@marathecactupus I love your metas surrounding the Red vs Bluethemes of series 4. I haven’t been thinking about this for a long time, but I have been trying to figure out why ASIP is so goshdarn purple. Every street backlit with purple. Trees, purple. Sherlock and John together, purple. Running through London, purple.
Even the outfits of the characters (Sherlock, Blonde woman in ASIP, Connie Prince’s brother in TGG, Mrs Hudson) are purple.
Do you have any thoughts as to the coordination of these three colors?
At first thought I would say “purple” represents a harmonious time between Sherlock’s heart and brain. The minute Moriarty showed up and threatened to burn the heart out of him, then things started to separate. Even that pool scene is dramatically blue and red. Irene’s two makeup choices are blue and red. Sherlock and John wear blue and red.
I could be wrong, but doesn’t it take until TAB for lots of purple to reappear? The robes of the women, Sherlock’s dressing gown, Mrs Hudson’s outfit. And since TAB is a blatant mirror to series 4, it would make sense for TAB to be the “Sherlock’s heart and head work together and he lives happily ever after with John” while series 4 is “In real life the game is never over, one must separate the heart and the brain, romantic entanglement won’t complete you as a human being”, keeping the themes red and blue.
Terribly sorry if you’ve already said this somewhere and I’m here thinking I’ve come up with something new – if this discussion is elsewhere please point me to it!
I fucking love Isayama’s high school AU. I mean, think of all the fantastic possibilities.
Pastor Nick is the hyper-religious father of one of Hanji’s students and is a giant pain in her ass when she starts teaching evolution.
Hanji is a pyro and constantly lighting things on fire in her chem class whenever the opportunity arises.
Moblit is the other science teacher and has to deal with Hanji’s shit.
Falco, Gabi, Sophie, and Udo are all in the town’s junior high school.
Mikasa listens to Death metal and Screamo. She introduces it to Eren, who likes it cause he’s an edgy teenager. Carla comes home to it being played way too loud whenever Mikasa comes over to help Eren with homework.
Eren offers to teach Mikasa how to fight so she can ward off Jean on her own. After a week of it Mikasa can kick Eren’s ass and Eren tries really hard not to be sensitive about it.
Eren’s mom always had him do a lot of chores, so he absentmindedly cleans all the time. Levi notices this and is constantly giving him pointers and weeding him into helping with cleaning. Eren is essentially an unpaid 2nd janitor after a while. Eren respects but is mortally terrified of Levi.
Sasha and Connie are constantly stoned.
Ymir and Reiner have an intense rivalry over Historia. Ymir one time made a dis track about Reiner and roped Connie (and by extension, Sasha) into passing it out around school. Bertholdt had to stop Reiner from making one in response.
Connie is Ymir’s unofficial little brother and she pretends to not care immensely about him. He is also Reiner’s little brother. Connie has no idea that he’s in a lowkey, passive-aggressive familial love triangle, but he knows that he is often stressed when those two get involved.
Grisha met Dina when he was 18 and she got him into the same cult she was a part of. They got married after a few months and had Zeke, who they were bad parents too. Eventually he realized he was in a fucking cult and got a divorce, after which he met and married Carla later in life.
Zeke still detests his father and was super rebellious all the way until he dropped out of high school and formed a shitty funk band called Monkey Trouble. Zeke is constantly trying to get Eren to rebel from his dad.
Dina is currently in prison for felony drug possession.
“Okay, Cindy, now’s your chance. His friends just took off on their bikes.” “And you’re sure it’ll work?” “No, it’s fine, right, Connie? Look, my brother got it from his sister direct. He’s got a collection of Good Housekeepings under his bed.“ “Okay, well, I hope so. I ruined my mom’s best tablecloth just to make this shirt with my Sew Easy."
I know this has been done a bajillion times, but I just really needed to illustrate this. The song “Here Comes a Thought” is really helping me through my social anxiety. I get anxiety over doing the simplest of things and this song truly helps me work through my thoughts. This is probably my new favorite episode.
Patty Jenkins and Gal Gadot breathe some fresh air into the DC film universe.
It may have taken four films to get there, but the DC Extended Universe has finally produced a good old-fashioned superhero. Sure, previous entries in the Warner Bros. assembly line have given us sporadically successful, demythified takes on Batman and Superman, but they’ve all seemed skeptical, if not downright hostile, toward the sort of unabashed do-gooderism that DC Comics’ golden-age heroes exemplified. Never prone to stewing in solitude, and taking more notes from Richard Donner than from Christopher Nolan, Patty Jenkins’ “Wonder Woman” provides a welcome respite from DC’s house style of grim darkness — boisterous, earnest, sometimes sloppy, yet consistently entertaining — with star Gal Gadot proving an inspired choice for this avatar of truth, justice and the Amazonian way.
