heavily embellished

blindiemac  asked:

So I've been thinking about the retirement au a lot today (work has been slow...) and I was thinking. Yuuri strikes me as the kind of man not to talk about his accomplishments, but he will gush about his friends. Like, "My friend Phichit just won Gold at the Four Continents!" "Chris was so good at the European Championships!" "My unofficial son Yurio just won at Worlds!" things like that. I imagine him talking about these things, but like his friends don't know he really knows these (cont.)

(Cont.) people. Like they think the beautiful, untouchable, hot Yuri Katsuki-Nikiforov is just like a massive fanboy for figure skating (which, true he is, but he’s also been known as Japan’s Ace so…) and think it is just a cute little character quirk that makes him even more adorable. After all, his friends are not into skating so they have no idea who these people are. They do however know Yuuri is gay (or at least bi) because he regularly refers to this guy Viktor as his husband (apparently he’s some big shot figure skater that Yuuri has the cutest little (massive) crush on, can you even believe how cute this guy is?). But Yuuri isn’t really married because he would wear a ring on his left finger if he was, like come on. It all comes to a head like it does in your retirement au by Yuuri being recognized by fans, with some added hilarity of “I talk about my figure skating friends all the time?" 

"We thought you were just a really big fan!" 

"I talk about my husband all the time?" 

"Yeah and Jenny talks about her rock star "wife” all the time too!“ 

"wait, you’re not really married?" 

Bc of course Yuuri would not find it weird to be married to a rock star. He married Viktor Nikiforov after all. (fin.) 



And completely and utterly plausible omg. Because that is literally exactly the kind of language we use here on tumblr XDD Even I call my favs as my sons or daughters, or how I call JJ as the king of my heart.

Wowow, okay, so the only plot hole in this au has been filled, we finally have a good explanation for why Yuuri’s friends don’t know he’s married!!! This is totally canon…in my headcanon XD

But then also can you imagine when his friends do finally find out that the person Yuuri has been calling his husband all this time is actually his husband, they insist on getting to meet him.

Except maybe that week Skate America is going on or whatever.

So all these famous skaters are in the US, and Otabek’s competing too. And Yura wants to spend some time with the bff, so Yuuri and Viktor decide to have a house party after the competition is over.

And Yuuri’s college friends are invited over.

And they get there, and they just kinda stare around at everyone like OAO

Because they’re all lowkey terrified and highkey intimidated because???? This party is basically a who’s who of the figure skating world??? Their little Yuuri knows and is comfortable with so many celebrities? Their little Yuuri IS a celebrity!!!!! This is more famous people than they’d ever thought they’d meet in one place!!!

But before the night is over, they’ve loosened up and gotten to know the skaters. Chris is probably missing his pants. Yuuri has a bottle or two of champagne in him (nevermind the fact that those two bottles probably cost more than any of his friends make in a month). And you know Phichit has told a very attentive crowd the full story of how Viktor and Yuuri met, in detail. Never mind the fact that Phichit wasn’t even at that banquet in the first place, and he himself had gotten the story, heavily embellished, from Chris.

The historicity of Satine Kryze

I feel kind of awful discussing Satine Kryze after so many weeks of Maul but, well, when in Mandalore…

Duchess Satine Kryze is pacifist the ruler of Mandalore first introduced in The Clone Wars episode The Mandalore Plot. Her initial design was drawn from an unused McCaig concept for The Phantom Menace, but it has also been stated that Cate Blanchett was a key influence in her overall design. (given the appearance of Governor Pryce in Rebels season 3, it’s apparent that Blanchett is someone’s favourite over at LFL.) Blanchett’s role as Queen Elizabeth I was particularly drawn on, Satine’s key costuming borrowing many late Tudor/early Elizabethan elements, and certain parallels between the two women’s lives. 

L: Elizabeth as portrayed by Cate Blanchett with Robert Dudley (Joseph Fiennes) in Elizabeth. Preparing to be escorted to her incarceration in the Tower of London at the order of her sister Queen Mary I (’Bloody Mary’). R: Satine Kryze being rescued from her imprisonment by Obi-Wan Kenobi in Lawless.

