here have this probably my favourite scene in the history of everything

doemerchant  asked:

Hey I was wondering could you list YOI completed fics which are long and good ? "-"

What a great ask! Shoutout to all the amazing fic writers who write full freaking novels for free because they love the show that much. You all do such great work for the fandom and I thank you all so much. Here are some of my favourite  long, completed fics!

Originally posted by things-all-love


Completed Victuuri Fics (Over 40k Words)


all the world’s a stage by braveten, Explicit, 112k
AU where Victor is the the most famous actor in Hollywood and Yuuri is a silver medalist at this year’s GPF… and also has a huge crush on Victor. Yuuri auditions to become his skating coach for a movie with the help of Pitchit and cuteness ensues. Fun, great writing, good plot. Lots of fluff, some angst, and a little bit of smut. Amazing fic!

Home by Kurenaito, Teen, 46k
Three years after the series, Yuuri has retired, and he and Viktor live in America. It’s no secret that Viktor likes to make impulsive decisions. Cute adoption fic! Bonus angsty Yurio..

Melodies Unheard, but Felt All the Same by Watermelonsmellinfellon, Mature, 69k
Yuuri wanted to make history as the first deaf man to win the Grand Prix Final. Of course he’s a little skeptical of Victor Nikiforov’s presence, but Victor proves to be different, and Yuuri appreciates that. Amazing fic that truly shows that love wins, no matter what obstacles face them.

Maelstrom by feelslikefire, Explicit, 43k
Victor Nikiforov is poised to win gold in his fifth consecutive Grand Prix Final. He has the world at his feet, is unparalleled in the sport–right up until a snowstorm blows into Sochi, and he finds himself repeating the same day over and over and over. He stumbles over Yuuri Katsuki, and everything changes. THE GROUNDHOG DAY AU!!

On Our Love by LiaoftheDawn, Mature, 46k
The fic where Victor thinks he’s doing the right thing, manages to disappoint all the Yuris in his life, and still everything works out at the end. LOVE this fic… I’m sobbing…

like your french girls by ebenroot, Teen, 102k
in which Victor is an artist, Yuuri is his figure skating muse, and Yuri is so done hearing about their stupid love story through Instagram. Great artist AU fic with lots pining Victor and fluffy scenes!

Between us by Vitavili, Mature, 169k
Love hurts. Love heals. Sometimes it’s really easy to love. Sometimes it feels like hell. You can forget to love yourself because you are too busy with loving someone else. Stunning fic with heavy angst but a happy ending.

Yuuri!!! on Floor by thehandsingsweapon, Not Rated, 67k
The gymnastics edition, in which Viktor is still a skater. A story about how sometimes love comes slow and soft, and how hearts get bigger when they break. Great gymnastics AU!

Until My Feet Bleed and My Heart Aches by Reiya, Explicit, 197k
Rivals AU where Yuuri’s main goal, ever since he was a child, is to beat Victor and win the GPF. SO MUCH ANGST (like, so much) and deliciously hot, hot, hot! You might die from reading this… it’s that good. Thumbs up!

Standard Deviations by JustBeHappy, Teen, 82k
Victor knew something was wrong when he woke up. Firstly, Yuuri wasn’t by his side in bed. Secondly, the wallpapers weren’t supposed to be blue. Great time travel AU!

Beside the Dancing Sea by lily_winterwood, MapleTreeway, Explicit, 186k
New York Times-bestselling author Viktor Nikiforov arrives in the sleepy seaside town of Torvill Cove to cure his writer’s block. After encountering local wallflower Yuuri Katsuki at a party, he discovers that this mysterious dark-haired man has a couple secrets up his sleeve. And Viktor will be damned if he doesn’t find out just what those secrets are. LOVE this fic!

Love So Life by shamarmon, Teen, 114k
Yuuri Katsuki was simply living his college life, teaching ice skating lessons to little kids, when suddenly his idol and champion figure skater Victor Nikiforov bursts in and requests that he start babysitting his three year old nephew, Yuri Plisetsky. Yuuri finds himself growing to be a part of their family and helping them work through their complicated family issues. Super cute!

lie to make me like you by cityboys, Mature, 80k
Victor is a retired actor looking for love, and Yuuri happens to be the (un)fortunate soul to unwittingly ask him out at the beginning of the month. Except relationships don’t come with a script, and it’s much harder understanding love than roles. Awesome actor AU!

Until You Return to Me by BatMads, Teen, 113k
Yuuri and Victor are in St. Petersburg together at last, but when Yuuri has difficulty adjusting to the transition and tragedy strikes, it seems as though they may be separated forever. Now they struggle to find their way back to each other when the universe seems to conspire against a happy ending. THE SLOWEST BURN FIC YOU WILL EVER READ OMFGDHFSDK

Please Have Mercy On Me by all_those_big_ass_trees, Explicit, 85k
Viktor’s been living with Yuuri for a month now, but Yuuri is still not used to him. But Viktor is a good teacher, and Yuuri is a good student. Love!

centripetal force by braveten, Explicit, 85k
Victor speaks seven languages. (Physics isn’t one of them.) Luckily, though, he ends up rooming with his antithesis: a shy, black-haired boy who just so happens to be a physics major. I LOVE THIS FIC SO MUCH

No Less Unthinkable by rageprufrock, Explicit, 79k
In which Katsuki Yuuri fights a losing battle with chronic anxiety, the quadruple Salchow, and his own judgment four drinks in — but wins the war. Stunning fic!

pick lilacs for the passing time by astralelegies, Teen, 68k
In which the outlandish prodigy Victor Nikiforov hits Yuuri’s life like a whirlwind after he transfers to a prestigious ballet conservatory in Moscow, two grumpy teenagers learn to be friends, and Mila’s Straight Girl CrushTM might not be so straight after all. 

An Intangible Force of Motion by doeinstinct, Teen, 76k
The new season is in full-swing, and Viktor is realizing just how much work it is to coach and compete, but the exhilaration is worth it. The pain in his leg is probably just from overworking. Probably. So sad but so good.

Call Everything on the Ice… by shysweetthing, 50k
Victor learns Japanese while in Hasetsu. He doesn’t tell Yuuri, and things get dicey when he overhears Yuuri and Mari talking about him in Japanese. Repeatedly. ONE OF MY FAVOURITE FICS EVER

starstruck by shizuoh, Teen, 58k
In which yuuri is a simple barista, viktor is a famous movie star, and yuri is an 8 year old kid stuck in the middle of it. I adore this fic!

matched by bigspoonnoya, Explicit, 52k
Viktor Nikiforov considers himself an excellent matchmaker, but there’s one love life he can’t seem to get right: his own.

Destiel, Bi!Dean and preparing the audience for a “shocker”.

I just did a re-watch of 12x10 and it really got me thinking again about Benjamin and Cas’s talk in the car with the boys about Benjamin and his female vessel.

At the time the episode aired, I think I was so excited about the prospect of Cas being in a female vessel, and how this could potentially shift a heteronormative audiences perception of Dean and Cas that I didn’t realise just what else they were trying to do.

This is about reassurance.

