gHoly crap this is the epitome of Keith looking into the camera like he’s in the Office ISNT IT?! OR IS THIS A REFERENCE TO THE TRUMAN SHOW MOVIE? I CANNOT TELL
-Seriously, Keith is always looking into the camera.It really annoys the show writers, because it ruins it if he shows he knows Keith.
-Keith is the producers little secret, when they want to add drama they just whisper to Keith they want some and he has to deliver. This is why he opposed to rescuing Allura, because it added to the intensity.
-Lance thinks he’s the most dramatic person ever, because where is he looking? You’re not only a reality show, Keith! No one is sympathizing with you!
-”I beg to differ, Lance”
-”What is that supposed to mean??”
-Keith is constantly trying to save the others from the producers. They’re cruel, and obviously just want to broaden their fan base even if its at the expense of other ‘characters’.
-He’s constantly stepping in so save Shiro when he’s actually having a PTSD attack and the producers send the Gladiator at him on purpose.
-Season 2 is literally killing Keith because he just knows its going to get worse He’s sweating nervously.
-Because if other knew, the genuineness of the show would be lost, Keith is constantly sent to monitor Pidge because they’re the nosiest and the most suspicious
-Keith is also, like the guardian angel? If he sees someone doing something embarrassing like picking their nose, he’ll clear his throat really loudly.
-But sometimes he lets it slide out of spite, *side eyes Lance*
-On the flip side he’s a total troll to the fans. He’ll stare for really long periods of time at the Galra symbols and play with his knife when he knows the producers are watching to make the fans go crazy with their theories.
Gosh I feel like I just broke the fourth wall writing this. It was very odd.
The Ex-Majlis Building in Tehran by Heydar Gholi Khan Ghiaï-Chamlou in 1955. The project depends heavily on principles of Islamic geometry and combines them with varied textures, materials, and dimensions. Long, exaggerated lines are used on the exterior façades, echoing the Futurist Manifesto. The brise-soleil recalls traditional Middle Eastern screens that filter light and delineate ornate patterns cast in shadows upon three dimensional surfaces. The dome of the building was inspired by the architect’s family crest. It was one of the first major modernist projects in Tehran and was considered the greatest advance in Iranian architecture at the time. Rather than borrowing from the west, it evolved the traditional forms already found in the vernacular architectural vocabulary of the region.