forget safety

Portrait of Slytherin #2

do it because you can, and also because you must. do it because you can’t stop, and because you won’t. know that everyone will die in the end, so do it so that you deserve it. do it so well that no one will believe the fantastic story of your survival. forget safety, be notorious. accept the chaos. no grave will be able to hold your legacy down. you strove with none, for none was worth your strife.


Lydia Cruz in every episode: Season 1, Episode 4, Forget Safety, Be Notorious

→ “Ramon, I can explain. No, no. No need to. No, no, no. It’s all very clear to me now. Francisco said you wouldn’t accept the money from him. And… we need the money, Ramon. He said I should just put it in the collection a little at a time. And this happened the night that you were alone with him? The night of the blackout? We weren’t alone. It’s just – no one else was there.”

anonymous asked:

Met up with my friend and she drove me around the city for the day. As we drove I counted no less than six superman memorials. (It may have been seven, the last one was abstract). Then we parked a couple blocks away from her apartment and walked there. Late at night. Like she doesn't even have pepper spray. Do they know no fear, or rely too much on big boy blue? Discuss.- Story Time

Metropolis is honestly the weirdest place?? Seven sculptures of Superman (and that’s only the ones you saw?) is so unnecessary no matter how much they idolize Mr Boy Scout over there

And, like, you guys just walked there? Late at night?? No pepper spray??? What the hell kinda city is that place that is too much safety

Like forget getting fear gassed on the regular, the idea of not needing to be afraid at night when walking around honestly kinda freaks me out more like what are you meant to do with your hands if you aren’t ready to throw a punch or spray pepper spray? Hold them by your sides like a normal person??

i learned to bite back without getting blood on my mouth. to swing hard without breaking my fist. to set fires without burning up my own clothes.
sophomore year suicide but not really. part of me died and the other part wanted to. it’s not just an exaggeration it’s the scars under my skin. the ones on the outside that scabbed and healed over. the kids who thought rumors weren’t time bombs in rose gardens.
like this is recess gossip not locker
room isolation.
so I hit back. became the better bitch in most ways and grew thick skin. i don’t even feel the sting anymore. nothing can touch me so nothing can love me so nothing can fucking leave me.
forget safety in numbers. there’s only ever been safety in being alone.

Woo hoo, Klaroline IS coming! Okay, now I have that out of my system…

I’m back with another fusion drabble. This initial premise is from the 1997 Alicia Silverstone film called Excess Baggage. All italicised text is quotes from the movie (and a bonus Cher quote from Clueless) and chapter title and lyrics from the soundtrack. Thanks also lovely Jo @fanfantasticworld for the awesome cover. 

Trying to get attention from her wealthy, workaholic father, Caroline stages her own kidnapping throwing her into the path of car thief Klaus Mikaelson.

One Headlight

“There’s got to be something better than in the middle
But me and Cinderella we put it all together
We can drive it home, with one headlight.” (The Wallflowers)

Beverly Hills, Los Angeles

“How stupid do you think I am, huh?” He asked pointedly.

“How stupid is there?” She growled by way of response.

“You know, I once stole a Ferrari with a Chihuahua in the back. He made less noise than you do.”

“Are you always this charming to your captives?”

“Only the ones that won’t shut the hell up,” he groaned, changing the radio station to something decidedly less manufactured. When he woke up this morning, the last thing he expected was to have an unexpected stowaway on this particular job.

“What do you think you’re doing?” She demanded, covering her ears as the sounds of Metallica burst through the speakers, filling the car. “I’m a strictly Britney Spears and Taylor Swift kind of girl.”

“Figures,” he scoffed.

“Excuse me?”

“Rich, spoilt brat likes girlie pop music,” he drawled. “How original.”

“You don’t know anything about me.”

“On the contrary I have learnt more than I need to know about you in the past fifteen minutes because you haven’t stopped rambling in my ear. Trust me, I’m regretting ever removing that gag from your mouth.”

“Well, it isn’t my fault you kidnapped me,” she growled, pulling at the tight restraints bounding her wrists together.

“Yes,” he muttered. “I was the one who threw you in the trunk of your own car. I may be a thief but I’m not into abduction and excess baggage, especially with someone as high maintenance as you, princess.”

“Says the guy with the warm personality,” she shot back. “So, where are you taking me?”

“I was thinking the nearest mall,” he murmured, his eyes trained firmly on the road. “I’m sure you’re just dying to do some shopping or whatever it is you do with your time.”

“So, that’s what you think? I’m just a ditz with a credit card?”

“You said it not me, sweetheart.”

“I don’t want to go to the mall,” she pouted.

“Since when did I become a bloody cab service? Okay, how about a spa? You could get one of those mani-pedi things.”

“A callous car thief knows something about beauty treatments?”

“Now who’s typecasting whom?” He shot back for her benefit. “What can I say, I have a little sister that won’t shut up, she kind of actually reminds me of you, princess.”

“I have a name you know.”

“And I have no interest in knowing it given you’ll be out of the car in a few minutes hopefully,” he muttered.

