I totaly see Lydia as a fashion blogger/youtuber, doing a tag of boyfriends and girlfriends with Stiles. It would be so cute!
OMG OKAY I LOVE THIS
Lydia is this super popular fashion blogger from the time she’s fifteen
She has this insanely popular website that just makes her popular at school, and Stiles freaking Stilinski is always on it, looking at the way she poses despite the fact that he really doesn’t give a rat’s ass about what she’s wearing.
It’s this extra thing that makes her seem so above him… so intangible… but also, in a weird way, humanizes her for him.
She also has a youtube channel that she uses less often, but she uses it mostly to do hair tutorials and answer questions, etc.
The supernatural shit kicks in and she definitely uses it less. The fashion blogging stops. Her youtube channel lays dormant.
But one day they’re hanging out after school (post all the nogitsune crap, post the wild hunt, post everything) and Stiles is watching Lydia get all of her clothes off of the floor and slide one foot carefully into her panty hose. And he says, in a slightly hoarse voice, one that is muffled by the comforter that is pulled snuggly around him, “Why don’t you ever use your blog anymore?”
Lydia blinks at him. “What blog?” she asks, even though she knows exactly what he’s talking about.
“You know what blog,” Stiles chides gently, rolling his eyes. “I think you should start using it again. It used to make you really happy.”
“How would you know that?” Lydia asks, sliding her shirt over her head to hide her small smile.
“Because I was at least a million of your bazillion hits,” he teases. She looks back at him, the expression on her face contemplative. “It feels silly now. After everything.”
“Isn’t that kinda why you should be doing it again? Getting back to… life?”
Her hair had been in a complicated updo earlier today, but now she simply braids it back and slides back into bed with Stiles, deciding that reapplying her makeup can wait because she’d rather lie in bed with him.
He tugs her closer by sliding a warm hand up the back of her shirt and she pushes her knee between his legs, tangling the two of them together.
“You really think I should?” she asks, considering it carefully. “Yup,” says Stiles, nose brushing against hers as he nods. “It made you really happy.”
The next day, she enlists Kira to come with her and do a photoshoot of her outfit. They do it the next day. And the day after that.
Slowly, Lydia’s followers come back, and she starts to gain new followers. Her blog starts to climb in hits. it’s just a hobby, but it’s something she loves and something that she’s good at.
For the first time, she also does makeup tutorials. She doesn’t think that her bare, unmadeup face is the worst thing in the world anymore. She’s okay with sharing what she knows.
And she gets a tumblr and starts to answer asks about hair, makeup, and fashion.
Stiles is constantly stealing her phone and snap chatting on the story for her beauty blogger snapchat. He takes videos of her getting ready and doing photo shoots.
Sometimes they do tags together, which is always really funny. They sit in front of her nice camera together in a well-lit room and Stiles either asks her questions for her to answer, or they answer them together.
You can always see how well they get along because Lydia spends the whole time smiling and trying not to laugh whenever Stiles says anything.
And the way he looks at her starts to become legendary on the internet
Happy Wednesday, Shipmates! I hope you’ve had an awesome week, can you believe it’s halfway through?? Anywho, man I’ve changed this GIF FOUR times. *shakes head* I’m so excited about this chapter, I don’t know what to show you guys hehe. So here’s the final choice!
Persephone really wasn’t surprised that she ended up back in Denver. The girl had a lot here that she wasn’t willing to give up permanently, resulting in her returning. Being that she wasn’t new to the building, she knew it almost like the back of her hand. Her finger pressed against the elevator button once, twice after about fifteen seconds, and a third time as a minute passed. She took that as her cue to step away, deciding to glance back from her place in the stairwell doorway and towards the elevator. She saw someone there, but only from the back, making her unable to use a name. “It’s broken, sweetheart.” She called back. “Looks like you’ll have to take a little stroll with me.”
Ghostbusters 2016 is a two hour, fifteen minute long continuity error.
