Sitting in your room surrounded by notes, phone switched off, sweatpants on. Neat cursive handwriting, an empty coffee cup next to you, cross referencing your sources, old school encyclopedias, a CD you borrowed from your friend, only taking a break every 2 hours, focusing on your goals.
Kitchen table, papers everywhere, empty coffee cups scattered around the room. Hair in a messy bun and pencil behind your ear, determined when you want to be. TV on in the background. Taking a break every 20 minutes for more coffee and to call your friends to tell them how boring your study is. Accomplishing your goals despite the mess.
Jamming out to rock music while you work, pigtails, your work is surprisingly organised but you find it hard to focus. You've tried the pomodoro technique but it was hard to stick to, so you take tiny breaks to air guitar when a good part of a song comes on. Getting distracted by your roommates.
Your notes are all in one notebook, scribbled in with a classic blue biro. Black coffee in a mug, reading glasses that you never let other people see, a comfy worn-in office chair, the smell of wood. Not worrying about being neat, keeping things as simple as possible. You do what works for you. It's a relaxed environment.
Studying in the library next to stacks of library books, 15 tabs open on your computer, desk full of pages. Gathering intense background knowledge of everything you come across. Calling your friends to tell them about new things you've learned. Quizzing yourself every 30 minutes, which counts as a break.
Sitting on the floor with your notes spread out around you. Four different types of study snacks. Highlighter marks on your face somehow. Switching subject every 10 minutes to keep yourself interested. Hot chocolate breaks every 20 minutes. Thriving off encouragement from your loved ones. Papercuts.
Your study lasts all day. First at the library, then at home. Work organised into neat folders, a different notebook for each subject. Straight lines and hand drawn banners. Hair in a neat bun. Glass full of different color highlighters. Scheduled breaks every 45 minutes to increase productivity. Framed photos of people who inspire you. Thriving off of competition.
I also tried my hand at redesigning Nightwing before I started. I hate changing his look too much as his classic blue and black one seems to fit so well and adding anything to his costume just adds bulk to his free flowing style. Though I really wanted to try to use his collar and open shirt look but I knew they wouldn’t go for it.
Something I really appreciate about the new BATB film is that the costumes managed to (1) pay perfect homage to the original color tones and styles as seen in the animation and yet (2) carry symbolic changes and account for characters’ personalities, while also (3) being period appropriate. Like, wow. Major kudos to the costume designer and associated staff on this one.
For example, let’s just talk about Beast/Prince wardrobe, which I find really interesting and beautiful. BATB begins with a dance, and the Prince is in this very dark, regal yet kind of gaudy clothing, standing out from the sea of women in white. (He’s also wearing a makeup mask, which is just another awesome layer of symbolism and era-appropriateness that I will not go into right now.)
Throughout the film, Beast’s clothes get progressively lighter: from dark, torn rags (like he’s a criminal, a prisoner in his own palace) to the iconic lighter blue suit at the dance…to the moment Belle declares her love and they’re both dressed in all white (in this case, a symbol of purity and absolution)…to the very end, where the Prince wears blue again, but this time it’s the lightest shade of blue we see him wear. This change also reminds me of the trailer, where the word “Beast” in the title grows lighter as it gets closer to the word “Belle”. Beast’s subtle clothing changes represent the changes in his disposition and character. His wardrobe follows the path of the curse, from its inception to completion, as the castle goes from dark to light, from winter to spring, from death to life.
The two other dance scenes are also important.
When Belle and Beast dance together for the first time, Belle is the one who stands out in that stunning yellow dress. When Beast lets her go, her yellow dress positively pops in an otherwise monochrome, snow-covered forest, like a beacon in the night. And as he watches her go, he returns to rags, representing his hope leaving him behind.
In contrast, when Belle and the Prince dance together at the end, they both stand apart from the crowd but for different reasons than before. Unlike their first dance, this time the Prince is the one who shines the most in an otherwise temperate crowd, which parallels the opening dance scene. Unmasked, the Prince is in a light blue and white suit, the opposite of how he dressed before; and yet, this ending suit almost matches how Belle was dressed at the beginning of the movie, in her classic blue and white dress. Meanwhile, although at first glance Belle’s mostly white dress at the end might make her appear like just another girl in the crowd, she really stands out due to the roses on her dress, like a physical manifestation of spring coming back to the castle and the curse being lifted.
i’m writing this without looking into or researching anything whatsoever so people have probably noticed this too but this is my theory on why klance could/should become canon: it has several uncanny parallels to korrasami, a canonical same-sex couple from the same studio that made voltron. i know some people have already pointed out the similarities, but this post compiles every piece of evidence i have noticed thus far.
[all images hastily pulled from google]
first and most obvious, lance (blue paladin) and keith (red paladin) follow the classic blue-red same sex couple trend. an interesting thing to add, in voltron: legendary defender, they made the choice to actually change keith’s lion back to red (keith had been the black paladin in voltron: force) and lance to blue (he had previously been red). of course this could just be because shiro was the obvious choice for black paladin and the rest fell into place, but one can dream.
there are also several character design elements that are paralleled between lance/korra and keith/asami…i think those are pretty explanatory. one similarity of note is that asami and keith are both (at least partially) japanese.
there also comes into play the elements associated with each character.
see what i mean?
well….asami isn’t a bender but her japanese name does strongly hint towards her fire nation ancestry.
not to mention that (at least in lance’s eyes), keith and lance are introduced as clear rivals, possibly even romantic rivals for allura’s attention. this is not unlike asami and korra’s original relationship as romantic rivals.
another random parallel: keith and asami were both placed under suspicion because they were offspring of traitors to the cause?
anyway. i know this is kind of a stretch but i think the studio behind both of these shows is clever enough to make these parallels intentionally. and if this isn’t a good basis for a canonical mlm couple in a kids’ cartoon, i think it should be.
Dandelion and Juniper’s looks are however completely original, considering the Erins haven’t seen fit to give them an official design… and chances are, they’ll turn out COMPLETELY unrealistic anyhow so who cares~
David Bowie & Twiggy, from the cover shoot for Bowie’s Pin Ups, 1973, by Justin de Villeneuve.
“[Twiggy and I] met Bowie a few times socially, and he mentioned that he wanted to be the first man on the cover of Vogue. I called them to suggest this, with Twiggy, of course, and after a bit of a hoo-ha, they agreed.
Bowie was working on Pin Ups in Paris, so we flew there to do the shoot. When Twigs and Bowie were together and lit up, I looked through the viewfinder and realised that David was pure white, whereas Twiggy was tanned from a holiday in Bermuda. There was a moment of panic because I knew it would look bizarre; but the makeup artist suggested drawing masks on them, and this worked out even better.
I remember distinctly that I’d got it with the first shot. It was too good to be true.
When I showed Bowie the test Polaroids, he asked if he could use it for the Pin Ups record sleeve. I said: ‘I don’t think so, since this is for Vogue. How many albums do you think you will sell?’ ‘A million,’ he replied. ‘This is your next album cover!’ I said. When I got back to London and told Vogue, they never spoke to me again.”