Keep reading

danielzharman  asked:

hcs about renison's domestic life? :)

Renee’s favorite thing about being with Allison is that she’s allowed to be soft. Not that she couldn’t with anyone else, but her history always weighed heavy. She gave the burden of her sins away and allowed herself to be washed by the water, but the strength and power, the knowledge of all the ways she could kill, wasn’t something that she could just turn off. And as sweet as everyone told Renee she was, they knew that that strength lied right under the surface. Even more so during the riot and some man dared laid a hand on Allison. Renee had reacted before she even knew it was Allison. She just saw the orange hoodie and responded, but after, she was afraid of what it would mean for her friendship with Allison.

Whatever she was expecting, she can definitively say that it was not being kissed on the cheek. She was shocked and Allison said, “You know, when I wished on a star for my knight in shinning armor to come save me, I never thought she would be so beautiful while she was doing the saving.” Renee could only gap at her, while Allison ran her hands up her arms and told her how scared she was, but then there was a flash of white hair and muted pastels in the dim light. She knew she’d be okay, but she worried about Renee.

Renee had never had anyone to worry about her before; it was a strange and new concept. She thought she rather liked it.

Allison worried about Renee, and it was because she had someone who actively told her how much she cared, Renee allowed herself to be soft. She allowed Allison to snag her around the waist and pull her back down for five more minutes of sleep when she got up in the morning. She was always pleasantly surprised when she got in the shower, expecting next to no shampoo and a new bottle was in its place. When she flipped open her bible there were little notes in the margins that she hadn’t written. Allison liked Ruth in particular because she was a sucker for love stories. Renee told her their love story every time she asked, and she could feel her edges being smoothed by the repetition.

Once upon a time, there was a beautiful princess. She lived in a glass tower because her parents wanted to show off her beauty, never allowing her out, in case something might mar her beauty. One day she broke out and ran away to a foreign land, but not before taking her parents fastest car and painting it pink. There she met a broken viscount. She knew how to hold him together when he couldn’t, and she loved him. The princess and the viscount fought because the viscount despised her station, even though the princess would give up her title in a heartbeat, for she had no love for her family. She befriended a knight and would tell her of her plights. One day, the viscount was murdered by the underlings of an evil sorcerer. The princess was heartbroken, but part of being a princess of a glass tower meant that she only broke on the inside, never the out. The world only caught a glimpse, but the knight knew. The knight swore to protect the princess and he a loyal friend. A neighboring kingdom tried to kidnap the princess and the knight rushed to save her, forgetting her own safety in the process. She told herself that it was her duty to protect her dearest friend, but when the princess bestowed a kiss on her cheek, the knight knew she was in deep water. The knight needn’t worry, for the princess desperately loved the knight too. It was in a different way than she had loved the viscount, but the knight didn’t mind, she only wanted the princess in whatever way she was wanted in return. The princess would make the knight her consort and plotted vows that would bind them forever, but until then, the princess was content to lie in the knights arms.

Whenever Renee told the story, Allison would pepper kisses all over Renee until she got to the part about the princesses desperate love. Then she would look up at Renee with soft eyes and tell her that this was her absolute favorite part.

Renee and Allison work like a well oiled machine, and always work together to make the mundane tasks in their life something they overcome together. If sometimes they get distracted by Allison running across the room screeching something about the princess needing saving, well, Renee would stop the world in a heartbeat to save her princess.

TGD Articles #1

The reason I love The Get Down is not just because its about a part of my own people’s history in this genre of music…but because it’s a metaphorical speak in the image of many artist that’s lived that life coming from a colored, poor, and seemingly broken land. The cultures that represented in this show – they’ve always been at the pinnacle of all the big art forms. Often times that history was erased replaced with the face of someone else, the credit is given to those it didn’t belong to and even when correct credit is given the tale is spun to make it negative – our form of dance was something violent, dangerous or not a real form / our music was/is degrading at best and tasteless at worst / our art was never art just unnecessary incoherent scribbles used only to mark ownership and ruin what was once perfect. Time and time we’re shown that the lighter the flesh the easier the content is to swallow but TGD isn’t about that harsh reality. In fact, these young men and women are to focus on their own moment trying to breathe some life into their own dreams that there’s no room for that story. So what happens is we get this ultimate focus on this representation, on this reality that I think isn’t shined on enough for people like these. You have real artist who’ve lived through similar events as these, whose history match. These too are our stories, and TGD remembers that, they remind of that, they teach that to those who hadn’t known.

I’ve been doing this thing lately where I’ve been feeling this need to describe everything by one word and one word only. The only rule was that the word had to not only speak for the entirety of the piece but that it must also trickle down to having more than the one meaning. Sometimes this is difficult…this time it was simple.


The word has found its place within the story. Its grown so much its become an entity of its own, it’s presence refusing to be ignored, it has weaved its way through characters and threaded itself to the spine of the storyline. Its more than the star gazing and the bird metaphors, it’s the hard lyric dropped on the backbeat and the spray from the can that paints every one of Dizzee’s mottos. Each character’s struggle is one marked by a quest of the word.