Satine, as a young woman, lived her early years constantly at threat during the Mandalorian Civil War, her pacifist ideology at odds with ‘true’ warrior-like Mandalorian ways. Eventually peace was brokered, and Satine ruled over the New Mandalore even as violence, danger and oppositional factions brewed. In a way this could be seen to draw from Queen Elizabeth I’s tumultuous childhood: first as a child out of favour with her father King Henry VIII, being the child of ‘treasonous’ Anne Boleyn, then as a protestant young woman in the reign of her Catholic half-sister Queen Mary I. In this time Elizabeth was raised as a figurehead for Protestant rebellion, which eventually led to her detainment in the tower of London despite her claim of innocence. Throughout her reign Elizabeth faced a number of incidents of opposition from catholics and the Roman Catholic Church, though her attitude was one of pragmatic compromise in many aspects of religion. These parallels are loose but notable in their broad brushstrokes. 

Original Amidala sketch by Iain McCaig for The Phantom Menace

When designing Amidala for The Phantom Menace, McCaig was working through a ‘Space Nouveau’ aesthetic, borrowing elements from the works of Mucha, the Pre-Raphaelites and retro-futuristic romance of the first half of the twentieth century. Technology and nature in harmony. This design, when stripped back for animation to be practical, emphasised those now notably familiar Star Wars lines that borrow from Japanese fashions, whilst still retaining the Romantic aspects. the shapes of Satine’s headpiece echoes the increasingly elaborate ruffs and wired collarettes that grew exponentially throughout the fashions of the sixteenth century. The headpiece and gown are also heavy with symbolism: shell earrings and embellishments, the repeating petal shapes in her sleeves, skirts and tabbards as well as the literal lillies woven into her hair and headpiece loudly communicating her pacifism. She is visually placing herself within her own principles for all to see, decrying the past violence of her people, and the relative simplicity of this costume despite its ceremony (block colours and controlled embellishment - though the fabrics are clearly indicated to be silks) saves her message from being drowned out. These symbolic embellishments have been a popular aspect portraiture for centuries to communicate and sway power and impressions, in portraits of Elizabeth I the symbolic choices appear in their multitudes from props to tiny embellishements to the very styling of her hair. In the famed Rainbow Portrait (below) of Elizabeth I - a fantasy portrait painted late in her reign, but depicting a young newly crowned queen dressed for masque - embroidered eyes and ears show that she is a queen that Sees and Hears all. A queen in absolute control of her land. 

L & C: McCaig’s design reworked and streamlined by Killian Plunkett to work both within The Clone Wars aesthetic and for the character. This is a great example of concept recycling and adaptation for character, as when this design was originally selected as a base design for Satine, it wasn’t known that she would be quite so active and ‘dynamic’ as she ended up in the episodes. [X] R: The Rainbow Portrait, 1600-02, attributed to Marcus Gheeraerts the Younger. 

This organic silhouette at odds with the old is also visible in Satine’s landscape. Mandalore was designed drawing heavily from the Cubist movement in the most literal way. Their cities are built inside cubes within their destroyed environment. Sharp angles occur in everything from buildings, hair, food and ice cubes, floor texturing. Interspersed throughout are the diamond shapes and lines of Mandalorian armour, shifting into an Art Deco boundary between the Cubist harshness and Satine’s Nouveau romance. This mid-design point means that Satine is not entirely in opposition with her environment - her world and her people. These diamond shapes are present in the cut of her open oversleeves. She visually acknowledges Mandalore’s history whilst representing the new. (Equally, this could be seen in that her costume - despite it’s ceremony - holds little impediment to action and self-defence when necessary.)

The main plaza on Mandalore, clearly showing the Cubist influenced design, complete with detailed mural depicting the war with the jedi, and repeating diamond shapes.

Satine’s next notable costume looks a lot like she just walked out of an ‘80′s fantasy film and it is fantastic. The romance is heavy in this look with the long, soft lines and the muted pinks, particularly as she and Obi-Wan investigate the Death Watch on the industrial Concordia. She wears a shortened surcoat that mimics the cut of a man’s doublet, a fashion that was favoured throughout the sixteenth century, and appeared in both French and Italian fashions (Italian styles fell out of favour in much of Europe in the latter half of the century as Spain became increasingly influential.) This fashion has appeared, heavily embellished, in a number of portraits of Elizabeth I, reflective of her dichotomy as woman and sovereign, as expressed in her famous address at Tilbury, 

I know I have the body of a weak, feeble woman; but I have the heart and stomach of a king 

Satine’s ‘80′s adventuring costume.