This is the conversation that was had in the car:

CAS: Benjamin is always very careful. Long ago, he found a powerfully devout vessel in Madrid, and her faith, it… she gave him everything – her trust and her body.

DEAN: Wait. So Benjamin’s a woman?

CAS: Benjamin is an angel. His vessel is a woman. But it – it’s – it’s more than that. She’s not just his vessel.

Just this small exchange is important as exposition for the audience. It is about preparing the audience for what is coming up. The idea that Cas was also once ‘a woman’. Which, okay, no he wasn’t a woman, he just had a female vessel, but imagine how that would have gone down had this exchange not taken place? Imagine how a general audience would have reacted to Cas and his female vessel had Benjamin just been another angel in a male vessel?

Probably a lot like the way Dean acted here, with confusion.

By giving us the Benjamin character and this particular scene as well, the writer has successfully prepared the audience for Cas in his female vessel. Preventing raised eyebrows and confusion because the audience will remember this conversation and apply it to Cas.

“Castiel is an angel, his vessel WAS a woman. His vessel is now a man, Cas is still a dude and it’s not weird. Cool beans.”

(when I think of a general audience watching SPN lets just say that I certainly don’t think of the fandom or tumblr. I think of my brother and that is something I won’t get into here. Heteronormative doesn’t even begin to cover it.)

The fact is, making one of your three main lead male characters a woman for an episode is a weird thing to do, the kind of thing that would probably make some audience members uncomfortable. So adding in this exposition, this reassurance, removes that level of discomfort, it gets them used to the idea first, like a buffer.

See for a show like SPN, whilst its always been a bit weird with its story lines, it’s never been all that progressive. As much as we would all like to wish that all SPN viewers were like us – liberal forward thinking people who are willing and eager for TV to break a few taboos – the chances are that is very much not the case. Its an old show, it has an established audience (apparently a bipartisan audience amazingly) and therefore breaking boundaries the way more modern shows have (such as American Gods, How to Get Away with Murder and Orange is the New Black) just isn’t really in the cards. Those shows established the taboo stories, the queer main characters, the representation, from the start. They built their audience on those foundations. SPN can’t do that without isolating part of its audience – unless it thinks very carefully as to how it may present such notions.

I hope I am explaining this in a way that makes sense. See this is of course about Bi!Dean and Destiel (as if anything on my blog WASN’T about those topics). Because here’s the thing. On any other, newer show, for Dean to come out as bisexual, for two male lead characters to enter into a homosexual relationship, it wouldn’t be a big deal. Those shows could build their audience around those concepts, because they would be ingrained into the show from the start.

For Supernatural, that sadly isn’t the case. SPN didn’t clearly establish Dean as Bisexual early on, and Destiel isn’t canon, it has always been the subject to interpretation with just enough ‘no homo’ so that anyone who chooses not to see it doesn’t have to (again, excluding 12x19 but we’ll get there)

One of the biggest hurdles to getting bi!dean and canon destiel, is for the SPN creators to overcome this fear that half their audience would reject them if they actually went there. It would be seen as coming ‘out of the blue’ and all those heteronormative people would raise their eyebrows and moan and be utterly confused by it.

That’s why Supernatural needs the buffers. It needs the gradual exposition, the subtle desensitisation of a general audience to anything even mildly “progressive”. If Supernatural wasn’t putting these buffers in place already, I would think we would have a problem. I would be much more apprehensive at even the idea that destiel could be a thing that is actually happening.

What is so fantastic, is that just like in 12x10 with the fem!Cas buffer that was Benjamin, we have already been getting buffers all throughout the last few seasons.

Here are some of my favourites:

  • Jesse x Cesar – 11x19 – These guys are my absolute favourite, they were created specifically to show the audience that you can be a gay man and also a macho man. That gay men aren’t stereotypes, that hunters can be gay and settle down and especially that gay romance doesn’t change the theme of the story. The big take away from this episode is that it shows the general audience that men like Dean Winchester can be gay/bisexual.
  • Hannah – 10x17 – This was a real eye opener for any Cas x Hannah shippers. Because Cas didn’t treat Hannah any different, and he had exactly the same warmth and affection for Hannah in her male vessel that he did in her female vessel. Basically this was a nice punch in the face for any homophobes watching. SPN doesn’t care about your heteronormative ships. You wanna ship Hannah x Cas? Fine! But Hannah’s in a dudes body now and guess what? Cas doesn’t care! How do you feel about THAT?
  • God is Bisexual – 11x20 – This was just a nice big fuck you to homophobes everywhere. Don’t like queer characters? This is NOT the show for you! Because in our world even GOD is queer! Yay for LGBT representation! It works as a buffer because once again it is sending a message to the general audience that this is the kind of thing you can expect on our show. We are changed now.
  • Dean rides Larry – 12x11 – Okay so maybe it’s not an obvious buffer, but it is kind of a subliminal message so I’m counting it. Dean riding that damn bull was the most sexual scene we have had on this show in seasons (and no that god awful thing that happened in 12x02 doesn’t count – nor does the same god awful thing from 12x08). The jokes alone, the sexual innuendos. This entire episode is loaded with subliminal messages basically screaming at the general audience to maybe just consider the fact that Dean likes guys.
  • 12x06/12x20 – Max Banes – like Jesse and Cesar Max works as a buffer because he is another way to get the general audience used to the idea that characters that are similar to Dean Winchester can be queer and it’s no big deal. Max is badass, funny, smart and charming and also 100% canonically queer (whether gay or bi we know textually that he is totally into dudes). Sam and Dean don’t bat an eyelid at his sexuality, so neither should the audience. It is just one part of his character and certainly not what his story is all about. Max is proof that you can have a queer character who is a badass and a hunter whose story is basically nothing to do with their sexuality. Their sexuality just happens to be a part of who they are.
  • And finally – Destiel – season 12 – I’m making this its own buffer because honestly? There is no way to view Dean and Cas’s relationship as non-romantic at this point. I think that the writers have slowly been turning up the dial on Destiel probably since 11x18. 12x19 really drummed it in for us though. The angel/human love themes of 12x10, the textual “I love you” in 12x12, the MIXTAPE and everything else about 12x19. This is all preparation. It is indeed a build up to a reveal. Destiel is it’s own buffer and even if people do still accuse it of ‘coming out of nowhere’ once it goes canon, all the writers have to do is gesture at season 12 and the fucking mixtape scene and say to those people “in what universe does the gifting of a mixtape between people who are not explicitly related NOT have romantic connotations?” Only a fool would argue with that if they had any knowledge of pop culture history. Sorry, but that’s the truth.

Anyway, that’s my thoughts on that. A show with a long established audience about to make a move that could potentially appear (but not really) out of left field would need to build up that move through a series of well thought out buffers, symbols, themes and subliminal messages before actually making it.

Like how Benjamin was the writers way of normalising Cas’s female vessel, the past two seasons have been a journey to normalise bi!dean and destiel in preparation for making both of these things explicitly canon. Yes we still have a way to go - it still needs to be stated explicitly in the text that Dean is into guys, in love with Cas bla bla bla, but we are getting there.