Originally posted by klmhyoyeon

Mylene seeks absolution from her Father and his church. Like many of the characters, she desires to use her talent to transcend her from the gutters of rags to riches and class. To be raw, Mylene sole drive is for control, of both her own form and mind and through that her own message in her art. She is the one most driven by this need for the boys have total autonomy over what they perform and how it’s performed, and while the girls may do back lib for her and therefore have not much say they are still free in form of body and decisions. We watch her transition from her father’s control, trying to fit her dream inside his reality, to trying to fit that same dream inside someone else’s who wanted her for her sex appeal.  In both cases, she was told what to think, feel and how to act. Her only purpose was to achieve theirs. It’s only when the first chains are truly broken (with her father’s death) do we see her take a stand and start of this different path. We know this path is one of fruition because, in the scene where she finds herself at the party (this scene also mirrors with another character’s awakening), she’s lost in herself, singing her way – carefree and just for the art. It is this moment that gets her the deal of a lifetime. Through Mylene we see many other characters in search for some form of freedom – including her mother whose wants to escape the marriage she’s bound herself to, her ‘uncle’ who’s made a life of trying to free others from poverty, and a broken city – and Jackie a drug addicted musician who finds himself lost in the biggest musical block until she frees him with creativity and inspiration.

Originally posted by zelvars

Unlike Mylene, Zeke doesn’t know he’s in need of being free. To be fair his prison is, in part, one of his own making.   Yes, his family and teacher put pressure on his to succeed their way…but he doubled that by trying to add Shaolin and the Kipling brothers to his track. There’s nothing wrong with trying to succeed but you can’t walk to paths at once and that’s what Zeke finds himself trying to do and often finds himself taking steps backward instead of forward. He stretched himself thin instead of giving his all to one route. Maybe that’s why his story is heavy with guilt and sorrow because his goal was to make too many people happy – someone was destined to be let down – and if part 2 was any marker, that person is shown to be Shao, the brother who he’s never really put his full trust in. Through Zeke we are shown sometimes we have too many options and refusing to make a choice can cause us just as much as making no choice, but also that our decision that can come with a duality. Zeke was free to choose…although I don’t know if his choice was all it was cut out to be. Zeke was inspiring though and with that came those who wanted that to shade them, such as Ra-Ra who latched onto this group because he saw the potential and hoped that his brain would be enough to lead them down the right path to creating a kingdom of their own.

Originally posted by samann98

Shaolin had the story of no choice. Shao lived in a mindset of survival and in that mindset all your decisions are fronted with that goal. His body was even more out of his control than Mylene’s, Fat Annie made sure of that from a young age. Even though he’s a jack of all trades (art, music, dance), even though deep down he’s always hoped and has finessed his talents in wait of an opportunity, Shao never believed he would actually find a path to escape the world Annie had built for him. Leaving always meant ending back there. This is why he was enamored of Zeke – he was an opportunity, he was a promise of things Shao never had (a family, a partner, a bond) he was the road to freedom. He not only made him see, but he made him believe (this is also why I don’t like Zeke – Shao was always all the way in, damaging himself further, but Zeke always held a part of himself out knowing he had more than one route). When he gripped onto this idea, he couldn’t let it go, even if it meant getting his hands dirty. He was willing to steal, beg, borrow, and in one case assault for this thing. Because if he could do all those things to survive in a world he didn’t want to be in, what was stopping him from doing them when the destination was something he actually wanted? The sad thing about Shao’s story is it presented the reality of placing your trust in someone and having them drop your ass. Hope – it was so close and he knew it was gonna work. Growth-excusing the world he lived in and the things he had to do, to standing up and saying no. Devastation-having the foundation pulled from under his feet with the realization that having something and losing it may just be worse than never having had it at all. Reversion- of all the things he’d once known, the life he once lived, the thoughts he once had. Freedom is an illusion when life keeps proving that you deserve no such thing. And that ties in with Boo, he thinks he has no real tools to leave that place. The city has its claws in him, feeding off his anger and hardheadedness that keeps him in the belief that those like him and Shao were meant to be left behind and hardened for that life. Those who think they don’t deserve to be free succumb to their prisons.