The harsh cutaway style of Satine’s surcoat also mimics late eighteenth century frock coats and equestrian fashions, clearly communicating to the audience that is Time For Adventure! even whilst calling back to the late Tudor fashion for skirts cut to reveal heavily embroidered petticoats. Again, echoes of those Mandalorian armour diamonds are introduced in this cut, whilst organic elements are retained in shell detailing and the floral line of her chemise. Satine, too, must address her dichotomy of being in her very appearance.

L: Portrait of Mary Stuart (aka Mary Queen of Scots), c. 1559, Francois Clouet. R: Portrait of a Noblewoman, c. 1580, Lavinia Fontana. Mary Stuart is shown in a French doublet-styled bodice, whilst Fontana’s portrait is in the Italian giuppone style. The possibility of a Mary Stuart influence in Satine feels particularly apt given their mutual martyrdom. Mary, a devout Catholic who also lived a tumultuous life at odds with her country, was executed by Elizabeth for her movements to depose the heretical English queen. 

Satine’s final costume - in both its forms - is by far her most interesting and most historical. Its basic silhouette is a slimmed down take on the late Tudor/early Elizabethan bell shaped gown using the verdugle, or Spanish farthingale. As I mentioned above styles were influenced by politics, and the Spanish styles were favoured from the marriage of Katharine of Aragon to Henry VIII until late in Elizabeth I’s reign, when French fashions were favoured due to threatening war with Spain. (Anne Boleyn was known to have been bold in her favouring of French fashions as a couriter in the time of Katharine of Aragon, though styes were generally mixed.) Obviously Satine is not wearing a farthingale - it would be impractical, and her gown is later stripped away. But this is a politically influence shift in style: the symbolism in dress is stripped away, the flamboyance is gone. I have joked in private that maybe Satine borrowed the Naboo royal dressmaker, but there is little doubt that her ceremonial costume was designed with an eye to the wider galactic stage and what would be recognised as regal garb. This is a much stricter silhouette - upright, austere though still richly (but subtly) embellished. It is a design turned inward. Those Cubist elements are creeping into the lines of her skirt as she is taking a stand for her people and for New Mandalore.

L: Duchess Satine Kryze in Shades of Reason. C: Elizabeth I when a princess, c. 1546, attributed to William Scrots. This early fashion for oversleeves is also evident in Satine’s first ceremonial costume, as is the split skirt. R: A Young Lady Aged 21, Possibly Helena Snakenborg, Later Marchioness of Northampton, 1569, the British School (a personal favourite.) Here you can see shoulder rolls and the broad neckline with delicate open infill. 

Again, we are seeing a dichotomy between the feminine and masculine, her sleeves and stand neck calling back to those borrowed from the pourpoint doublet, the sleeves studded and bracciali, shoulder rolls, taking on the look of armoured pauldrons. The broad neckline introducing that diamond shape yet again and placing it directly against petal shapes of the stiff stand collar mimicking the guimpe, typically soft infill, now strengthened and yet vulnerable and exposed. Satine is strong in her beliefs, but the ground beneath her feet is vanishing rapidly. 

As this arc progresses, the costume is ripped, stripped away and softened. Embellishment - such as her jewels and belt - are removed, her hair is loose, her skirt shortened. It is here that those Cubist elements become even more apparent in the front tabbard-like section of her skirt, echoing the split-skirt Tudor fashion. Interestingly, these stylistic elements were favoured by Elizabeth when she was young, unstable in her position as princess and then, later, queen. 

Satine Kryze, deposed, imprisoned and the worse for wear.