Okay, I like Ghostbusters 2016. Kate McKinnon is amazing in it, and the second half feels like what a Ghostbusters movie should be in 2016.
But the first half, in particular, is the most incompetently made big budget film I’ve ever seen. (Not counting Batman V Superman.)
I like the film but it’s absolutely incompetent in terms of angles and editing and continuity and often direction in general. I am not exaggerating when I say 50% of the cuts have some kind of continuity error. At first I found the film so choppy as to be unwatchable.
It fails the things you learn on day one of film school, in favor of stranding its actors without a script. They improv incoherently about nothing, changing position on every cut. The storytelling breaks down and the audience has a sad.
So let’s play a game. Go through Ghostbusters 2016 shot for shot and look at where everyone is and what they’re doing. Then look what happens when they cut.
The delivery boy looks at Erin while Abby looks at the food.
Or I guess not, because this is the next frame.
These are consecutive frames. Someone cut from this to this. This shot is a mirror image of the first, which is a no-no to begin with, and the actors are all in different positions. Even Patty is crouching.
Here’s Abby skidding along the ground shooting fire everywhere.
This is the next FRAME. The reaction shots might as well be in another universe. They’re looking up at the sky, pointed at the other side of the alley, with no sense of danger that Abby is anywhere near them. Logically they’re looking at the sky 90 degrees to anywhere Abby has even been, and many hundreds of feet away. There is no reaction to Abby flying all over the place, when if she’s flying around hitting everything in the alley and setting it on fire, in theory the other Ghostbusters are somewhere IN THAT ALLEY. SOMEWHERE. ANYWHERE.
Well, here’s Abby flying up in the air. I guess we’ll cut to the exact same reaction shot.
Yep. At least it makes sense that they’re looking up now. In the wrong direction and as if whatever they’re looking at isn’t moving.
Erin turns to look at the delivery guy.
Or, I guess she doesn’t because this is the next frame. Also suddenly Abby has turned her head and is gesturing with her right hand.
Or not, because this is the next shot. Also Erin has teleported a few feet closer. I blame ghosts!
Abby starts to take her helmet off …
Or, you know, already has her helmet off one frame later. Because who cares I guess.
Boy, the only truly great character in this movie sure does love her Pringles brand potato chips. And she’s not even shocked about the ghost in front of her.
Only in the closeups though. Not the wide shots, because who needs continuity right?
These shots are one frame apart.
More tedious stuff with the delivery guy. These shots are one frame apart. Abby is turned toward the delivery guy …
Or, you know, 90 degrees away from him, because who cares, right? And hey, what’s Erin doing in the background?
Boy, I don’t know, but it sure isn’t whatever she’s doing when they cut to her in closeup. And hey, let’s pay attention to that bubble wrap, because nobody involved in this production did.
You can actually tell how many takes they used based on how the bubble wrap looks from shot to shot. These are all quick cutaways lasting just a second or so, and yet Erin is doing something different with her hands in each one.
Also, notice how Erin’s looking to the left in one shot and to the right in another? That’s because for most of this movie, Paul Feig kind of ignores the 180 rule of screen direction and just points the camera vaguely at the actors in a head-on way. So it’s pretty often that they’ll seem to be looking in the wrong direction. These are basically all one-second shots, which is as short as a shot even can be in a normal movie. Erin is shouting “fire” because Jillian hadn’t, seemingly, noticed, and is just happily dancing.
Or, you know, one second later she’s gotten serious about it, put down the blowtorches, procured a fire extinguisher and is running toward the fire … and maybe she went back to school and got another doctorate. Hell, you can do a lot in one second in Ghostbusters 2016.
Oh, she’s still dancing. Which means that in one second, we cut from that to this:
Because Ghostbusters can teleport. So can Kevin.
Two and a half seconds later:
Less than two seconds later:
Is Kevin already possessed? Because he’s teleporting. LIke all the characters in this movie.