Originally posted by paranoidalec

Let me be frank – Dizzee’s story is my favorite in every way possible…including this one. If Shao’s storyline thus far has been about the manifestation of freedom letting you down, then Diz’s is about that manifestation being the best thing that allows you to soar high. Free/freedom is a theme we see surrounding Dizz a lot. This is in part to his sexuality and in part to his rebellious artistry. He himself has atoned himself more freedom in one than in the other. Dizz is fearless and driven in the face of art. His train quotes usually as such ‘Forget safety, be notorious’. He goes all the way into a dangerous neighborhood just to see Shao’s new work. He added his own work to one of Shao’s trains and even went to a gang territory for another one of his own creations. His art presents not only his thoughts and beliefs but allows him to freely hide in plain sight though his write line and alter ego Rumi. He’s the only character whose freedom is always at the stake of being stolen (though his art being a crime) while also seeking a different form of freedom (both his sexuality and the legacy of his art). Dizzee’s story is like a caterpillar going through metamorphosis – when the audience first meets him we don’t realize his sexuality is on the table. It isn’t until we’re introduced to Thor that even becomes clear. Thor is interested upon first meeting when he hears exactly who Dizzee is and his explanation of Rumi. Thor immediately understands the representation of Rumi. He’s the first character to see the genius in Diz instead of weird because he’s the first to actually see him fully for what he is and understand his metaphors. Thor is actually the element that’s pushing Diz’s transition. We get a lot of signs of Freedom when Thor is around – when they exchange books Thor tells him to make it the craziest, nastiest, freest, most revolutionary piece he’s ever made – Thor has a train quote that goes ‘You have wings, Learn to fly’ – before Thor ask him to go to the club he ask Dizz ‘Doesn’t Rumi wanna rise from some Alien ashes, be a phoenix, find a new form? Set the alien in the top hat free bro, introduce him to the world’. This is forthcoming to Thor’s own form (the phoenix – one reborn) already settled and free in his own sexuality, the bird standing for both freedom and rebirth (which is a point diz is at during his last scene). I do think that Thor feels because he’s able to see Diz/Rumi so translucently that others will/can too. You see this when he invites him to the club and tells him not to worry they’ll let him in. – In the club scene, it’s as though Dizz is actually leaving one world entering a new world, all the while with Thor leading Dizz forward with a guiding hand. This sense is deepened by the fact that the audio is cut and what we hear as they are in this new place is Thor’s joy (laughter) at sharing this new world with Dizz. He tells Dizz that “this is where free people come to be free, just birds singing in bird voices and doing bird things (basically free people doing free people shit)’”. When Dizz gives Thor the Set Me Free album and tells him that it made him think of him it makes sense because that’s the route Dizz has been on since meeting Thor. It is easy to see that Thor is his first male romantic action given his hesitant nature when Thor was first flirting with him on the train – he remained stoic until he did the turn with a La revolution before exiting. But Dizz is also a full steam ahead kind of guy once he decides to do something. We get another one of those scenes in the club. Because everything was so new Dizz is contained and awestruck but after the kiss and the first note of Come Set Me Free, all those walls fall and we see Dizzee in his most pure form.

Originally posted by hamillboyega

This theme, of course, follows into part 2 as Thor is literally locked up and Dizz has shut down in his own way. This season also focuses on Dizz standing up for his place and himself. He’s no longer letting comments slide by, choosing instead to confront them head on. When Thor gets out we get this intricate scene that while drug induced, allows us free entree into Dizz’s mind where Thor is concerned. Love, art, protection and of course free as we’re reminded of Rumi’s destination. Some fans take the Boo-Dizz conversation to mean that Boo secretly knows about Dizz’s sexuality…I didn’t take it that way at all. When Boo says – remember when I used to know all your friends it was a reminder that Dizz like the rest of the characters was still locked in a box. There’s a reason Ra says..yo that’s my brother in the face of Thor whose trying to help. None of Dizz’s family knows Thor. It’s the same reason he tells Boo no when he ask if he could come along to see Thor. So even while he’s at the point of not apologizing for being an alien he’s not yet a phoenix. When we see Dizz again, he’s at his happiest. He and Thor are shacked up in what I refer to as Paint Palace, isolating themselves from the outside world like they’re on a honeymoon and drawing their truth on every surface they can. As I’ve said in my other post, this is one of my favorite scenes – because everyone should be allowed to experience that kind of freedom. Dizzee is in a safe space, doing something he loves, surrounded by positivity and with someone who inspires this safe feeling. He doesn’t have to hide, doesn’t have to speak in half-truths nor outright lie. Thor doesn’t judge him, and although he’s his guide he doesn’t push or force him to move faster than his own pace will allow. The reason Thor is presented smiling and happy when Dizzee is lost in his art is because he is both enamored and in full support of Dizz during these moments because they’re when Dizz is at his most real. Thizzee does not overtly mention their feelings because the real message loses its meaning that way. You see all the other relationships/friendships in the show and they all tell each other their every feeling but when it comes time to put up…someone is often left hurt, disappointed and jaded.  Dizz is aware of all those feelings – love, protection, freedom – not because Thor says them, but because he shows through action. Thor is Dizzee’s manifestation of freedom and through he found himself on the path to accepting himself and freeing the sides of himself that others didn’t understand. Dizz is learning to fight for himself as much as he’s willing to fight for his art. Thor teaches him that Viva la revolution has space in other portions of his life. And that’s where we leave Dizz, transforming himself into something new…

Sometimes freedom is the fight for control, sometimes it’s the need to make a decision, sometimes it’s a manifestation, and other times it’s learning to accept yourself. The show made sure to sprinkle it in every character (even those I didn’t mention). As I said at the start, it was the floor the genre of music and art was built upon. Neither got much respect but still, artist used it as their route to escape whatever struggles they needed to overcome and the greatly exhibits that. These characters want to be kings and queens, they want to make their own mark on the world, leave behind their own legacy. They fight, love, and sometimes lose. They learn to learn to understand one aspect of one another they probably thought they would never see. That’s what’s so freeing about TGD, what makes it so damn good.