It is relevant to notice at this point Satine’s colour palette. Her main colour is blue - particularly this deep prussiany blue - feminine whilst also strong. The colour of Mandalore. She and her people are not part of the war, but at this point she is caught - personally - between the personal vendettas of Maul and Obi-Wan, both of whom are sliding into bloody reds and browns. She is the middle ground, trapped. Pinks and reds emerge in her costumes at various points when she is knowingly heading into danger, the pinks of her Adventuring costume, the red of Coruscant costume when she is on the run in The Duchess of Mandalore. Satine’s primary ceremonial gown has elements of purple and greens - she is in power, and in control. A ruler in her prime. But in this final arc she is blue and stripped of everything but her principles, and yet perhaps at her most Mandalorian? Considering Padme’s watery funeral gown, it appears that blue is the colour of martyrdom. 

Next Time: The path unfollowed: the heroics of Padme & Leia

Last time: Darth Maul and the fashion of Nemesis - Part II

anonymous asked:

Can you do #8 on the soulmates au list for David please? Btw I absolutely adore your writing style and the new fanfic you're working on ( ͡° ͜ʖ ͡°)

(I almost made myself cry while writing this one so enjoy the David feels)

Word count: 1,349

The neat, round letters had written themselves onto your right hip with a pleasant warmth as soon as you turned 18. You had no idea what they meant, or what context they were delivered in, but you loved them nonetheless.

‘We’re here to have a great summer, and remember kids, Campe Diem!’

You couldn’t lie, every summer since you had first seen it you were more concerned with finding your soulmate than actually - as the writing said - having a great summer. Countless hours had been spent pouring over each individual word, as if the inflection placed on the word ‘to’ would lead you any closer to your soulmate.

“Go to a summer camp. What’s the worst that can happen?”

A summer camp did make the most sense. But as a camper or counsellor? You lifted the hem of your shirt to peek at the lettering (even though you had every word memorised) and traced the smooth curves of the neat handwriting. ‘Kids.’ Your soulmate was addressing children, and your mind immediately pictured a tall man with a large smile and a bag of trail mix at his side. Counsellor it was, then.

Keep reading

Is Fashion Ready for Fifth Harmony?
The chart-topping girl band talks fashion moments, ’90s nostalgia, and their personal style icons.

For most pop acts, uniformity is the fashion goal, from the Supremes’s identical sequined gowns to Destiny’s Child’s Tina Knowles costumes. Traditionally, singing together means dressing in sync. But lately, modern girl bands have stopped matching, choosing instead to embrace each artist’s personality with individual outfits. No group personifies this shift better than Fifth Harmony, the chart-topping quartet who rose to stardom with hits like “Worth It” and “Work from Home.” Though they color coordinate and share a love of Gucci, bandmates Normani Kordei, Lauren Jauregui, Ally Brooke, and Dinah Jane each possess a unique take on fashion.

“We’re very individual,” said Kordei, on a recent visit to the Vogue office. “Our look has definitely evolved, and it’s given us the opportunity to find ourselves and know what we like and don’t like.” Since they first joined together on the second season of The X Factor, the girls have gone from wearing Topshop separates on stage to arriving at this year’s iHeartRadio Music Awards in flashy Philipp Plein. Finding their style and growing up in front of the camera wasn’t easy, but it shaped their strong opinions and fostered a collaborative spirit. The group recently enlisted stylist Johnny Wujek, whose daring choices helped them quickly embrace statement dressing. “In the beginning, we were 15 or 16 and being cutesy,” Jane said. “Now we’re trying to elevate, working with different stylists and their visions. When they’re with us daily, they get to know each of us, then we create something cohesive.”

Uniting their style means respecting their differences, particularly where influences are concerned. Brooke and Jane draw inspiration from Kim Kardashian West, while Kordei sources ideas from high fashion magazines and Jauregui looks to grunge-era icons like Winona Ryder. The resulting melange speaks to their Generation Y status with their affinity for all things ’90s. “We’re really paying homage to that whole era,” Jauregui said, citing the expressive vibe of groups like TLC that they hope to channel on stage. As for those energetic shows, they demand looks that are sultry, but versatile enough to permit non-stop dancing. Personal costume designer Ashton Michael creates their dramatic awards show and tour looks, but the girls are actively involved in the process, starting from the initial sketches. “He pulls through every single time. He’ll design it in one day and have it ready for you the next day. It’s magic,” Brooke said.