Although Gadot’s Diana Prince had a decent chunk of screentime in last year’s “Batman v. Superman,” “Wonder Woman” assumes no foreknowledge of any previous franchise entry — or of the character herself, for that matter. With most of the film’s presumptive audience too young to remember TV Wonder Woman Lynda Carter, Gadot and Jenkins have an unusually broad license to introduce the character to filmgoers, and they remain largely faithful to her comics origins while also crafting a hero who is both thoroughly internationalist and refreshingly old-school. In her earliest iterations, Wonder Woman was an all-American figure with a mythical background; here, she’s an essentially mythical force who just happens to fight for America.
Like far too many films before it, “Wonder Woman” offers yet another origin story, but at least it’s one we haven’t already seen several times onscreen. And perhaps more importantly, it’s almost entirely free of the distracting cameos and seeding of future films’ plotlines that so often keep modern comic-book films from functioning as satisfying standalone stories.
After a brief prologue in modern-day Paris, the action whisks us away to the secluded island of Themyscira, home to the all-female society of Amazons. Drawn in lush, misty colors, the island is a sanctuary for the tribe, sheltered by Zeus, whom they helped in fighting off a coup from the war god Ares. On guard against Ares’ possible return, the Amazons have all dedicated themselves to the arts of combat.
All, that is, except young princess Diana (Lilly Aspell at age 8, Emily Carey at 12), who’s the only child on the island. Yearning to learn the ways of her fellow Amazons, Diana is shielded from combat training by her mother Hippolyta (Connie Nielsen). Fortunately, her aunt Antiope (Robin Wright, cutting an imposing figure and affecting a strange accent) is the tribe’s chief field general, and she agrees to train the girl in secret. By the time she’s reached adulthood, Diana (Gadot) is ready to take on all comers, her traditional battle skills augmented by supernatural abilities of which she’s only partially aware.
Themyscira seems a realm outside of time, but the film’s 1918 setting abruptly announces itself in the form of a crippled German warplane that crash-lands in the ocean just beyond the island’s shores. Diana swoops in to rescue the pilot, an American soldier named Steve Trevor (Chris Pine). Once under the influence of the Amazons’ lasso of truth — a potentially silly device from the comic’s lore that the film adapts admirably — Steve reveals he was undercover with the Germans as a double agent, dispatched to collect intel on their experimental new weapon: a powerful poison gas developed by sadistic general Ludendorff (Danny Huston) and his facially scarred star chemist, nicknamed Dr. Poison (Elena Anaya).
When Diana hears Steve describe the Great War raging outside their protected enclave, she immediately suspects Ares has returned, and resolves to head to the front lines to confront him. She and Steve sail to London, and the film takes an unexpected, largely successful detour into light comedy, evoking shades of “Encino Man” as Diana stumbles wide-eyed through the big city, her rapport with Steve growing closer all the while. (Steve is the first man Diana has ever seen, and the film acknowledges the elephant in the room with some choice volleys of double-entendre.) The plot snaps back into focus when Steve and Diana learn Dr. Poison’s gas will soon be ready to launch at soldiers and civilians alike, and finding little help from military brass, they take off to the Western front themselves to intervene.
It says quite a lot about the general tenor of the DC cinematic universe that a film set in the trenches of WWI, with a plot revolving around the development of chemical warfare, is nonetheless its most cheerful and kid-friendly entry. But while “Wonder Woman” may dabble in moments of horror, it never revels in the vicissitudes of human depravity quite like its predecessors. A huge factor in its ability to convey a note of inherent goodness lies in Gadot, whose visage radiates dewy-eyed empathy and determination — and whose response to the iniquity of human nature isn’t withdrawn cynicism but rather outrage.
“Wonder Woman” is the first major studio superhero film directed by a woman, and it shows in a number of subtle, yet important ways. As skimpy as Gadot’s outfits may get, for example, Jenkins’ camera never leers or lingers gratuitously — Diana is always framed as an agent of power, rather than its object. When she finally unleashes her full fighting potential in an extended battle sequence on the front lines, the movie comes alive in a genuinely exhilarating whirl of slow-motion mayhem, and Diana’s personality is never lost amid all the choreography.