Video belongs to Anna on YT! This post was in part inspired by said video. The gifs are as credited.

mexicanmedstudent  asked:

Trimberly prompt: Each time Kimberly smiles at Trini, the latter trips or breaks something. Please :)

Trini was fine having Biology with Kim. What she was not fine with was getting put into the same Chemistry class as Kim the next semester.

Kim insists that they be partners, and Trini swears that one of these days, when mixing some dangerous chemicals something is going to go terribly wrong if Kim keeps smiling at her and touching the inside of her wrist.

Trini’s halfway through a lab with Kim patiently reading out the directions as Trini grabs a beaker, and some liquid that their teacher warned them to be careful with.

“Hey, wait a second,” Kim tells Trini just as she’s about to pour the liquid into the beaker, “Don’t forget your safety goggles.” Kim says with a smile as she pulls them over Trini’s eyes gently.

Trini can feel her face heat up instantly, and she nods dumbly as she stutters out a small thank you. She manages to pour the amount of liquid they need successfully.

Kim smiles at her again, and oh my god, Trini knocks the beaker off their table and her goggles are splattered in liquid.

Kimberly just laughs, a sound that should be illegal (only because it makes Trini want to do something ridiculously stupid everyday) and as Trini fumbles to pick up the shards of glass, she hits her head on another table, knocking over the beaker that was on that table.

Once Kimberly calms down enough to help Trini clean, she just gives Trini another smile as she says, “It’s a good thing you still had your goggles on, huh?”

Trini’s just thankful that she didn’t do anything stupid for a third time in the span of five minutes, like cut her hand on one of the shards of glass.

(She misses notes in her last two classes of the day because all she can think about is the way Kim smiles at her)

That was only one example but Trini totally runs into an open locker one day in the halls as Kim laughs at one of her jokes

anonymous asked:

Klonnie ballroom dance if your still taking prompts.

I am always accepting prompts — thanks for this one

Taken at face value, this is an incredibly stupid idea.

Going to the Mikaelson ball.

However, if you actually consider the situation, accepting the invitation gives you the perfect opportunity to see the enemy up close and on home turf.

Or at least that is Bonnie’s reasoning.

It has taken her a few days to come around to that way of thinking too.  When the envelope appears on her doorstep her first instinct is to burn it.  But then she second guesses herself and wonders if this her chance to peak behind the curtain sort of speak.

Her friends have the same idea.

Elena shows up at her house an hour after Bonnie relents out loud.  She has Caroline and Damon’s credit card in tow.  They have to leave Mystic Falls to actually find dresses worth wearing and truthfully, it seems like a perfect excuse for some girl time (even if the end result is forced bonding time with The First Family of Fang).  

Caroline decides that since Damon is paying she is going to find the most expensive thing in the store (a passive aggressive payback that Bonnie approves of).  Elena is more practical, wondering which dress will be easiest to run in should things turn sour (but Bonnie knows she is eyeing a gold pile of poof in the corner).  

Bonnie…well, at first she is a little lost.  She really hasn’t had much of a chance to go to things like this — the idea of dressing up is foreign to her.  She walks through the rows of gorgeous gowns, running her hand along silk and taffeta.  In the end, it is the color that gets her.  A deep burgundy.  She chews on her lip for a moment and then decides there is no harm to trying it on.

When she emerges a few moments later with the dress settled around her curves both Elena and Caroline stop what they are doing and stare. She feels immediately uncomfortable.  “Is it too much?”

“No,” Caroline breathes.

“It’s perfect,” Elena agrees.

She turns to look at herself in the mirror and is surprised how quickly that out of place feeling disappears.  Elena is right: it’s perfect.  

Bonnie still feels that way the following evening when she slips into it.  She doesn’t even think how silly it looks to outsiders — her standing in her room among the reminders of just how young she is while looking completely the opposite.  She simply smooths her hands down the dress and thinks that she can take on anything that the Mikaelson family throws at her.

(she might second guess that notion later because what they throw at her, she is not expecting) 

It has been decided before hand that there is safety in numbers so she arrives with Elena (on Stefan’s arm) and Caroline (on Matt’s).  Damon had offered to escort her through the doors so she wouldn’t feel like a fifth wheel but she easily shoots him down.  She is still riding high on whatever courage this dress has endowed her with.

The invitation said ball and that is exactly the sight she is greeted with.  She eyes the sea of dresses (and is proud that no one else has one quite like hers), men in tuxes and roving trays of champagne.  She makes a face, thinking that if this whole thing is a ruse to take them all out it is a rather expensive master plan.

Caroline can’t help but admire the little details (reminding everyone that she will one day be an event planner extraordinaire).  Stefan seems on edge (understandable) and Elena keeps having to lift the edge of her heavy gown to avoid tripping over it.  