Thanks to Michael and Wujek, the group rarely feels off their game, but there is one thing they wouldn’t mind wearing more of: Alessandro Michele’s heavily embellished Gucci designs, which have struck a collective chord. “It took all of the strength inside of me to not buy 10 pairs of shoes,“ said Jauregui, who found herself in the brand’s New York boutique and picked up a pair of platform loafers on her last trip. Brooke echoes the pro-Gucci sentiment. “I’m obsessed—I have the backpack, the purse, and I just bought the high tops. The designer is absolutely killing it!”

Only time will tell whether Fifth Harmony will join Gucci’s roster of floral print–clad ambassadors, but in the meantime, they’ve got another line to consider—their own. With all of music stepping into merch, they haven’t ruled out the possibility of channeling their love of fashion into a namesake line. “It would be super dope, and I think it’s something our fans could relate to,” said Kordei. “There are days where I feel, oh my gosh, I’m going to wear a choker like Lauren today, I want to try these shoes because Dinah would wear it kind of thing; or Ally has this cool hairstyle, and I’m going to put pins in my hair like she did.” With a legion of Harmonizers hanging onto their every word—and look—it’s only a matter of time.

Here, the group talks personal style influences, online inspiration sources, and why they want to raid Rihanna’s closet.

Lauren Jauregui

On personal style

“I like to dress in edgy black leather and denim, but I like a wide range of things. I’m either dressing like a rocker chick, or I’m looking like I just stepped out of ancient Greece! It all depends on my mood, I love bohemian vibes, too.”

On finding inspiration

“Tumblr used to be a huge source of inspiration [for me] but not as much anymore. I do feel like the blogs that I follow share an aesthetic and draw a lot from ’90s influences. I love the dark velvets and lace, the really simple makeup, and the undone hair, plus the film stars from back then, Winona [Ryder] and Drew Barrymore, especially.”

Normani Kordei

On personal style

“I always aim more high fashion and editorial. I really enjoy editorial shoots, so I try to incorporate that within my daily routine and the choices I make as far as streetwear. [My style] is sexy, sophisticated, and always elevated.”

On finding inspiration

“I look to different magazines and runway fashion. In the music industry, the fashion can get a little repetitive and I like to look ahead. I take what I’ve seen on the runways and make it my own. In terms of people, I love Bella [Hadid], Sofia Richie, Zoë Kravitz, Zendaya, and Rihanna, who are all dope and fearless with fashion.”

Ally Brooke

On personal style

“For me, my style is very versatile. Right now, I’m wearing something that makes me feel sophisticated, and then sometimes I’ll switch and wear a V-neck and leather jacket. I definitely have a range: It can be eclectic or feminine, sexy or simple. I love statement pieces that really stand out and are creative.”

On finding inspiration

“I love to change it up. I scroll through Instagram and Twitter, and whenever I see something that speaks to me, I take a screenshot to save it for red carpet inspiration. Sometimes, if I see an outfit I like on the street, I’ll take a picture, too. References are so important. Jennifer Lopez inspires me because she has this tremendous versatility within her wardrobe. J.Lo, Kendall [Jenner], and Bella [Hadid] have all been killing it.”

Dinah Jane

On personal style

“I’m very into urban chic; it goes with my personality. I’m very chill, and when I’m out, I want to make sure that my outfit makes me feel comfortable and that I don’t feel restricted.”

On finding inspiration

“We look up to so many people, and I get a lot of inspiration from just going through Instagram and keeping up with what they’re doing. For me, it’s Rihanna and Kim Kardashian who I always keep up with, they both have incredible style. There was a phase where Kim started wearing blazers all the time, and I was hooked. I was like ‘well, I’m going to start buying blazers, too!’ and I started wearing them with blouses and jeans.”

tiny-smallest  asked:

I notice that in some of the art Bendy has a little tooth gap and I'm pretty sure it's intentional. And it's adorable.

(Yep! It’s intentional. I add it because of the Bendy model created my AustinTheBear, I think it’s super cute. I’m pretty sure the tooth gap on that model is unintentional, but it’s very much there. It’s easiest to see when the model is ‘talking’.

I watched a ton of SFM batim videos kind of in succession a while back, this model was in most of them, and when I went to draw Bendy again it just… Felt wrong to draw him without that gap.