In summary. Destiel is endgame. Dean is bisexual. The general audience better learn to throw their heteronormative goggles in the bin because this is the state of this show right now, and it is good. 

RTX2017 2nd RWBY panel summary

I won’t repeat everything from my summary for the first panel, but here is everything that’s new. Better questions this time. Also I missed the first 10 minutes of it, but I might rewatch those in case anything important happened. They went through the new merch very fast this time to have more time for questions.

  • Someone asked about the cinematography change in volume 4 were they went for a more Hollywood-like style of cutting more, doing more close ups with the fight scenes. The answer was too complicated to write it down quickly, but basically they are trying to use different styles together.
  • Someone actually asked about Yang’s arm having a vibrator function. The answers were pretty funny, from yes (for phone calls of course), Barbara saying the hand has a spinning function (for cooking and badass attacks of course), Arryn saying yes (to replace an electrical tooth brush of course).
  • Interesting questions about the limitations of semblances. Basically the limitations are not to make the characters overpowered and imagination. Yang gets stronger the more hits she takes, but when she gets unconscious it was all for nothing, also mention of Qrow’s semblance that goes beyond the battlefield and affects him everywhere. Nora has her semblance because Monty wanted her to jump really high and swing her hammer with much force. Also volume 5 will have more talk about semblances because they know they didn’t establish the rules really well and will fix that.
  • Someone asked about each’s favourite character. Mile’s favourite character is Qrow and during volume 1 – 3 he often felt like smacking Jaune. Kerry’s favourite is mostly whoever was in the last scene he wrote. Arryn’s favourite is Neptune, her least favourite is Mercury. She also hates Adam but loves him as a character. Kara’s least favourite character is Daddy Schnee, her favourites are the other girls on her team. Barbara likes Qrow and Nora, she doesn’t like Mercury, Adam, Neo or just everyone who gets in her way. Lindsay loves Tai, her least favourite is Weiss (more said as a joke). Gray’s favourite character changes with his mood but he wants to punch Adam.
  • Animating the fall of Beacon was extraordinary difficult and a big process.
  • There exist some misprinted shirts that say Fall of Bacon.
  • There was a very cute moment when (despite Miles saying please questions only) a fan said how important RWBY and especially Blake are to her, especially after she came out and got abandoned by her family, she got lots of hugs.
  • Someone asked about cameos but I didn’t know the shows her was talking about, something about Dream Daddy Dating Simulator and Tai being in it (as a joke but who knows). 
  • They also mentioned Qrow here with Lindsay saying he’s not a daddy, Kara(?) saying he is a daddy, and Vic saying in his Qrow voice “I am sure I’m someone’s daddy, I get around, kid, I get around.” To all the Daddy Qrow believers, you might either love or hate this line.
  • Someone asked about the hardest scenes for the voice actors. Lindsay and Barbara both picked the end of volume 3, because both their characters had to act so much out of their usual behaviour and attitude, Yang being completely defeated and a shell of a human being. Kara picked the scene in volume 4 where she talks to Jaques in her room, because it’s the first time you see her that vulnerable. Arryn picked the scene between Blake and Ghira, because being sad for her is easy, but with Daddydonna (her words) it was hard, because there was so much history involved and more depth to her sadness.
  • Someone asked about the deleted _NP_ vs S__N fight in volume 3 (by the way, they describe the scene in detail in the volume 3 director’s commentary) where Pyrrha and Nora were supposed to fight Neptune and Sun. The reason they picked Nora to fight with Pyrrha was that they knew how dark everything would get and wanted to put as many lighthearted and funny fights into this volume as possible. The idea was to see Nora and Pyrrha get along, to have a lot of energy and lightheartedness with the two of them.
  • We will probably get more details about gen:lock next week. Also dishwasher1910 made the teaser poster for gen:lock.
Some Awesome Female Avant-Garde Artists

Now I have always been a very big fan of unconventional art movements. Not only do I appreciate how those art movements have influenced what we see today, but the history that prompted them is rather revolutionary. Today, I want to appreciate the women who aren’t as well-known as the great Frida Kahlo. This post is more focused in the late 1910’s, to the 1930’s period. It is to honour some of the out-of-the-box women that I admire so much, from all sorts of movements. Here we go!

Helen Lundeberg (1908–1999)

Not just a formally taught and talented artist, but Lundeberg was actually one of the founders of what would be known as the Post-Surrealism art movement, later leaning to abstraction in the 1950’s. She was not only talented, but extremely intelligent, earning a place at Stanford University for “brilliant children.” Now while I said I would focus on the lesser-known artists, Lundeberg is a rather more famous one. However she is a tough one to leave out. She was especially famous during the 1930’s. She was in charge to create multiple murals, and her exhibitions (including her early solo exhibits) were very successful. It’s interesting to see her works evolve during her life, yet remain distinctly recognizable as hers.

Above: Portrait of Inez, 1933, by Helen Lundeberg (1908–1999).

Sophie Taeuber-Arp (1889-1943)

Certainly a woman ahead of her time, Sophie Taeuber-Arp’s artwork as a painter, sculptor, textile designer, furniture, interior designer, architect and dancer all scream “modern woman.” She studied different art forms, primarily textile art, formally in some areas. She was quite heavy in the Dada scene, yet her Constructivist works are probably her most recognizable. Her use of colours of her geometric forms are what draw the eye. Taeuber-Arp’s talent and hard work earned her a position teaching weaving and other textile arts at the Zürich Kunstgewerbeschule (Zürich University of the Arts). She was a woman that appreciated art in all its forms, and many appreciated the way she presented them. In fact, her flexibility and talent is appreciated today, as she is, in fact, the only woman on the current series of Swiss banknotes in Switzerland.

Above: Oval Composition with Abstract Motifs, 1922, by Sophie Taeuber-Arp (1889-1943).

Marguerite Zorach (1887-1968)

Another intelligent artistic lady on the list, Marguerite Zorach became interested in art at a very young age. She, luckily, was blessed with very supportive parents that encouraged her to study everything related with liberal arts. People generally don’t get as unconventional as Zorach really was. Influenced by friends such as Picasso and Matisse, she is naturally recognized for her Fauvist work. Even her husband commented “I just couldn’t understand why such a nice girl would paint such wild pictures.” It may sound like he didn’t approve, but her husband (William Zorach) loved the way she stood out from a crowd. While she settled her “wild” painting side and became more focused on her family, she was titled president to the New York Society of Women Artists. Throughout her life Zorach experimented in all kinds of art media - even making clothes. You can certainly tell the different influences and evolution of her works. Because of this she received mixed criticism throughout her artistic years, yet her works are remembered today.

Above: Death of a Miner, 1930, by Marguerite Zorach (1887-1968).

Pan Yuliang (1899-1977)

Truly a woman to differ from the mainstream (and possibly my favourite on this list). Pan Yuliang is considered China’s “first woman in the country to paint in the Western style.” Unlike many of the woman included in this list, Yuliang did not come from a family of prominence. Just at the age of 14, she was sold by her uncle to a brothel and forced into prostitution. In an amazing turn of events, however, she was noticed by a kind wealthy man who brought her freedom. Becoming his second wife and adopting his last name, he sponsored her education and allowed her artistic abilities to flourish. Because of her talent, fast learning, and hard work, she was accepted in not only the Shanghai Art School, but also numerous schools in Europe. This even included Italy’s Roman Royal Art Academy. Pan Yuliang wasn’t particularly loved by all in China, however. Her works caused some outrage in her home country, and she eventually settled in France, where her paintings were more appreciated.