From this high point, the film begins to falter a bit in its final act, with some credulity-straining staging — a thunderous mano-a-mano battle appears to take place in full view of dozens of German troops, all of whom continue to blithely load cargo — and a final assault that lapses into the type of deadening CGI overkill that the film admirably avoids in the earlygoing. Approaching 2½ hours in length, “Wonder Woman” does fall victim to a fair bit of blockbuster bloat, and a trio of comic-relief comrades (Said Taghmaoui, Ewen Bremner, Eugene Brave Rock) don’t add nearly enough to justify their long-windup introduction.
Pine plays second-banana with a great deal of good humor: making little attempt to de-modernize his diction, he nonetheless registers as a noble yet sometimes lunkish jarhead, and it’s clear why Diana might find him attractive while also failing to be particularly impressed by him. None of the film’s villains get much of a chance to distinguish themselves, though Lucy Davis makes a good impression as saucy sidekick Etta Candy.
It’s an open question how much of the tone and aesthetic of “Wonder Woman” will extend to the innumerable future films in which her character is set to appear; subject to an exhausting amount of both kneejerk second-guessing and kneejerk over-praise, the DC Extended Universe has been figuring out just what it wants to be in fits and starts. But for once, it’s easy to stop the armchair executive producing and simply enjoy the moment.
A Warner Bros. Pictures release and presentation in association with Ratpac-Dune Entertainment, Tencent Pictures, Wanda Pictures of an Atlas Entertainment/Cruel and Unusual production. Produced by Charles Roven, Deborah Snyder, Zack Snyder, Richard Suckle. Executive producers, Geoff Johns, Jon Berg, Wesley Coller, Rebecca Steel Roven, Stephen Jones.
Directed by Patty Jenkins. Screenplay: Allan Heinberg, from a story by Heinberg, Zack Snyder, Jason Fuchs, based on DC’s Wonder Woman created by William Moulton Marston. Camera (color): Matthew Jensen. Editor, Martin Walsh. Music: Rupert Gregson-Williams.
Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Said Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lucy Davis, Elena Anaya
“Baby, I’m really sorry I don’t think I can make it home.” your boyfriend sighed over Skype. “I wanted to really badly, but with all the snow, our flight out of here got cancelled or really delayed or something and-”
“Connor, you don’t have to apologize.” you said, trying to hide how disappointed you were. Not even in him. In Mother Nature for being a bitch this way. “It’s not your fault Mama Nature’s throwing a temper tantrum to rival last years’ Snowmageddon.”
“Still, I know how badly you want me home and since my parents and brother flew in and you’re my girlfriend and… You’re not the only one who wants me home. I do, too.”
“I know, baby.” you sighed. “I know you want to be home with your family and me. And who knows? Maybe a miracle’ll happen.”
“We can only hope.” he replied. “(Y/N), baby, I gotta go, Ebbers stole Nuge’s toque and I gotta take care of these nerds.”
“Okay, baby. I hope I’ll see you soon.”
“You too.” he said. “Say hi to my folks and Cam for me.”
“You know I will.” you smiled.
“Thank you, love.” he smiled. “I love you. I promise I’ll try to be home for Christmas.”
“I love you more, babe” you said, blowing him a kiss before the call ended.
You sighed and checked the clock. 10 AM where you were in Edmonton on Christmas Eve with snow piled high in the entirety of the country. Edmonton was no exception. Connor’s parents and brother barely made it in on time before the snow started a couple days ago. And since Connor was on a roadie, there would obviously be some form of difficulty in getting back to Edmonton, Christmas or not.
You heard the door downstairs.
“(Y/N)! We’re back!” you heard Connor’s mother, Kelly, exclaim downstairs. “Had to go while the roads were newly plowed!”
You sighed and got up, heading downstairs to be greeted by the three other McDavids. “Hey everyone. Grocery shopping go well?”
“Well, we got what we needed, but I’m about 80% certain the milk’s frozen. Even if we had the heater on in the car.” Connor’s dad, Brian, noted. This made you smile.
“Did you hear from Connie?” Cam, Connor’s brother, asked.
You sighed. “I did. The snow both here and there’s crazy. I don’t think he’ll make it home tonight. Maybe not even tomorrow. Possibly Boxing Day.”
Kelly sighed. “Well, let’s just hope there’s some form of Christmas miracle in the works. He hates missing holidays and I know he misses home. I know this is important to you, dear. It’s supposed to be your first Christmas together.”
“Yeah… I guess we can only hope now, huh?” you noted, going to the kitchen to assist with unpacking the groceries. “Here, let me help with those.”
“Thank you, dear.” Kelly said with a smile as she took a bag of small potatoes and put them in the pantry. You grabbed the carrots, cheese, and the asparagus and put them in the fridge.