Abby touches her nose.
Or not, because this is the next frame.
Jillian looks at Abby.
Or not, because this is the next frame.
It seems like Kevin is lazily meandering around the room. But when we cut away from him he moves like a ninja.
Less than four seconds later:
And when Erin says he’s hired:
A master of teleportation! Maybe he’s possessed by the villain Rowan already. Speaking of Rowan …
Rowan talking to some ghosts. We cut to the ghosts, then back to:
Rowan is already out the door. It’s like watching a trailer.
Here’s graffiti artist Nate Corddry, already out the door one second after exiting Patty’s closeup.
Holtzmann. One frame later:
I’ll repeat that. One frame later.
One frame later:
Holtzmann about to do something with her device. One frame later:
Never mind, she’s already done it. She’s holding a power cord which she plugs in and typing at a keyboard with her right hand.
One frame later:
But hey, a lot can happen in one frame.
Looks like Patty is holding up a small red flashlight in her right hand.
Or, you know, holding a blue flashlight low in both hands. Patty’s body language changes from shot to shot here. They keep cutting to this angle as a cutaway, like when Holtzmann is supposed to be running back and forth and working on her machine. There’s only one problem with that:
When we actually see Holtzmann running back and forth, it’s right in front of Patty. There’s nowhere else for her to go. So, just cutting to Patty to cover that doesn’t quite work.
The camera angles are still “vaguely pointed head-on at the actors” but there’s still a sense that Erin is looking, and shooting, to the right of screen.
She’s on the left shooting to the right at the Gruber ghost. Unless you’re looking at this angle:
I repeat, the entire scene has Erin on the left looking right at the ghost on the right side. Except for this angle.
Erin starts to fall backward a bit. Next frame:
Erin’s stunt double has already fallen down.
Jillian is kneeling down there on the right. Next frame:
Jillian is lying down on her side. Next shot:
Jillian falls gradually into the position she’s, uh, already in in the previous shot.
These are one frame apart. Only Patty matches.
These are one frame apart. No one matches.
One frame later, only Jillian matches:
One frame later, no one matches. Even Patty’s turned her head:
Jillian looks up. One frame later, she doesn’t. Abby has also stopped moving.
One frame later:
And by now it shouldn’t surprise you to learn that this entire scene is like this.
Let’s talk screen direction for a second. Because this strategy of pointing the camera in the vague direction of the actors and hoping for the best isn’t working out. Patty is sitting in a booth and Kevin points at her to screen left. Abby points to screen right. I assume that Kevin is actually pointing at Patty and Abby isn’t, but I’d have to do an hour of geometry work to figure it out because the camera isn’t pointed anywhere in particular. Except vaguely at the actors.
All of Erin, Abby and Jillian’s shots in this scene look like this. Except for exactly one shot, which looks like this:
We’re supposed to think these two shots are identical, not think that everyone has just teleported into different positions.
Back to normal! At least until the end of the scene, where suddenly we get Position B again.
My expression watching this matches Abby’s. My disinterest matches Jillian’s.
Kevin hasn’t forgotten how to teleport. He gets up from his desk, and three seconds later, zap:
Three seconds later, he’s caught on something. Strange things happen to Asgardians who meddle with time.
If Patty wants to be a Ghostbuster, she’s going to have to learn to teleport too. Here she is, sitting quietly, not moving at all.
Here she is, 1.5 seconds later, walking and talking. Teleportation achieved!
You get the idea. The whole film is like this. It cuts back and forth between shots that might as well take place in another universe.
Like this awkward scene. Erin’s ex comes by, but he doesn’t come up to the door to talk to her. No, she has to walk a few hundred feet to come see him while we watch from a safe distance. Why? Is he radioactive?
No, it’s so these two can do some z-grade improv from half a mile away. Leslie talking about how sexy he is. She must have zoom lenses on her eyes. Their angles might as well have been shot in another state.