Above: Detail of Self-portrait, 1936, by Pan Yuliang (1899-1977).

Aleksandra Ekster (1882-1949)

Another abstract woman to appreciate, Russian painter Aleksandra Ekster uniquely used her skills for design purposes. Because of her extraordinary designs, she was required to work in numerous fabulous cities, from places in her home country of Russia, to the romantic Paris, France. Thanks to her prominent and wealthy family, Ekster was free to study art formally, later graduating from Kiev Art School. Her life was the ultimate art fantasy, as she organised meetings at her studio for Russia’s “intellectual elite.” This included artists, writers, and poets. While she never stuck with just one movement, but varied in many revolutionary avant-garde art movements of her time, her style is completely unique and consistent. She is known distinctly for her fashion designs, which were not only completely wearable, but also very memorable.

Above: Costume design for Romeo and Juliette, 1921, by Aleksandra Ekster (1882-1949).

The future - and it is showing us this loud and clear

This episode was amazing. After flailing and basically shouting all day I am so happy and so excited that I joined tumblr - the quality of posts today has been excellent, both humorous and inciteful and I LOVE YOU ALL :)

I hope its ok I’m going to tag a few great posts in this to reference as I don’t want to go over stuff other people have already meta-d about so excellently!

This episode, titled the future, seems to me to be Dabb basically telling us what he wants for the next part of the show, the “better way” that he wants to take it.

So here are my main bullet points that I will expand on a little below and link those excellent posts to where relevant:

A. Sam 

Sam is clearly portrayed again, recurrently as the researcher, the “brains” of the operation (before you say ‘Dean is so clever though!’ I’m just pointing out Sam’s love of the scholarly side of things and how this is where he fits). Sam’s endgame must now be to head up the MoL/hunter network in this respect.

B. Sam and Dean 

They work so well as a team here, Sam putting a tracker in Cas’s phone while he’s distracted by Dean, researching v whatever Dean was doing (maybe making a pining mixtape along the lines of “all by myself” and “I miss you” “please come home”, BUT they are shown as different people, with different interests, skills and relationships - with Cas for example, & not codependent. Again hammering this home in this episode. THANK YOU DABB, GLYNN & BERENS.

C. THE RECURRING AND CONSISTENT NARRATIVE OF DESTIEL.

This whole episode is one big love fest. We went from one ‘wow I can’t believe they just did that!’ to the next to the next with hardly enough time for us to catch out breath! WHAT WAS THIS EPISODE?!

OK, so we have :

1. My Romeo & Juliet / Gaze up Trope Balcony Meta.

2. The Mixtape Meta, another EXPLICIT romantic trope by @drsilverfish.

3. The Dean “keep it” parallels, the first one that came to my mind was Arwen (another human+ / eternal being who decided to relinquish immortality couple):

Aragon: this belongs to you.
Arwen: keep it, it was a gift… it is mine to give to whom I will, like my heart.

But also all the other ‘gift’ tropes, the standard romantic trope that when a couple breaks up you return the gifts…. I think Cas wasn’t sure he was going to be forgiven, after Dean’s outburst in the war room, so he goes to return the cassette, but Dean does forgive him nearly instantaneously, which actually makes it even worse that he has to steal the colt straight after…

5. The difference between Sastiel and Destiel again emphasised, more and more this season. I don’t think I even have to detail this, just, basically the whole episode shows this.

6. This magnificent gifset by @magnificent-winged-beast which shows the difference between Dean’s angst at actually watching the colt get destroyed and the potential killing of Cas…

Slight aside - Performing!Dean. 

This magnificent gifset that shows Dean’s facade coming down, he doesn’t even attempt to make it sound less ‘gay’ when he tells Sam that Cas came to his room, played him and took the colt from his secret hiding place under his pillow, he even looks down before he says it like he KNOWS how it is going to sound but says it anyway. 

source: @yourfavoritedirector.

And Sam doesn’t even flinch. YES THANK YOU DABB, GLYNN & BERENS!

4. SO…WHY is Dean still doing everything he did for Cas during this episode and still defending him to Sam even though he appeared pissed and Cas repeatedly betrayed him?

Well, in 12x12 Cas said “I love you”, clearly understood by Dean (and Sam to be directed at Dean). There was no real reciprocation though from Dean, other than Dean family-zoning him and Sam’s fantastic “we are doing this for you, Cas”. 

So regarding Dean, Cas is hurt and believes it isn’t reciprocated. Now Dean is pissed and still using the WE card at every turn, so what is a celestial being to do? Cas assumes this is the end, that there is no hope, he returns the mixed tape. BUT Dean says no keep it, this is NOT the end. 

Cas understands that this is therefore not the end, but it is complicated. He explains that he wanted to “come back with a win for you…. for myself”. He wants this for Dean and for himself, this is very important, everything he is doing now and in the future is NOT all about Dean, there is his own agency and morality involved here too.

For Cas, when it comes to it, he wants this reciprocation of his love of course, but right now he has bigger fish to fry and really he wants to protect Sam and Dean and save the world

Now, going back to the “what the hell is wrong with you man?” followed by an awkward silence…. and where Cas then goes to return the gift. Yes, Cas feels that he has said his piece in 12x12 and is rebuffed, but meanwhile Dean is struggling with what Cas has said and everything else that is going on. He has a lot on his plate, not only Cas but his own personal history, his deep seated issues that he is clearly working on this season (see all the performing!Dean facade crumbling meta going around), his issues around his mother, the BMoL, Lucifer, the nephilim…. I mean that is a lot for an emotionally healthy person let a lone DEAN WINCHESTER.

Dean is trying to say / show how he feels he’s just rubbish at it, but he’s getting better!

“We?” “Yes dumbass, WE.” This is his forgiveness. And it is betrayed just moments later. But does this stop him trusting Cas again? NO.

THIS IS EXTREMELY IMPORTANT. For their dynamic, to show that they still do ultimately trust each other.

EVEN AFTER EVERYTHING DEAN STILL DEFENDS CAS TO SAM!

Oh, and I just need to add how desperate I am for Sam to turn to Dean soon and just say “No, Dean, this is between you and Cas, stop bringing me into this”. PLEASE I SWEAR I WILL BE GOOD! I mean, how repeated, consistent and out of place it was (I mean, not only to shippers, I think anyone would think it was out of place the way it was portrayed in their personal conversation in Dean’s room) - this has got to be addressed, no?!

 5. A better way

So. What does this mean moving forwards?

Well, firstly, I have moved from being 85% sure Destiel would be endgame to about 95% sure. Lets be real. This episode cements this. Whether you like it or not, it’s happening.

So, what is the better way?

Overall, it seems that Dabb wants to move things forwards. And his key points all season are Free Will, breaking from past repressions and negative influences, moving forwards with what the characters choose and want for their endgame and for sure now endgame Destiel.

