“Have I told you,” Lance says, tone conversational and pleasant as if talking about the weather, “that you look very nice today?” He shoots a projection in the head and continues. “I mean, you look very nice every day, but I wanted to comment anyways.”
“Noted.” Keith drags Lance with him towards a wall they can use as cover, cursing viciously as they narrowly avoid bullets. “I appreciate it.”
By the time they stop running, Lance is already holding a sniper rifle; it’s almost unfair how quickly the man can create objects in dreams. “Did you do something with your hair?” He looks down the scope and pulls the trigger. Something explodes in the distance. There’s a lot of screaming. “I bet it’s the hair.”
It is the hair, but Keith will be damned before he admits it. “Nope.” A projection is trying to sneak towards them from behind. Keith throws a knife at them. “Guess again, Casanova.”
Lance scoffs. “Liar. It’s the hair.”
“Uh, no it’s not?”
“You’re lying,” Lance says, singsong voice completely incongruous with the violent chaos surrounding them. “Your face is doing the thing you do when you’re lying.”
There are perks to being good friends with a Forger, but this is not one of them. Keith splutters. “You’re not even looking at me!”
“I don’t have to. I know you too well.” Lance shoves his rifle towards Keith, raising his eyebrows expectantly. “Hold my flower.”
Keith sighs, but replies with, “Kick their ass, baby. I got yo flower.” It’s worth it when Lance offers him a sunny smile before throwing a grenade at the angry mob approaching them.
You sure know how to pick them, an imaginary Shiro says with fond exasperation.
I really do, Keith thinks.
Quick drawing and fic-thing from my Inception AU. Probably won’t be part of the main fic I’m working on, but it was fun to write anyways haha. Used a reference for the drawing because I am Bad at Poses.
I accidentally found this creative vid from 2015 that combines London Spy, James Bond, AND SHERLOCK with the headcanon of Q being the youngest Holmes brother.
I’ve never really been able to see Danny from London Spy as Q before (the characters are so different), but NOW I can just imagine it – Q hiding his hacking skills from Alex (imagine that scene with Alex’s surprise if/when he finds out Q’s skills are almost on par with his own, hah), partying a lot, and working an ordinary job and pretending to not be as smart as he really as.
Then imagine him meeting Alex, getting into the trouble with the events from London Spy (the details about Danny’s parents will have to be tweaked slightly to fit the story), and then – and then – rescued by Mycroft and drafted into the Q-branch division at MI6.
Only thing I’m not sure about is whether in this headcanon Alex is really dead, or whether he turns up later (when Q and Bond are finally dating after a terribly slow burn, maybe?) and that causes lots and lots of angst.
I’m almost tempted to write this myself. Almost.
Anyway, the vid was great. Good choice of music and gave me chills. Applause to the creator.
Something I really appreciate about the new BATB film is that the costumes managed to (1) pay perfect homage to the original color tones and styles as seen in the animation and yet (2) carry symbolic changes and account for characters’ personalities, while also (3) being period appropriate. Like, wow. Major kudos to the costume designer and associated staff on this one.
For example, let’s just talk about Beast/Prince wardrobe, which I find really interesting and beautiful. BATB begins with a dance, and the Prince is in this very dark, regal yet kind of gaudy clothing, standing out from the sea of women in white. (He’s also wearing a makeup mask, which is just another awesome layer of symbolism and era-appropriateness that I will not go into right now.)
Throughout the film, Beast’s clothes get progressively lighter: from dark, torn rags (like he’s a criminal, a prisoner in his own palace) to the iconic lighter blue suit at the dance…to the moment Belle declares her love and they’re both dressed in all white (in this case, a symbol of purity and absolution)…to the very end, where the Prince wears blue again, but this time it’s the lightest shade of blue we see him wear. This change also reminds me of the trailer, where the word “Beast” in the title grows lighter as it gets closer to the word “Belle”. Beast’s subtle clothing changes represent the changes in his disposition and character. His wardrobe follows the path of the curse, from its inception to completion, as the castle goes from dark to light, from winter to spring, from death to life.
The two other dance scenes are also important.
When Belle and Beast dance together for the first time, Belle is the one who stands out in that stunning yellow dress. When Beast lets her go, her yellow dress positively pops in an otherwise monochrome, snow-covered forest, like a beacon in the night. And as he watches her go, he returns to rags, representing his hope leaving him behind.
In contrast, when Belle and the Prince dance together at the end, they both stand apart from the crowd but for different reasons than before. Unlike their first dance, this time the Prince is the one who shines the most in an otherwise temperate crowd, which parallels the opening dance scene. Unmasked, the Prince is in a light blue and white suit, the opposite of how he dressed before; and yet, this ending suit almost matches how Belle was dressed at the beginning of the movie, in her classic blue and white dress. Meanwhile, although at first glance Belle’s mostly white dress at the end might make her appear like just another girl in the crowd, she really stands out due to the roses on her dress, like a physical manifestation of spring coming back to the castle and the curse being lifted.
Capitalism has visibly become what it essentially was from its inception: a beast that devours itself, a machine that destroys itself, a society that, over the long term, cannot be endured by anyone, since it consumes all social bonds and all natural resources in order to preserve the mechanism of value accumulation, which becomes increasingly difficult. with each passing day capitalism is undermining its own foundations.
Speedway was a short track that held races in NASCAR’s top three series,
including 93 Winston Cup Series races. The track, a NASCAR original,
operated from 1949, NASCAR’s inception, until the track’s closure in
this shot is a five picture panoramic stitched together. of all
the places i’ve explored, this is probably one of the raddest.
So if my historical sources are telling me the truth…
…and I’m synthesizing the history properly…
…then, in fact, the entire edifice of Western civilization – all the cultural, social, and philosophical structures that define the world in which we live today – can be traced back to a stupid loophole in Roman inheritance law.
NOTE: Everything here is taken either from Francis Fukuyama’s The Origins of Political Order or from a Livejournal post by the Infamous Brad that I am currently unable to find. I get credit for absolutely nothing, except noticing the connection between Section II and Section III.
Minnesota Sen. Al Franken has the distinction of being the only former Saturday Night Live cast member to serve in the U.S. Senate. It’s a singular career trajectory, but it’s also not particularly surprising given Franken’s deep interest in politics and comedy.
It all started in high school, when Franken began writing satire with his friend (and later SNL writing partner) Tom Davis.
“One of the first things we wrote was a local newscast the night of the day of World War III,” Franken says. “It was … 'Well, it happened. World War III. The stock market closed today — for good.’ ”
Franken was a writer and cast member on SNL from its inception in 1975, and he performed off and on until 1995. Throughout it all, Franken maintained his interest in politics, and in 2008, he won a seat in the Senate.
Despite his penchant for humor, the Democratic senator is quick to note that his gut reaction to the Trump administration isn’t levity — and that his colleagues on both sides of the aisle feel similarly.
“It’s clear that this guy is outside the norm in many ways,” Franken says of the president. “That rightly frightens and makes nervous all of us.”
Franken looks back on his life in comedy and politics in his new memoir, facetiously titled, Al Franken: Giant of the Senate.