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Day 4 : Favorite Scene
↳ Scene with Henry in “Smash the Mirror”

+ bonus


The latest traditional sketches / Inktober pictures I did, mostly during lectures. All inspired by A Crime of Passion by homesweethomicide13 (I hope it’s okay I drew these?)
I read this story in about a day and really enjoyed it :) (And I’m looking forward to the next chapters)

EDIT: Oops I wanted to post this to my art blog but oh well.

anonymous asked:

"This drives home his whole “I want it to be perfect” speech in 6x19 (which happened in 6x13)" Yeah didn't the anti-shippers say that memory from 6x19 was a retcon? LOL this deleted scene shows it wasn't, the writers really meant it that way from the beginning. All the antis said the writers kept Steroline one-sided until they knew for sure in January that Nina was leaving, that it was SO OBVIOUS, well I guess not LOL! I wonder how they'll backtrack now, they have superpowers of denial

YESSSSSS! They said that scene in 6x19 was a retcon but it’s so obviously not now since he specified in 6x12 he was waiting because of Liz’s illness. Steroline has been planned for awhile and I don’t think it was ever meant as “one-sided” it was simply the fact it took Stefan longer to realize. He had blinders on when it came to Caroline because she was his friend, he took them off when he talked to her in 6x08 and THATS when he realized he’d been falling in love with her all along.

anonymous asked:

They did have Caroline say that she would only have sex with Klaus if he promised to leave and never come back. I think that was their way of giving the fans the kiss/sex scene that they wanted, but also to end them because Caroline was clear that Klaus had no place in her life and she didn't want him to be a part of her life.

Ugh, okay, I’m sorry but I need to rant about this because it drives me up a freaking wall. This is the exact reason why JP is such a shitty ass TV writer. Because she has absolutely no clue how the audience is going to read her work and doesn’t seem to understand the absolute most rudimentary elements of narrative structure. First of all, just no. The Klaroline closure stuff doesn’t work for a lot of reasons, but one of the dumbest mistakes that JP made was simply doing shit in the wrong order. If she had done the Klaroline sex scene and then followed it up with a promise to leave and never come back then it would have been weak as hell but at least it would have gotten across what she meant to get across. Hell, if they had just had a one line goodbye scene where Caroline just said to Klaus “I guess I’ll see you in a few lifetimes” then it would have read as a goodbye scene. But no. They wrote the promise scene, followed by the hours of sex implication, followed by absolutely fuck all else. And that is why it didn’t work as a closure scene, because it did not end on closure. Oh and hey, remember how Caroline’s story line for the next six episodes was completely centered around her conflicted feelings about what happened with Klaus? Well that happened because A. there are at least a few writers on TVD who aren’t total fuckwits and B. because what happened in 5x11 simply wasn’t closure. If it had been closure then none of that Caroline stuff would have happened because 5x11 would have ended whatever conflict was left with the Klaroline story line (and fyi it was sloppy as fuck for the TO writers to completely ignore 5x11’s effect on Klaus, not to mention it robbed him of a really fantastic character development opportunity). 

But even putting all of that aside, 5x11 as closure would have been absolutely terrible and nonsensical closure regardless. A really great general rule to follow when it comes to TV writing (which is a rule that JP almost never follows ever) is that the conclusion needs to match the buildup, the result of a certain story arc needs to adequately satisfy or subvert the audience’s expectations in order to be successful. When it comes to Klaroline JP has done neither. I mean, Klaroline had two years of development as a story line and then got an “ending” that simply was not an ending or anything even close to an ending. And this is something that JP does constantly. I mean take the baby story line for example. That story line got over a year of buildup and went on for longer than an actual human pregnancy, which ultimately resulted in a “climax” that lasted about 4 minutes total and can’t really be considered a climax at all (I mean literally the only moment where the baby was threatened was when Monique was about to stab her which literally lasted a few seconds). And then the story arc is not only given no resolution, the baby is actually sent away which essentially guarantees it won’t be resolved, and the general story line is left in the exact same state it’s been in for the entire season anyway. Compare that to something like the conclusion of the baby story line on AtS. That story line was ended with Connor being abducted and taken to the worst hell dimension in existence that Angel can’t access at all. That climax completely subverted the expectations of the audience in a way that matched the buildup of the story line, and it sent Angel’s story arc as a character as well as the story arc for the series in a completely different direction. And that is why JP’s story lines fail so consistently.

And what’s so tragic about this situation is that TVD under Kevin Williamson’s management not only managed to subvert or satisfy the audience’s expectations for certain story lines, often times it managed to do both at the same time. For instance take the Delena climax in the season 1 finale. I am far from a Delena shipper, but I appreciate how well this was executed as a narrative high point. I mean, after a season of tension building Damon and Elena finally have their first kiss towards the end of the episode, which completely satisfies the expectations of the audience without going overboard (which a lot of people think JP did with Klaroline in 5x11). But only a few moments later they reveal that Elena is in fact Katherine, which completely subverts the audience’s expectations but gives a fantastic payoff for not only the shock factor, but because the show spent an entire season building a mythology around Katherine and the Salvatores, a mythology that has suddenly landed in the cotemporary story line and in the lap of the viewing audience. Or another great example is the whole Klaus/moonstone drama. There was an enormous amount of buildup for this sun and moon curse and who was going to break it, and then all of a sudden our expectations are subverted when we discover that it’s in fact a curse on Klaus and he’s planning on making an army of hybrids, but then our expectations are satisfied when Klaus breaks the curse as well. Unfortunately for us JP seems to only be capable of ending her story lines in a ten minute time frame that usually involves the characters basically directly stating that the story line is over, but in the case of Klaroline she can’t even do that right. But no matter what way you cut it, her feeble attempt to end Klaroline just did not make any sense narratively, and given the way that she handled everything it’s not at all surprising that most of the audience read 5x11 as a “to be continued” instead of as a closure point.