I have in the past speculated about quite a lot of stuff, some right and some… still to be seen and some not right, but the overall arc speculation that I saw foreshadowed since early season 12 is RIGHT ON TRACK.

Now, the question is will Dabb go backwards and go to the old, standard SPN ways where probably Dean and Cas will be separated, Cas will be wrong again in his trust in the nephilim - it WILL be evil (rehash of s6 and s8) and he will need to be ‘broken’ from the mind control by Dean in a stronger crypt scene etc etc etc.

Or will he move forwards, onto a “better way”? Will we get another s11 ‘happy ending’? Where it appears all good but there is still stuff going on behind the scenes for s13… Or maybe a not so happy ending but that ultimately will be resolved happily? 

Maybe the baby has it’s grace removed (so glad this is an option it was driving me insane that they hadn’t mentioned it by now!) OR it’s not evil at all! it’s the ANTI-anti-Christ, it chose Cas because he is Lucifer’s mirror in that he LOVES Humanity. I mean, the whole point of the show is agency, free will and not being forced to follow the result of your parentage / past ….especially this season with Sam and Dean’s arcs….

Maybe human!Cas, potential hunter Daddies, Cas staying at home calling Dean while he’s out on MOTW hunts with Sam being all “Dean there’s poop everywhere, I’m sorry it got on your favourite shirt, but please please come home this is so hard!” “OK babe, don’t worry, we’ll be back tomorrow, the case was a milk run!” when actually Dean nearly died and Sammy saved the day and…. etc because really? what are we supposed to think from that motel scene? With Cas smiling all cute and using the world “righteous” when talking about the kids future guardian?! (and Kelly survives if we are going to be extra nice).

Maybe Lucifer will die / be dealt with and it is the MoL that are the big bad next year…..aiding the overall future arc of TFW as leaders of the MoL/Hunter collaboration (Chuck I hope so).

Or will it be a mix of the two?

Well my money is on that it will be a mix….  

DABB IS SHOWING US THE FUTURE Y’ALL. AND THE FUTURE IS BRIGHT.

Originally posted by detesntthoughts

Top Ten Fic Recs

Tagged by  @callioope and @justkeeponthegrass thanks guys!

This says top ten fic recs and I was like ‘I guess I can limit myself to ten’ and now having started going through them I’m like ‘ahahahahahahah NO’ so without further ado, split into three categories, here are thirty-nine of my favourite Rebelcaptain fic recs, listed in no particular order, because you see how easy it was for me to cut down the list I have, there’s no way I could chose between them. The only concession I could make was to keep it to one per author, but know that if one is on the list, all the rest of their stuff is amazing too! All the links are to AO3 and I’ve tagged the authors on Tumblr when I know their handle, but if you spot one of yours and I’ve not tagged you, let me know! :) Recs are below the cut because this is a LONG POST.

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i would really like to read more tcoh fic!

Your wish is my command, anon. I don’t think I ever posted this one:


Is The New Prince K Here To Stay?

Exclusive interview by Hani Sereson

I’m late for my interview with Prince Kiem, everyone’s favourite royal, because I get lost. He and his partner have moved to a bigger suite of rooms in the other wing of the palace, with two studies, their own kitchen, and a spare bedroom. “I don’t really use the kitchen,” confesses Kiem when he sees me looking, “but Jainan makes me breakfast sometimes.”

Does he never return the favour?

“I tried once,” says Kiem, with the roguish grin familiar to everyone who’s followed his career of scrapes and scandals over the years. “The firemen made me promise never to do it again.”

What about the spare bedroom? It’s what everyone wants to know. The rumours have been flying ever since Prince Kiem got his startling new diplomatic appointment, suggesting that the Emperor has finally joined the rest of us in the fan club. Is there going to be an addition to the family for Iskat’s favourite love story?

Kiem laughs. “Come on, Hani!” he says. “I thought this interview was about my job?”

Keep reading

afirewiel  asked:

What is your favorite non-Austen period novel? Movie?

Okay I’m gonna do a rundown of all my favourites because making me pick one is just mean. (Also at one point in my notes on the following books and films I just wrote “Bagels” and I can’t for the life of me think what I might have meant or autocorrected that from. Maybe a shopping list started to take form. I don’t know.)

(If the film Miss Austen Regrets and book Longbourn by Jo Baker count as non-Austen then include them.)

Films:

Lagaan: Once Upon a Time in India - 2001 (Sports! High stakes! Sticking it to the Colonial Man!)

Mozart’s Sister - 2010 (Beautiful music! Gorgeous androgyny! GIRLS CAST TO PLAY THEIR ACTUAL AGE AND NOT SOME 20-SOMETHING PRETENDING TO BE FOURTEEN!)

Possession - 2002 (I’ve tried the novel, and A.S. Byatt has some beautiful prose but her structures sometimes do my head in, so never finished it. Ignore Paltrow as best you can and enjoy lush Victorian Gothic mystery and the ending is one of the most poignant things I’ve ever been pleasantly surprised with on film, and it leaves you wondering about many, many things…)

Jodhaa Akbar - 2008 (You could put Hrithik Roshan and Aishwarya Rai in the worst commercial ever made and I would watch it. Costumes, scenery, and, as a friend once put it “I’m not sure how they did it, but they just had a sex scene without any sex.” Bravo.)

Water - 2005 (Deepa Mehta is such a fantastic filmmaker and I loved this whole trilogy but Water is my favourite.)

Elizabeth - 1998 & Elizabeth: The Golden Age - 2007 (The costumes! The caMERA ANGLES!!! The compli-fucking-cated mess that is Elizabeth I.)

[Okay Tumblr won’t let me embed any more trailers, but those ones are easy to find, they’re out there.]

Vatel - 2000 (Any foodie who is also a fan of The Sun King and his era will dig this one. A great score, baddie Tim Roth.)

Alternatively, in the same era: A Little Chaos - 2015. Storyline is a little weak, but it’s so beautiful and the cast is great and the M U S I C. Kate Winslet. Alan Rickman. Helen McCrory. STANLEY TUCCI.)

Also: they’re not films, but TV shows - honourable mentions to the Spanish series Gran Hotel. It’s like a good version of Downton Abbey, only sorta on crack and with a tonne more murder mysteries; and while I have some Issues with its so-called hero and some comparatively weirdo plot-points in S3, overall, it’s fantastic and I’m obssessed. Please don’t mix it up with the Italian re-make which looks horrible in every way. Like, main actors dressed in a poorly-sewn-table-cloth-bad.

