked the Long Weekend of Ultron to make good on her feelings. Yeah, she honed her vision in on Bruce Banner, of all people, the guy who’s superpower is literally Emotional Instability. Of course it’s not a great choice, and I’m pretty sure Bruce would agree. 

yeah, their first interactions were fraught. They didn’t trust each other, for various good reasons. But it’s clear that in the three-year interim between Avengers movies, they’ve done the Grown-Up thing and actually worked on it. Figured out a literal system that visually demonstrates that they trust each other. It’s not about “taming the beast,” its an agreement, Hulk is literally agreeing to disappear and return Bruce back to the team, it’s an agreement that implies trust and safety, especially since the end of the “lullaby” depicts Bruce at his most physically and probably mentally vulnerable. You have to trust someone to let that happen. 

And yeah, they’re not Cary Grant and Katherine Hepburn. Of course it’s awkward. Of course it’s painful. Natasha is blunt and over-literal in her flirting because she’s trying to be like “hey dummy, stop being emotionally constipated for two seconds, I’m talking about you right here with the face.” Bruce has to work hard to access these parts of himself. 

It’s not a sweeping romance and was never going to be, and Natasha is still trying to connect things and imagine something nice for the two of them even when they’ve been traumatized, even when Bruce is insisting that there literally is nothing to look forward to with him. Bruce is the one getting way ahead of himself, being an idiot and bringing up children when all Natasha wants is to have something good for half a second. Something private. 

I’m tired of Natasha being called a vehicle for Bruce’s “man angst.” When Bruce is verbally rejecting the idea of being with Natasha, he’s not being willfully moody, he’s just been forced against his will to destroy part of a city. You know, that thing that he’s been terrified of doing since his introduction into the franchise. He’s just had any goodwill people might have felt about the Hulk completely disappear. He thinks he’s going to be arrested and locked up, you know, that thing he was so worried about in the first half of the Avengers. He literally sees no future for himself. It’s never brought up again. No one ever asks him if he’s okay. Maybe people in the MCU fandom take it lightly because the movie seems to take it so lightly. He thinks it’s his fault, he talks about people finally seeing “the real Hulk” because he’s been waiting for this to happen for five years. That’s not brooding. That’s trauma. 

Natasha rejects these concepts, and never indicates that she’s going to carry that for him. Neither of them respond perfectly, they haven’t gotten to that point, of being emotionally supportive in the way each other would like, because they only just started thinking about this possibility and all of the sudden, they’ve been psychologically triggered to their breaking points and the world is ending. They act weird. You would act weird. She’s not pining, she’s not weak, she’s a human person who feels disappointment. That has to be painful, to say “hey maybe give it a try” and for the universe to answer back so negatively. That’s what Wanda’s vision reminds her, not that she’s “a monster who can’t have babies” but that so many choices, desired or not, aren’t in her hands and they never will be. Just like Bruce. She’s trying to commiserate. Bruce doesn’t know what to do with it. 

Natasha is the one strong enough to put aside her fears, to put aside what she wants, in order to save the world. She answers the call, she chooses to help total strangers over giving her heart something it wants, and she does it at the potential cost of Bruce’s trust. That thing they’ve spent years of potential trial and error trying to build. 

It’s not about “otp” its not about love or the “feels”or “endgame”, it’s about the concept of having something else outside of the fight. That’s what the whole movie is about. Of having a private life, or a future, or a family, if you’re Natasha it’s about making choices, ones she was never supposed to make outside of her life as an assassin, even if they’re not the best ones, they are hers, and if you’re Bruce it’s the question of whether he can ever get beyond the moment-to-moment life of being the Hulk (which includes being valued, includes doing his own work, includes allowing himself to feel unrestrained emotions). And in AOU, neither of them get what they want. Natasha has to put aside the thing she wants (literally pushes it off a cliff), and Bruce, who doesn’t make a great many decisions of his own in the movie (at least without an egregious amount of coercing), decides he’s got too much blood on his hands already to keep being an Avenger. He doesn’t just “reject Natasha’s love”, he gives up his only found-family and his home to face a world that doesn’t want him, completely alone. 

It’s not about whether or not they were romantic or a good couple, they were never a real couple in the first place, and they’re not together now. Maybe they would have been an awful couple. Maybe they would have dated and would have been sweet and quiet and private, and helped each other through their worst impulses. They don’t even get out of the gate. They’re not a couple. But they thought for a few seconds that they could be, and circumstances proved otherwise. 

I’m tired of arguing about how they “put her in a cage and made her a damsel in distress.” She stays where she is because that’s literally where the conflict is. She brings everyone to her. Yeah, she can get out of a cell but can she fight her way through literal hundreds upon hundreds of murderous robots? Can you???? I’m tired of the idea that Natasha’s sense of compassion, despite her upbringing, is so highly thought of until it’s directed towards someone tumblr doesn’t approve of. If you wanted Natasha romantically involved with someone else, that’s not my problem but you might still get your wish- because, and remember now, she and Bruce were literally never a couple. If having a Never Canonically Monogamous female character expressing some semblance of romantic desire (during her 4th appearance in the franchise) and then try to act on it “ruins” her for you, then that is your hangup. She made a questionable decision. She acted imperfectly. She followed through with her decision until the end. And if you have to justify your anger, Bruce is fairly thoroughly punished by the narrative anyway. 

But it doesn’t seem like the Russos are going to “fix” this or pretend like it never happened, narratively speaking. If you’re offended by the idea that Natasha, a canonically compassionate and empathetic human being, still has positive feelings towards Bruce, that, again, is not my problem or Marvel’s problem. 

And on the topic of how Scarlett Johannsson feels about this part of Natasha’s story? I think she’s put the topic to bed.

“Everything that I’ve done with the Widow, to me makes sense. It’s in line with active decisions that I’ve made for the character.”