I don’t see it as a ‘nerdy’ trait, I see it as more of a ‘street urchin’ kinda thing. Like obviously Bendy didn’t have a traditional childhood, but if his persona did, I imagine it probably wouldn’t include having enough money for braces or anything. There’s a significant “ragamuffin” part of Bendy. The same one that plays pranks on people and heavily embellishes his own stories. The one that takes about 10 free samples of something before he gets caught.

It sorta informs a part of his heart, in fact. Maybe this could be considered giving too much away, I’m not sure, but it’s logical when you think about it so maybe not; Bendy outwardly acts very vain and arrogant, and he is, don’t get me wrong - But Bendy has also been through a lot, and he knows how it feels to be… Broken, essentially. He was not created with a silver spoon in his mouth, to say the least. And he didn’t get one for a good chunk of time before he and Boris got popular in the real world.

Basically no matter how big they get or how much high society they get to mingle with, there’s a part of Bendy that can’t help but be… sort of humble. Not in a particularly kind or virtuous way, just more in a ‘still gets excited when he gets to eat at a fancy restaurant’ kinda way. He feels comfortable in high-class situations because he’s a charmer, but he knows how to play shell games, not so much where his fork and spoon go. He’s very good at seeing through scams and lies. He takes “free” very literally. And he’s… Pretty stingy when the spending isn’t his idea. -HG)


Elie Saab 2017 Spring Bridal Collection
Elie Saab isn’t afraid of grandeur; naturally, neither is his bride. The designer’s debut wedding collection yielded a lineup of 27 styles glamorous enough to make any bride’s trip down the aisle feel like a spin on the red carpet. Heavily embellished frocks—both long and short—reinforced Saab’s more-is-more aesthetic, but for wedding season, he used a light touch through lace, dotted tulle, and silk chiffon hinting at skin.

Teddy Lupin Things
  • androgynous Teddy Lupin
  • pink hair tied up into a messy bun
  • glitter 
  • being addicted to hot cocoa (with marshmallows obviously)
  • being adopted by Harry and Draco Malfoy-Potter when he was five
  • always coming home for the Winter Hols with bags and bags of candy (not including the random pieces hidden inside his trunk and forgotten about in the pockets and folds of his clothing)  
  • everyone in the Malfoy-Potter house having an enormous sweet tooth (much to Aunt Hermione’s dismay) 
  • Harry coming home to the kitchen in shambles after Teddy and Draco decide to “bake”
  • baking a cake for his parent’s would-be anniversary 
  • taking the cake to Aunt Andromeda 
  • being just as clumsy as his mother
  • practicing on Harry’s old drum set at the most inconvenient hours of the day and night (much to Draco’s dismay)
  • starting a rock band with Victoire, the Lovegood twins, and Fred
  • starting an early career in journalism while still at Hogwarts 
  • carrying around an old muggle tape recorder on his person at all times so that he can annoy everyone with his constant unnecessary commentary and questions throughout the day ( “…and so Fred chewed his buttered toast with a strong jaw and the look of pure hunger in his eyes”, “how does it feel to be dating such a sexy chap, Victoire?”, “Lorcan’s face contorted into a less than interested scowl”, “why are you walking away from me Lorcan???”)
  • Draco and Harry keeping every scrap of writing Teddy ever wrote 
  • calling Draco “dad”
  • painting his dads’ nails when he was a kid, and now whenever he is feeling down
  • Victoire practically moving in to the Malfoy-Potter house after graduation
  • punk rock Victoire 
  • Draco and Harry not-so-subtly forcing them to move out due to “an excessive amount of love-making that no father should ever have to walk in on” 
  • working for the Quibbler before starting his own newspaper 
  • Teddy’s first published piece being his dads’ insane love story  
  • Draco and Harry framing their love story article from the Quibbler even though its mad and heavily embellished because its just soooo Teddy 
  • Draco and Harry being the best dads a kid could ask for, and Teddy being the sweetest, funniest, lovable-est kid around 

The 1897 John W. Farson House, also know as Pleasant Home, Oak Park, IL. Designed by a contemporary of Frank Lloyd Wright, George Washington Maher, who is typically classified as a Prairie School architect. Located not far from FLW’s Oak Park Home & Studio. The home does incorporate Prairie and Arts & Crafts features, but the interior has the feel of a dark, heavily embellished Victorian home.