And shout-out to the new CBC/Netflix series Anne. I will defend this show to the DEATH, alright? They’ve gone bolder and fresher and have managed to involve period realism in a moving way while retaining the sunshine-and-pinafores element that so many people love about L.M. Montgomery’s work. There’s heaps of women with production credits, and I think it shows. Geraldine James is already my favourite Marilla after one episode, and I feel like R.H. Thompson (HEY JASPER DALE HEEEEY!) and Amybeth McNulty are likely going to become my favourite Matthew and Anne, too. People have complained about this series going off-book and in particular some have condemned it sight-unseen because the writers/directors are putting a feminist spin on it and OH GOD THEY SAID FEMINIST QUICK WE GOTTA SET EVERYTHING ON FIRE BECAUSE CHILDHOOD IS RUINED, but honestly it’s just perky and gorgeous and scrappy and nobody can tell me to my face that Kevin Sullivan didn’t go all the fucking way off-book from the very beginning so I am not gonna sit here and insist that the Megan Fallows Anne of Green Gables was perfection which could never be improved upon because that’s just a plain lie. It was nice and it has its place but it’s time for some new blood. (And NOT the telefilms they’ve also come out with recently with Martin Sheen, bless his heart, but they took a brunette child actor and dumped an atrociously stark box of red hair-dye on her before drawing on her freckles and then telling her to please play everything theatrically to the back of the house even though there is a camera ten inches from her face.) I am HERE FOR ANNE. RIDE OR DIE.

AND NOW, FOR BOOKS!

After that you might assume my L.M. Montgomery recommendation would be Anne of Green Gables and sure I won’t say DON’T read them, but for my money the Emily of New Moon trilogy is more my jam and I wish to God and Netflix in all my prayers that there might someday be a decent adaptation of them.

I was really into Cassandra Clark’s Abbess of Meaux mystery series for a time, but then things went a bit pear-shaped in what I think was the fourth(?) book and everything was OOC and honestly I haven’t caught up on the later books after that and they seem to be self-published now but I am a sucker for nuns and mysteries so I’ll probably get back into it when I have time.

The Princess Priscilla’s Fortnight and The Solitary Summer by Elizabeth von Arnim. Vacation-reads! Beautiful prose, some wry wit, and fun hijinks. If you’ve ever wanted to run away and live in an isolated cottage in the wilderness for a little while, these are for you. [ETA: I recently got my hands on a copy of The Jasmine Farm so THANK YOU to one of you who recommended it I am loving it so far only I don’t see the appeal in Andrew so wtf Terry you can do better.]

Edward Rutherfurd’s geographical history novels–Sarum is the classic to start with, but the others I’ve read are very good, too. (London, New York, and I’m now working my way through a first-edition of Russka.)

Amy Levy. A M Y   L E V Y. Criminally under-recognized Jewish Victorian novelist and poet. Novellas Ruben Sachs and The Romance of a Shop. (RS a beautiful and bittersweet story about the conflicts between love, identity, and expectations, and some would say a response to George Eliot’s Daniel Deronda. TRoaS reading a bit like a less treacle-sweet variation on Little Women, where four sisters try to make their way in the world by setting up their own photography studio in late 19th century London.)

The Making of a Marchioness by Frances Hodgkin Burnett. Colonialist racism appears in this one, so be warned. Still the book is a THOUSAND times better than the utterly dreadful adaptation known as The Making of a Lady. Jane is better, Emily is better, Walderhurst is better, pretty much EVERYONE IS BETTER. The pacing is better. The plotting and suspense make actual sense.

The Scarlet Pimpernel by Baroness Orczy. A classic, and the grand-daddy of every secret-identity superhero.

The Forsyte Saga by John Galsworthy. Like, it makes me MAD how good these books are.

And last but not least, a non-fiction selection in Vere Hodgson’s WWII diaries: Few Eggs and No Oranges. Nothing else has ever brought the experience of living (or trying to) under the shadow of the bombs and the threat of invasion quite like these diaries. Fascinating details, engagingly written, and at times a stark reminder that the Allied victory we take for granted in our history could by no means be counted on by the millions who dwelt in daily uncertainty.

anonymous asked:

Your Voight post made me think, and I think CPD doesn't get enough appreciation re: how they seem to effortlessly go against a lot of toxic masculinity. Like, there's been any issues with the guys crying or expressing their love for each other, and it's never made into a joke or followed with a no homo reaction or smthn like that and idk I guess I really appreciate the male friendships in CPD. Even the rest of the franchise doesn't do so well as this imo (not counting justice bc it's still new)

You know I started replying to this and then I realised that I’ve never really thought about the male characters in that much depth…I’m the first to sing about how amazing Erin and Burgess are, as well as male characters individually, but when I really thought about how well the men have been created, I ended up with an entire essay so apologies it’s so long but I just love this show and these guys. Also since there’s been a lot of negativity in light of *cough* recent events, I thought it would be nice to show my appreciation, so here goes. Feel free to add examples/contradictions/points/other ideas etc!!

Something I need to say before beginning: I find it really, really difficult to empathise with male characters. It’s just harder for me to really relate to their issues. And I think a huge reason for this is just that being a female character in these shows and these professions is just harder. And therefore there are a certain amount of fundamental difficulties that each female character has to face, and since being a female in general involves a lot of these struggles, it’s much easier for other women to look at these characters and see themselves in them. Look at Erin and Burgess struggling to keep their hard work and intelligence a more valuable feature to their unit than their bodies. Look at April and Maggie trying not to be undermined by their male, more qualified co-workers - and Manning being a single, working mum. Look at Gabby beating the odds and becoming a firefighter even though no one thinks she can do it because she’s small and female.

And I love that this show can do that: take these vital professions and give them amazing, well developed, multifaceted female characters whose constant struggles are so relatable for any female watching because we’ve all been there.

But what PD does that I just don’t see so much in the others (Fire does it to an extent, but I can’t really think of any examples in Med - although it’s my least favourite and so I’m probably not the best person to make analyses based on it, feel free to correct me if I’m wrong) is do the same with the males. And it’s something that I have never seen on a TV show before. There’s no “no-homo” bullshit, there’s no reservations around being friends. They hug each other when they’re worried about them, they do the friendly shoulder squeezes and arm-punches and fist-bumps. They go out for drinks together. They trust each other and look out for each other and they talk to each other about how they feel. And it’s really, really nice to see.

People go the extra mile when writing female characters (although admittedly, as a teenage girl I’m probably not using the widest sample range of TV shows) because they know that either a) their audience is mostly female, or b) they’re worried about sexist accusations. Women have always been victims of horrible media tropes, so I’m so, so glad that they do go this extra mile - I love seeing female friendships more than anything else in the world - but because people are so aware of the issue surrounding female characters, they’ve taken that into consideration, while assuming that there isn’t actually a problem with their male characters.

What Chicago PD does that I think is incredible from a characterisation point of view is they take these archetypal cop characters - the dirty cop (Voight), the by-the-book cop (Antonio), the shell-shocked veteran cop (Halstead), the old-cop young cop (Ruzek and Ollinsky) and the gentle giant (Attwater). **there are more, such as Attwater arguably being the “token minority” and Ruzek being the “fair cop” but you get the idea. They all seem to represent one of the main tropes that are almost always present in cop shows (at least all the ones I’ve watched).