The reliance on improv makes the film borderline unwatchable at times. I have no problem with improv - it can lead to a film’s funniest moments. But there has to be some structure there for the improv to build on and fight against. Characters can’t just babble. A few funny zingers in a scene, great, but don’t forget normal acting and storytelling.
Kristen Wiig spends the beginning of the film babbling incoherently and acting not only like a fool, but like an actress stranded without a script rather than like a real person. Most of the supporting cast don’t act like real people either. These minor characters exist only to be mean to Wiig for no reason, then she acts awkward in a way that only a character in a movie who has forgotten her actual lines ever would. We never see these characters again. The awkwardness of the storytelling drives a stake through the film’s heart early on, when we should be caring about Erin and Abby as friends and as characters, rather than watching an outtake reel. It’s like a rehearsal, rather than a professional film, and this could have been fixed in the editing room. Instead they let the awkward moments go on and on and on and on.
To put it plainly, there is very clearly a better film hidden in this footage somewhere, no matter how incompetently it was filmed. There is plenty of improv that doesn’t work and could be cut entirely, and replaced with all the silent moments they’ve cut around, and whatever was in the script that they keep ignoring.
Ah, but it’s a Ghostbusters movie. Doesn’t that get you excited? That’s the old logo, and it’s animated! I guess we’ll get a full Ghostbusters intro credits sequence with an animated logo and …
Nope. Bland, ghostless logo. The theme song plays for ten seconds and is faded out as the lyrics begin. I’ll repeat that. They fade the song out as you hear the words “If there’s something strange …”
How incompetent do you have to be to not write the theme song into your Ghostbusters movie?
Before I go, here, have some more continuity errors.
There are three shots of Patty in this sequence, separated only by quick cutaways to the other ladies. Here they are.
I swear you can’t cut away from someone in this movie without them moving toward you ten feet. It’s like Slenderman.
Everyone’s walking and talking. Erin is turning her head to look at Patty. One frame later:
Erin is no longer turning her head. She’s already turned, fake-walking into a closeup the way actors do. Patty is standing still rather than walking. Abby is now looking at Erin instead of Patty and fake-walking into Erin’s closeup the way actors do. Holtzmann is not in this shot but maybe she’s wearing a funny hat now or something. I mean, who needs continuity right?
Patty gestures with her right hand. Or, you know, her left hand one frame later.
While looking in a different direction now, because who cares I guess.
Here’s Abby and Erin doing something with their hands. Then one frame later, doing something entirely different:
But don’t worry, they figure it out in the end.
One frame later:
You did it, ladies! You pretty much matched your positions from one shot to another! Like every other movie in existence is supposed to do as a matter of course! You finally made a legal cut that isn’t a choppy, messy cheat! You finally did it! I’m impressed. I’ll give you an award for finally getting continuity right –
wait what are you doing
it’s this scene
One frame later, looking at Patty now:
One frame later, suddenly an overhand grip:
Ladies, if you’re not going to look in her direction you could at least look in the same direction. Leslie, you are looking up at the sky.
You know what? Just … forget it. Just forget I said anything at all.
Since its debut in 1990, The Wheel of Time by Robert Jordan has captivated millions of readers around the globe with its scope, originality, and compelling characters. Over the course of fifteen books and millions of words, the world that Jordan created grew in depth and complexity.
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Designed by officially-licensed Wheel of Time artist Amy Romanczuk, Patterns of the Wheel features 40 drawings inspired by pysanky, a traditional Ukrainian folkart, to provide hours of delight for The Wheel of Time’s legions of fans.
concept: space pirates who sound exactly like regular pirates, except replace all references to “the sea” with “the void”
“aye, the void is a harsh mistress,” the captain said, gazing out the window of her ship into the vast starry expanse. “she’ll take more than she gives, in the end. but those who are called to life in the void don’t know any other way.”