Hey all, I’m wondering if you could do me a favor.

A long while back I posted about a Jurassic Park filming story that I’d gotten from one of my professors.

I’ve since deleted it because I cannot find hard sources to back up what he said, and I’ve learned in the intervening years that he had a penchant for heavily embellishing stories. I therefore cannot in good conscience tell that story anymore, as I can’t believe it all as he told it. But the post itself is still going around, and I’d hate to be the source of misinformation and half-truths, however innocently I posted them. (I really did believe it when he told it to us, but I don’t believe all of it now, at least as he said it and with the figures he gave us, since it wasn’t on a slide or sourced in class, either.)

If you see it going around (about Jurassic Park crewmembers and Hurricane Iniki), please don’t reblog it, and if you can, please delete it if you have reblogged it. Also, if you feel like it, you could let people know who you see reblogging it, as I cannot track everyone down and let them know myself.

Please forgive me for my initial naivete, as I trusted a man who had spent several decades in the emergency response profession. I realize now that I should have looked for my own sources before posting it, but I was just excited because it seemed so neat and, as stated, I really believed it was 100% true as presented. I’ve learned a lot since then, and regret my part in spreading misinformation.

Vaná was overwhelmed by the strange feeling that she was marching to war. Although she was not wearing armour and was without any noticeable weapons, there was a tension in the air which she had often felt in times of battle. It was a tight silence that was waiting to be released; like a coiled spring ready to jump or a storm ready to break.

She inhaled a deep, calming breath and stared at her reflection in the tall, heavily embellished mirrors which flanked the royal hallways. Vaná hardly recognised her reflection. With the kind help from Bell and the strict advice from Lisselá, the Wardens’ leader had temporarily ditched her white divided robes and embraced a more extravagant look. She was garbed in a deep red dress that was belted at the waist in a wide, golden belt that emphasized her slimness. Her long dark hair was piled up on her head in an intricate style of waves, curls and beaded jewellery. It felt too heavy for Vaná’s liking. She preferred her white robes which allowed easy movement but Vaná understood that in some ways, fashion - and appearance - was a tool in the royal courts. A weapon.

They were being escorted to the largest of the ballrooms in the palace. Vaná could already hear music and laughter drift through the walls. Everywhere seemed to be richly embellished in gold, jewellery and silks. Each wall was decorated with incredible artwork, mirrors and tapestries which Vaná would have loved to appreciate in closer detail. However, they had a job to perform - a Warden to save.

The thought prompted Vaná to turn away from the mirror and stand at the huge doors where heavily attired servants were bowing and waiting for their approach. Her expression was schooled into a composed look of serenity but her stormy eyes were burning with determination. 

“Are you prepared?” 

She asked in a clear tone to the companion at her side. Some of the Wardens had already entered the ballroom from the other doors which opened into the vast event and it was time for them to join in with the festivities. 

RE: Bleach 589

I’ve already seen a few posts going around about the new chapter, and how Ichigo & Orihime’s interactions “shouldn’t be considered an IchiHime moment” (from IHs and non-IHs alike).

Here’s the thing, though: it damn well was an IchiHime moment (one with some clear-cut romantic tension as well), so I don’t really understand where the lack of confidence and skepticism is coming from (in terms of IHs feeling this way, not non-IHs).

Let’s quickly recap the scene in particular (I’m going to use mangapanda pages– because while mangastream has more high-quality scans, their translations tend to be heavily embellished and mangapanda’s are closer to the raws’ original meaning).

Keep reading

anonymous asked:

Do you have a set number of chapters in mind for Black Mirror? Also, I'd read a rewrite of The Interview!

I keep saying there’s only about 35,000 more words left of Black MIrror (three chapters and an epilogue) but that seems ambitious for all the shit that needs to happen. Keep the faith!

I think a re-write of the Interview would have to include material drawn from some high-ranking Imperial’s memoir about his ~time facing Vader~ with lots of heavily embellished anecdotes about how he Stood Tall and one very honest one about how he cried and peed a little the first time he saw Vader just murder a colleague