And the show doesn’t subvert the tropes, not exactly - even though doing so would be so much easier - but they three-dimensialise (idk if that’s a word just roll with me here) all the characters on top of these fundamental archetypes. ie:

  • Voight is a dirty cop. He kills people in the name of justice, he’s used dirty money and lied under oath and done things that probably should have lost him his badge a million times. And yet, he works tirelessly for the protection of his city. He loves his son with everything he has, and his grandson, and his daughter-in-law. He took in a 13(?) year old who’d been hooked on heroin and arrested for solicitation and loves her like she’s his own daughter. He made amends with the guy who put his son in jail. He always, always fights for the underdog and doesn’t let the system take advantage of them. He treats his unit as if they are his “family” - literally his words - and he has formed relationships with every single one of them, bending the rules and putting his neck and badge on the line if they ever do anything wrong or against the rules. (Example: 3x05)
  • Antonio plays by the rules, that’s just who he is. He believes in the system more than Voight does, arguably because he’s always been on the right side of it. But that doesn’t mean he’s not willing to make compromises if those he really cares about are on the line - he is more than willing to turn a blind eye to other people’s ‘interpretations’ of the law, and he will do everything in his power to fight his way using the rules of the system before he breaks them. (1x02, 3x01)
  • Halstead’s military history I think is one of the most interesting aspects of this show because he had the potential to turn into a “cold sniper” as I think is the norm with ex-military characters, and yeah, he was affected in ways that we don’t even know - and may never fully understand - by what he saw and did in his tour(s). But he’s so selfless and sweet and supportive. His PTSD and general commitment issues mean that he can’t open up to everyone but he still lets them open up to him, being Erin’s #1 supporter, and he’s finally started to work on looking after his mental health properly and learning how to ask for help. He’s kind and caring and understands the importance of sacrifice and, like Voight, is willing to bend the rules a little bit - even if he’s always there to question Voight’s methods. (3x17, 4x18 - deleted scene)
  • Ruzek is the token rookie of the show, and the audience is placed in the same boat as him when initially learning the ropes of the unit and how everyone fits. He’s the young and attractive one (I mean….), and he does exhibit those typical rookie traits: he’s rash and reckless and cocky and definitely not as cynical as any of the others, but at the same time he has a huge heart, he’s sweet and caring, and he can be as tough as hell when someone he loves is in danger. He doesn’t have the “tortured romantic” side to him and he has a typical cop family tree, but he’s the person I feel like most people can probably relate to - someone who puts themselves in harm’s way every single day for no reason other than he wants to make a difference. (1x01, 1x11)
  • Ollinsky is the other dirty cop, although he functions more as an assistant to the dirty cop. He has the tough coldness about him that you would probably expect Jay to have instead, if following these tropes by the book, and he comes across as very sinister and quite scary. And yet he is an absolute darling around Lexi and Michelle and when Lexi died and Meredith was kidnapped, he totally lost control. Despite all the coldness and being closed-off he is perhaps the most emotional of them all, grieving and crying and not caring about how tough he is when someone he loves is threatened. (4x16)
  • Attwater is the gentle giant of the show and although this doesn’t need much more explaining, he, alongside Erin, is also the token minority of the unit (even more so now that Antonio’s left and Burgess has joined Erin in Intelligence) and although this trope is constantly seen as a bad thing, using a token character to avoid criticism of being racist in casting choices, in PD Attwater opens the door to addressing cases of police racism, corruption and brutality against ethnic minorities, and the episodes in which they do deal with this, Attwater is quick to express his opinion on the matter and challenge within seconds everything that’s wrong with the institution and their society. But on top of all that, he has relatives in prison, he’s expected to be a big tough “scary black man”, but in actuality he looks after his two younger siblings and does stand-up comedy and probably gives the best bear hugs ever.

And the support system that these six men have together (or five, now that Antonio’s left) is incredible to watch. They understand barriers, they know when to push and when to give each other space, they all work together so well in such a potentially toxic environment without even a hint at this hyper-masculinity that is so huge in other cop shows. They’re all just bros.

What’s also great is that even though there’s a lil bit of that bro-masculine culture especially when Erin goes undercover and dresses up all nice, they’re never anything but perfect gentlemen. There’s no teasing and no sexist remarks about her legs or whatever, they all just seem genuinely impressed by how pretty she looks and how well she does her job. Adam even says things like “there’s about a thousand things I could say right now but won’t” because they all respect Erin and Burgess and support them as much as each they do each other. They don’t care if the women do better jobs than them, or save them, or shoot more accurately than them, and they’d never dream of undermining their femininity while doing so.

Other examples of the bros being bros:

  • Antonio getting Jay into the unit in the first place as a thank you for helping out Gabby (Chicago Fire, season 2 sometime, mentioned later when Antonio leaves)
  • Voight literally crying on Alvin’s shoulder after Justin’s death
  • Every single one of Jay and Mouse’s interactions, especially when they talk about their time in the military and Jay realises how much he cares about his friend when Mouse wants to re-enlist and when Mouse is taken hostage (4x05, 3x03)
  • Antonio and Voight’s entire friendship and the fact that Voight would go to such measures to help Diego even after Antonio was the one to put the cuffs on and send him to jail
  • Attwater and Ruzek being bros until the end and *sniff* the whole best man thing 
  • They all buy Antonio a zimmer frame when he gets shot isn’t that just beautiful
  • Ruzek hugging Al after Lexi’s death and his little “I don’t know what to say” and “can I hug you?” - like he knows Al might just want space but he has to let him know he’s there for him
  • They all get so upset when Jay is taken. Just watch the scene where they see the video of his torture and their faces break me. They can’t handle the idea that someone so close to them - their brother - is in so much pain. (3x01)
  • Seriously tho just look at these bros

Originally posted by jayhalsteadcpd

So I was just gonna write a few paragraphs and sorry this is so long but feel free to add more!! I want to know what everyone else thinks!

serahblacksnape  asked:

Some headcanons about the guys and their favourite(s) Disney film(s)?? Think about it- It's just TOO cute-

MMMMM - this would be cute!  I don’t really watch Disney as much (thus one of my good friends (or just @dawnthecreator​) saved my ass helping me with this) so, enjoy!

Nathaniel, hands down, favorite movie would be ’Atlantis: The Lost Empire’. He’s very much into mystery/action films and likes to piece the puzzles together before the mystery is solved. Regardless of him watching the movie multiple times already, he loves the plot it has as well as the diversity between the characters. In his own eyes, he thinks it’s actually one of the best animated films in the history of Disney itself. He’s definitely an Atlantis fan.

Originally posted by thereyouarewhereveryougo

Castiel doesn’t watch much movies in general. If he had to pick one, it’d be ’Pirates of the Caribbean’. He’s into action movies with some comedy in them and he’s definitely a fan of Jack Sparrow, even cosplaying as him once. The movie hasn’t kept him bored once, he’s always up for binge-watching it. Though he’s not a total movie geek he’s watched nearly all of the Pirates of the Caribbean movies and wouldn’t mind doing it again.

Originally posted by allisondearest

Lysander’s favorite movie is obviously Alice in Wonderland. His favorite part would be the unique traits of the movie as well as the chess-theme it composes of. ‘Unique’ being the characters and all of their personalities in one movie, he loves having to see so many different characters interact with each other. He also really likes the fashion Alice in Wonderland has the queens dresses, the checkered scenery, everything it just great. Thus, Alice in Wonderland is his favorite.