After the groceries were all put away, you went back upstairs to yours and Connor’s room, lying down on the bed and putting the TV on. It was playing The Santa Claus, one of yours and Connor’s favorites. You smiled and curled up into the blanket as Tim Allen failed at cooking a turkey
You got a text and saw it was Connor, feeling hopeful, you opened it to see a picture outside the window of what seemed to be a building. The whole of the outside world was painted white, flurries plastered to the window and distorting the picture a little.
“Why?” was all he captioned the picture with.
“Mother Nature’s a wicked woman.” was all you replied with. “I hope this clears up soon. I wanna see you, baby.”
“I wanna see you too.” he sent. “I miss you. I miss my family. I want to be home for Christmas, baby.”
“And maybe something will happen and you will be.”
“I can only hope. I love you, baby.”
“I love you too.”
“You’re still awake?” you heard Kelly ask from the stairs. “Honey, it’s nearly midnight.”
“Kelly, I… I just know he’ll be here. I promise. If he doesn’t show by midnight, I’ll go to bed.”
“I promise.” you said, bartering like a child who wanted to be up for just a few minutes more. “Please?”
Kelly sighed. “Alright. You do you. I just want you to know I’m worried for you. I know that this Christmas was supposed to be the first of hopefully many, but… Sometimes, things change. And there’s always next year, sweetheart.”
“I know, but… I’m holding out for something. Some kind of miracle. Maybe Santa decided to stop and give him a ride, I don’t know.”
Kelly smiled. “We can only hope. I’m going back to bed. Goodnight, (Y/N).”
“Goodnight, Kelly.” you sighed as you went back to your book. Your eyes were starting to get heavy and the clock continued to tick on as you read. It’d been hours since you last heard from him. Maybe his phone had died and he couldn’t find a place to plug in. It seemed likely. You checked the clock again after what felt like forever to find that only twenty minutes had passed. The long hand now edging so close to the top of the clock.
“Four minutes to Christmas…” you sighed to yourself, placing your book down. “He’s not coming tonight. He hasn’t said anything, hasn’t done anything. He’s going to miss Christmas tomorrow, likely. Maybe I’ll wake up to good news… I should just go to bed.”
You sat up and stretched before turning off the lights and starting upstairs. When you hit the halfway mark, however, you heard the door unlock.
You heard the door open and a pair of boots stomp inside as well as a thud of something large and solid hitting the ground..
“Hello?” You heard a muffled voice ask. “Anyone awake?”
There was no way.
You hurried back downstairs to see a figure bundled up in a long, dark grey coat, removing a black scarf from around his neck, a suitcase and a hockey gear bag at his side. He took his toque off to reveal a head of soft, fluffy coppery hair.
“C-Connie?” you asked in disbelief. The figure whipped around to reveal none other than your boyfriend, bundled up to shield himself from the cold outside.
He grinned. “I said I’d be home for Christmas, didn’t I?”
You grinned and ran forward. “Connie!!”
He opened his arms and scooped you up into a hug just as the clock on the wall rang for midnight.
Right on time.
He pulled away and grinned at you, his brown eyes warm and happy as they stared back into your own.
“Merry Christmas, baby.”
You grinned back and pecked his lips. “Merry Christmas, indeed.”
hello! I have a writing prompt, can you write one where in some sort of way connie or steven's being bullied or made fun of, and the other comes and defends them & ends up soon tellin the other how they feel :) or somethin along the lines of that
They’re both pretty passive else I would have written Steven storming into Connie’s school and beating the living daylights out of whoever is bullying her but you know that’s completely out of character and wrong. So hey, we’ll have to find another way around this one. I think Connie will have to have a ‘mean girl’ problem and perhaps that issues reflects onto Steven? Thank you anon!
Steven had caught the bus that sunny afternoon in order to meet Connie after school. He’d only done it once before and wanted to do it more often but he wasn’t always great at keeping track of the time, especially when out on missions.
Steven stood outside of the school casually tapping his foot against the pavement, waiting for that all important ringing of the bell. When the bell did finally ring Steven jumped slightly, now only anticipating when Connie would come out and greet him. She would most definitely hug him, that was his favourite part.
“Ew look, Connie’s disgusting little boyfriend is back.”
“I can’t believe she’s dating someone, let alone an eight year old. Is it her little brother?”
“Here she comes, let’s watch the freak love show.”
The mean girls began to chatter amongst themselves as they came out of the school building. The cruel words were the only things Steven could hear, was this what Connie had to go through everyday? Was it all his fault?
Steven couldn’t have anyone laughing at Connie, especially if it was because of what he looked like or how he acted. As the group of girls turned around to watch Connie walk out of the school in the crowd; Steven found himself shapeshifting into something that the girls wouldn’t be so cruel about. He swiftly managed to revert back to the same form he’d taken on his fourteenth birthday, exactly how he wished he’d looked all of the time. But it was easy enough to shapeshift for a few minutes to get these terrible humans away from Connie.