When she is offered a glass of champagne, Bonnie temporary forgets their safety in numbers rule and wanders away.  She smiles as she recognizes familiar faces decked out in the best.  Everyone seems to be having a good time (and now she thinks this is not so much a master plan of death as much as it is a way to kiss up to the good folks of Mystic Falls).

She is just thinking that she has not seen any trace of their hosts when they appear on the grand staircase, fanned out like some version of modern royalty.  Esther speaks (and for the first time, Bonnie feels anger; this woman used her).  There is talk of mending fences and new beginnings but Bonnie doesn’t believe a word of it (how easily she becomes firmly Team Master Plan).

Realizing she has strayed from her friends, Bonnie turns to find them.  Only her path is blocked.  Klaus stands there, tall and proud with a grin on his face that batters at her courage.  For a moment it feels like everyone (and the noise they make) fade away.  It is just him and her — and she is back in that clearing in the woods ready to destroy him.

He laughs.

“What is that saying?” He drawls.  “If looks could kill…”

Bonnie takes a deep breath, squares her shoulders and wishes it were that simple.  She wonders where her friends are but refuses to take her eyes off him. 

Klaus clucks his tongue.  “Now, now, Bonnie love, if I was going to bring harm to you I would hardly do it in a room full of witnesses.  It would be something far more…intimate.”

Would anyone think it out of place if she sets him on fire?  

Bonnie decides that if she is not in any immediate threat there is no reason to stand there listening to him. She takes a step to the side.  He mimics it.  She repeats her actions.  So does he.  Finally she turns on her heels intent on finding another escape route.  

There he is.

She huffs, showing her impatience.  “What do you want?”

“It’s simple really,” Klaus begins.  “A dance.”

It is the last thing she has been expecting to hear and she knows her face shows that.  “A dance?” She repeats, only she sounds incredulous.

He nods his head.  Then bows slightly.  “Can I have this dance?”

“No,” Bonnie says immediately.

He raises a brow.  “It is rather rude to refuse the host.”

Bonnie shrugs and she can feel the dress ruffle with the movement (there is that courage again).  “I’d apologize but we have already established that I am rude.”

Klaus laughs.  

She moves to leave him once more.  He moves right along with her.  Her annoyance grows.  “I have already said no,” she points out.  “Go ask someone else.”

Klaus considers it a moment as he falls in step with her.  “I could,” he agrees.  “But I do not take kindly to refusal.  I am also never one to back down to a challenge.”

Is that what she is to him?  A challenge?  She would prefer invisible.  “So you are just going to be my shadow…”

“I am just going to accompany you…” he corrects.  “…until you agree to a dance.”

She sees Caroline now.  Her friend is looking at them with wide eyes as her hand grabs blindly for Elena.  The cavalry has been alerted and they will come storming in, no doubt upping the ante for the amused hybrid.  Bonnie knows there is only one play to avoid a fight breaking out.  She stops in her tracks, prays time moves at double speed and then turns to face him.  “Okay, I’ll dance with you.”

Klaus makes a face.  She knows he thinks it is too easy.  He glances over her shoulder.  Then shakes his head.  “You would do anything for your friends wouldn’t you?”

She should curse herself for revealing her weakness but then again she figures that one is apparent.  There is no hiding it at this point.  Instead she gathers the fabric of her dress and returns the bow he had given her moments before.

Klaus outstretches his hand and she only hesitates a second before taking it. He leads (of course) and soon they are among the couples on the dance floor.  For a brief moment she has no idea where to put her free hand (and she feels like the teenager she is).  His lands on the small of her back, fingers splaying out.  She swallows as she brings her hand up to rest stiffly on his shoulder.  It takes her a minute to find the rhythm of the dance but soon enough she is moving with him.  Her eyes are elsewhere however, landing on her stunned group of friends.  She tries her best to send a message: I’m fine; stay out of it.

He uses the hand on her back to pull her closer still and that is enough to turn her attention fully to him.  He has a look of triumph and she swears his fingers are burning through her dress.  “I did not think you would come.”

“I almost didn’t,” she admits truthfully and then wishes she hadn’t.

“I had a very elaborate scheme planned had you not shown but then you went and spoiled it by showing up,” Klaus tells her and then spins her away from him before she questions just what he had up his sleeve (she is probably better off not knowing).

When he pulls her back to him, her back is pressed against his stomach.  His hand lands on her hip in an almost possessive manner.  “Ah well, you look absolutely ravishing by the way.” His voice is right in her ear and she shivers.  His fingers curl tighter around her hipbone.  

“What do you want?” She asks.

“A dance,” he reminds her.

“It’s more than that,” she counters.  It always is.

“Of course,” he confirms.  “But for now, let’s pretend it isn’t.”

anonymous asked:

Hi! I don't mean to bother you if you're busy or not taking asks. I'm pretty new to all of this, so I don't know if this is possible or not, but I recently lost my two cats to a house fire and I was wondering if it is possible to communicate with them? Thank you!


It is possible to do so. However it is not necessarily the easiest thing in the world.