“Hey Connie, over here!” Steven waved as he stood proudly in his new form, admittedly his voice cracked a few times during the sentence but it was better than it was.
The group of girls turned around and gasped seeing how the boy had grown so much. Connie also let out a tiny gasp, seeing Steven like that again came as quite a shock.
“Steven!” Connie ran down the steps of the school before practically leaping onto him to initiate a hug. Steven blushed as he stared up at all the girls on the top step with shocked faces.
As much as Steven wanted to turn up the flames in order to make Connie look as cool as possible in front of the girls he didn’t have the guts to kiss her in front of them. Also Connie may not have liked that idea, he didn’t want to make the situation worst. Instead he grabbed her hand and began to walk out of the school grounds without turning back.
“Phew, that was a close one.” Steven wiped his arm across his forehead and Connie stared up at him; still holding tightly onto his hand.
“I’m so glad you’re here but why are you like that?” Connie questioned.
“Y’know…not yourself. You remember what happened last time, right?”
“I just wanted to pick you up looking like I should and not…your little brother?” Steven cringed at the thought, finally admitting why he’d changed so suddenly.
“My little brother? What?” Connie looked up and gave Steven a disgustingly confused expression.
“Look it’s just what some girls at your school said and I thought maybe if I did this that they wouldn’t laugh at you.” Steven shrugged, gradually tightening his grip on Connie’s hand after every voice crack.
“Steven, I don’t care about that. Them girls say bad things about everyone all the time. I love you for you and doing this to yourself isn’t you.” Connie attempted to knock some sense into him, stopping halfway down the street to face each other.
“You love me?” Steven questioned the thing he honed into most in her words. He slowly shrunk back down to his usual self now having to look up slightly towards her rather than the other way around. Connie’s face became flustered with embarrassment.
“I-um yes?” Connie wasn’t quite sure what to say.
“That’s good because I love you too.” Steven nearly choked on his words, coughing slightly to recover from his voice change.
The two of them hugged each other tightly in the middle of the sidewalk, thankfully nobody wanted to get past. They must have hugged for a good couple of minutes, Steven just didn’t want to let go.
OK SO! After Pearl falls in love with humanity, what if Pearl and Mystery Girl somehow have an child too? I doubt she'd put the Crystal Gems & S. through the same trauma by giving up her physical form, but I could see Pearl and S. adopting. I'D ALSO SEE PEARL ADOPTING AN ENTIRE ORPHANAGE FOR, LIKE FOREVER SINCE SHE CAN JUST DO THAT! 10/10 NEW HEADCANON FOR ME.
• Adopting at least 3 kids of various ages.
• Steven and Connie reading them bedtime stories every night.
• S, Amethyst, and Greg taking the one kid who’s really into rock n’ roll to their first show.
• Garnet literally juggling children.
• Pearl teaching them proper manners but also encouraging independence and individuality.
• Peridot and Amethyst sneaking one of them out for late night rides on Peri’s metal creations.
• Steven being the BEST BIG BROTHER EVER.
• Connie teaching them all swordfighting!
• Garnet having a 500% increase in her mood because now she doesn’t only see Steven’s bright future, but many futures where these kids grow up to be extraordinary.
Okay guys, I will freely admit Miles writing has problems but like, I want you to examine something here:
The Woman Burnie Wrote and Their Motivations, Pure Text, Not Including What We Read Into It:
-Tex, a hardcore badass, who is motivated…to save/protect Church. A man.
-Epsilon Tex, another hardcore badass, who is created….to fulfill the desires of Church, a man.
-Carolina, a badass Freelancer who is motivated by the desire to be the best and….to live up to her father’s expectations and can be read as wanting to be the best to deserve his attention. Not that it is, it just can.
-South who is defined by….resentment of her brother North.
-Connie, who is the spy on the inside who at the end of the arc is revealed….to be working for her love interest, a man, who dies.
-Kai, where the joke is she loves sex. And that’s it.
The Woman Miles Wrote and Their Motivations, Pure Text, Not Including What We Read Into It
-Carolina, who admittedly doesn’t have as much to do, but is motivated to protect her friends, and a planet.
-Kimball who is motivated to win the war.
-Grey who is motivated by a love of science and to end the war.
-Jensen who is motivated wanting to end the war.
Like…guys. Miles is not the best writer of woman, God no, but like, can we stop holding Freelancer up as the pinnacle of female writing? Please?