My number one caution for you is that MANY unwanted spirits masquerade as the dead in order to sneak in to our lives. Your beloved pets, grandma, or people who loved you in life shouldn’t be asking, insinuating, or even hinting that they would like a spirit house and offerings. They are in the afterlife! Contacting the dead for a talk is not the same as ancestor work and payment should not be necessary. Please note that I am referring specifically to the dead you knew and loved in life, not random deceased that you researched and chose to talk to for whatever reason.

Regardless of what happens after death, the entity you connect with should basically just 100% totally remind you of the being you knew in life. You will notice their behavior is identical, they say expected things, and they are excited and happy to see you (or react to your presence in any normal, positive way).

Use smart spirit-working tricks to help ensure you meet the spirit you want to meet. This includes getting in to the correct mindset for spirit communication (whether that means hitting the pipe or doing ritual or whatever), casting the correct protective measures, and using specific language to invite specific spirits with as few loopholes as possible.

I have connected to the spirit of my deceased pupper Ceaser before and it is a wonderful and beautiful experience ^-^ 

I’ll just give you some basic steps… something I personally would do. You should reformat this to reflect your spiritual beliefs and add more protection or change protections as you see fit. Please remember I have been a spirit worker for some time so occasionally I forget to share basic safety elements because they are so automatic for me. 

1. Collect some nice gifts :D I said your beloved dead should not ask for offerings. But it’s still okay to share gifts! The feeling of joy and peace I get when I share something to a deceased being that they loved in physical life is simply wonderful. For your kitties, collect small toys, foods, and treats they enjoyed in life.

2. Gather what you need for spirit communication. I can communicate psychically so I don’t need to take anything. You may want to bring a spirit board, tarot, or a pendulum. If you have never talked to a spirit before try speaking with a plant spirit for practice before you go and attempt to reach your kitties. Just spend two to four days communing with plant spirits to get a basic idea of how it works for you. If you are already prepared, go boldly forth to step 3!

3. Gather what you need to cast a basic protective circle, as well as whatever you need to feel comfortable in a spirit situation (for me this means my grimoire, banishing and protective incense, and a jar of flying devil oil).

4. Go to where you believe the spirits are most likely to be. For your cats this is as near to the location they died as possible. If they have been buried or if there is a memorial to them with strong ties, those locations may also work well. Their spirits will be drawn to areas and locations that are comfortable to them, or they may be lost where their spirits “woke up”.

5. Cast a protective circle around yourself to keep out all negative/unhealthy energies and spirits which mean you harm and have ill intent. Arrange all your tools as necessary so you feel comfortable and ready.

6. Meditate on the form and feeling of the spirit you wish to connect to. This means visualizing their physical form if you like to visualize, as well as focusing on the feelings they give you, the memories you have of them, their essence. When you feel you are nearly in the presence of this spirit for how strongly you feel them, reach out and call to the spirit world: “Kitty named [Kitty 1], who I knew during your life, please come to see me. I came here to meet you. I would love to see you again.” Or something similar :)

Note the italicized portion of the spirit call. This is a little statement of fact included to help ensure the correct spirit is met. I suppose there may be a thousand spirits willing to answer to the name Kitty 1, but if you insist only spirits you knew during their physical life appear, that number goes way down. Other statements could be included, such as, “my pet who died in a fire”. Basically just insert fact and insist the spirit who appears adheres to the reality you present.

7. Speak to the spirit!! If you have experience communicating then just enjoy yourself :) spend time with the kitties :3 If you have limited experience, here are my tips: You should in general just feel a presence near you when the spirit appears. You should feel very positive feelings because this is a good bond that is being reignited. If you have a thought equivalent to “I don’t think this is my cat,” and that thought reappears spontaneously three times, it’s not your cat. Your intuition is warning you!  

8. If you brought gifts, offer them when naturally appropriate during conversation. There is no need to leave physical gifts if that would be awkward. Ask the spirit to enjoy for as long as you are there and take them with you when you leave. In my experience, the “true” spirit I am seeking will eventually ask me to stop bringing gifts if I bring too many or they are too generous. To me this is another “green flag” that I am in a relationship with the spirit I intended to meet. 

9. If you intend to meet this spirit on a regular basis or you want to schedule a time for a ceremony of release, speak to them and organize a time when you will return, to ensure they will show up as well. Use nature-based time keeping, such as “three sunrises from now”, “during the next full moon,” or “during high tide.” Spirits do not typically keep our Gregorian calendar and this will make more sense to them. 

10. Enjoy the company of the kitties for as long as you like! When you are ready to go and if they are not coming with you, say goodbye. Gather your things, erase your circle, and leave. If you have made a new arrangement and the kitties are moving with you, simply take them with you :) 

 There are certain theories about what happens to plants, animals, and humans when we die. One theory I generally adhere to is that the dead have their own business after they pass. We should not disrupt them too often, and if they are here for a purpose we should help them with it. 

anonymous asked:

do you agree that: hinata saved naruto's life in the pain assault when she helped unleash the kyuubi

definitely not, anon. i mean, you could argue that unleashing the kyuubi did technically save him from pain at that current time – which, btw, was indirect and unintentional on hinata’s part – yeah… but we must also remember that it actually would have killed naruto, had it not have been for minato appearing to stop the ninth tail’s unsealing, that is.

so, no, hinata did not “save naruto’s life” – minato did.
↳ hinata technically would have killed naruto and even destroyed the leaf… like i said, had this not have been for minato, who successfully stopped kurama’s ultimate unsealing and thus saved his life, as well as protected the village. hinata, however, further endangered naruto through her reckless actions; disregarding her duties, intervening and disobeying orders that would have been put in place for both her own and naruto’s safety. don’t forget that pain would have needed naruto alive for extraction! so whether the same premise of minato’s appearance before the final tail applies here too, we don’t know. in this sense, i guess you could argue that she played a role in his escape, but she definitely did not “save” him… in the canon direction that it took, his father was the one who ultimately saved him. 

→ hinata wasn’t aware of it, but she would have actually been the cause of naruto’s death… her getting in the way and causing him trauma resulted in that which would have lead to his demise, if not for the 4th’s interference.
→ it was never hinata’s intent to “(help) unleash the kyuubi”, it was her intent to “die protecting” naruto. she admitted that she was no match for pain and was merely there out of “selfish”-ness, confessing to him. i believe that if she had adequate aim to efficiently save him, then she would have at least removed the chakra disruption blades pinning naruto to the ground in his back, to give him a fighting chance. (this action was added into the filler rendition, but did not appear in the manga and was not a canon concept of hers.)

…interesting question though, anon! as you can see, it’s kind of complicated (in theory), but has a pretty definitive answer. 😅

whatever you do, don’t forget about how good raphael santiago was before he turned. don’t forget about how pure that boy was. don’t forget about how he wanted to get rid of vampires, probably thinking about his little brothers safety. don’t forget about how a fifteen-year-old boy wanted to fight against the beast, believing that god will help him because he was always a good catholic and he went to church every sunday so dios should be by his side, right?

whatever you do, don’t forget about how raphael was turned into this monster (or at least raphael thought so about himself). don’t forget about how he was left alone and killed his friends. don’t forget about how he wanted to kill himself because he hated what he became. he hated what he had done. 

whatever you do, don’t froget about how guadalupe santiago loved her son. don’t forget about how she was ready to do anything, just to get her rafa back. how she believed he’s out there, missing his home. missing his mamá. don’t forget about how she was ready to give magnus all she had (even though she didn’t have much and she was barely holding on as it was), just so he would find her little boy.

but most importantly, whatever you do, don’t froget about how raphael loved his mother. don’t forget about how he decided to live just for her. don’t forget about how he pushed his self-hate aside just for her. how he hurt himself and burned himself by holding the cross his mamá gave him or walking through the sacred land, just so one day he could come back to her and show her his love and respect. don’t forget about how he would sacrifice literally anything to make his mother happy because she raised him and he loved her more than anything. don’t forget about how he would swear that he won’t ever drink human blood because that’s not something guadalupe would approve of. 

whatever you do, don’t forget about how he craved blood, crying into magnus’s arms and saying that he can’t do this. that he’s not good enough, he’s not that strong. he’s doomed. don’t forget how magnus would hold him, stroking his back and whispering that raphael was even more than enough. “maybe you can’t see the sunlight anymore, rafa, but you have sunlight inside of you. you’re better than this. your mamá made you better than his, pequeño” magnus would say. 

whatever you do, don’t forget that raphael went through SO much just so casserole clare would have sebastian kill him. just because. without any reason at all. don’t forget that the sh writers decided that he would bite izzy not once, but twice, after he swore he won’t do this. again, without any reason at all. just because.

whatever you do, you can’t forget that even though raphael had his mother and magnus, he saved himself. 

raphael santiago saved himself. and he deserved so much better.

i learned to bite back without getting blood on my mouth. to swing hard without breaking my fist. to set fires without burning up my own clothes.

sophomore year suicide but not really. part of me died and the other part wanted to. it’s not just an exaggeration it’s the scars under my skin. the ones on the outside that scabbed and healed over. the kids who thought rumors weren’t time bombs in rose gardens. like this is recess gossip not locker room isolation.

so I hit back. became the better bitch in most ways and grew thick skin. i don’t even feel the sting anymore. nothing can touch me so nothing can love me so nothing can fucking leave me.

forget safety in numbers. there’s only ever been safety in being alone.

—  remember it all? the way they wouldn’t even look at you?– lily rain

Remember that your safety is the most important. In all the desire to put ideals first, and to change the world sometimes we can forget that. But your safety is always paramount.

And this is beyond the obvious things. Your physical safety is obviously important, but so is your mental safety, and your emotional. So scroll past a news story sometimes, or a donation post that you know you can’t donate to. It doesn’t make you a bad person, it makes you a person who is taking care of themselves. And that is what we need to change the world, for all of you amazing people to be as well taken care of as possible so that when you can fight you can fight that much harder.