Originally posted by cohvenant

Armin can’t really choose just one movie to love, let’s be real. Being on a supposed ‘date’ with Candy, it’s his (or a geek’s) 2nd favorite way to pass time. One movie he’ll never get bored of, is Spirited Away. He’s equally into animated movies and live action, but one thing he loves about spirited away are the characters. There’s not one character that doesn’t stand out from the rest, everyone is good in their own way. He probably ships Haku and Chihiro.

Originally posted by dailyghibli

Kentin isn’t much of a movie person. He’ll watch a film here and there, but he doesn’t watch a lot of them. His favorite would be ’The Incredibles’. He’s into action/comedy movies and he likes how each (or most) of the characters have their own uniqueness to him. Not to mention he loves the plot, it’s a lot different from most movies he’s watched. He laughs every time when the ‘where’s my super suit’ scene comes on, he just can’t. He probably even snorted.

Originally posted by disneyasastrology

Cursed Child 04/05/17 Part One review:

Disclaimer: this recap will involve a lot of gushing about James Le Lacheur. Second disclaimer: even though I tried to make some notes in the interval, there are so many things about this performance that stood out which I want to remember and write about but I know I won’t remember everything because there was just too much.

So, this week we have James Le Lacheur’s last hurrah as Scorpius (which is very sad but let’s not dwell on that but rather her sheer brilliance). I’m going to go ahead and say it - she’s my favourite Scorpius. Now, she and Anthony are both equally brilliant. They are superb actors. It so happens Anthony got the Olivier (and deservedly, too) but I firmly believe that if James had the role full-time, she’d have got the gong. She is superb. When she is on stage I find it difficult to take my eyes off her: her emotions and reactions (she seems much more overtly reactive) are captivating and she has a command and a presence that is really incredible given that she has so little time, relatively-speaking, over the course of the year to develop and mould the role within the show. She doesn’t try to be Anthony and I love that although Scorpius still shares some of the same quirks, such as fiddling with his clothes. I also find that James plays the comedy differently. Her Scorpius gets laughs where Anthony’s does’t, and vice-versa.

Anyway, here we go:

I love watching Harry and Ginny on the platform. I know I’ve mentioned this before but them standing there with their arms around each other gives me all the feels, especially as they get put to the test a lot in the story.

Cases/Trunks: I was in Row A for this show so I was able to see details I don’t normally see. I noticed that Rose has a big, shiny new case with “RGW” on it in huge bold letters. In comparison, Albus’s case looks small, old and battered and has “POTTER” stamped on it in peeling letters. It looks like it could be Harry’s old trunk. This is gloriously metaphorical. Lots of people have talked about how the suitcases carried around in the show are also used as gravestones in the final scene, each with the initials of a dead loved-one, and how the kids are literally carrying around the emotional baggage of their parents.  It’s basically the same here, whether Albus’s case used to be Harry’s or James’s, he’s carrying with him to his first year at Hogwarts someone else’s history and identity that he doesn’t want, and which he feels he can’t match with his own. In contrast, Rose is already brimming with confidence, and carries no one but her own person.

I was so happy to have Tom Milligan back. I love him, he’s perfect for James Sirius. His James is the best and I missed him two weeks ago and I’m going to miss him lots when he goes. When James makes the thestral joke, Ron hands him on the shoulder and grins, as if to say “Good one.” When Albus begins to express worries about Slytherin, Ron and James laugh. Ginny and Harry both swung their heads around at them. Ginny definitely had a glare on, but I couldn’t see Harry’s look though I suspect it probably wouldn’t be as stern. I think Harry has a secret soft spot for James Sirius’s jokester nature. When Harry tells him off for teasing Albus on the Platform at the stat of second year, it’s very half-hearted and he fails to hide a bit of a grin. James then playfully slapped Harry in the stomach with his “See you at Christmas, Dad” and the way he said it - I could tell he felt he wasn’t really being told off and Harry just grinned at him, he couldn’t help it. I imagine that James and Harry have a very easy relationship. James takes after his namesakes and has a lot of Weasley (notably Ron and the twins) in him too. I think Harry is really fond of his light-heated nature and secretly a little proud of the level of prankster that James is. He also loves that James carries the quidditch talent and I imagine that when James first got onto the team, Harry would try to make as many matches as he could. Harry, as he says, understands James because he’s seen so much of who James is before. He has seen James in Ron, he saw him in Sirius, he saw him in Fred. Albus, is of course, far more like Harry than James and in consequence Harry can’t understand Albus, because it would be like trying to analyse himself. Of course, the ease with which Harry and James rub together only aggravates Albus’s insecurities. I also think that Harry doesn’t entirely take James’s teasing seriously.  I think, when it’s about Slytherin, for example, something Albus is really insecure about, the teasing hurts him much more than Harry or James realise.

That being said, James allows himself to tease Albus but he doesn’t allow anyone else to do so. When Albus got sorted into Slytherin and Yann said “Maybe his hair isn’t that similar…” James hit Yann and gave him a very brief glare that plainly said “Shut up about my brother” and Yann (played by Josh Wyatt) retreated. I think James would have hexed an Albus bully so fast they’d never have seen it coming but the fact that James and Albus are in different houses and different years means that James isn’t in a position to protect Albus all the time. It would also possibly make the teasing worse - Albus would be teased even further for having to rely on older brother for his defence.

Speaking of different years, I can confirm that the school robe designs do vary among the different year groups (you can see this best during the First Task in the Twiwizard Tournament).

Within the first two years of school, James Le Lacheur talks in a higher pitch than he does in the rest of the play to emphasise that Scorpius is younger in these scenes. In third and fourth year her voice drops. I love that she added this detail. Also, she is so delightfully awkward and bumbling in the scene on the train (and in general) when Scorpius first meets Albus. So endearing.

On the platform for third year when Albus and Harry are at odds, a passer-by who was watching (played by Nuno) actually laughs out loud them, in a nasty way. Harry turns around and looks at the man. He was facing away from my direction to look at him, so I didn’t see the look he gave but I imagine that if looks could kill… I really liked this detail. One of the things overlooked in discussion of this part of the story, though not understated in the script, is that gossip dogs Albus as soon as he is sorted into Slytherin. Amos Diggory had “read about” Albus, the “Potter, who is in Slytherin”. Dumbledore hears gossip at the school and at the Ministry. I imagine Rita Skeeter had a field day when she first heard about Albus being sorted into Slytherin. Harry is used to gossip and rumours and I imagine he has a much thicker skin for it by now, but Albus is just a child, the child of the most famous wizard in the world, and not only does he have rumours within school, but outside of it. Every person he meets knows his name, not because they know him personally, but because they’ve read malicious rumours about him and it all comes down to the fact that he, in the eyes of others, doesn’t match his Dad, So Albus internally rationalises this into being all Harry’s fault. It’s hard enough to have a difficult relationship with your parent, but dealing with it in the public eye, with everyone guessing at things and spreading the guesses, must be absolutely awful and it’s bound to affect that status-quo of said relationship. It just makes it all ten times worse.

During the first EGM, I was able to see into the wings of the stage because my seat was at the far right of the aisle. Someone (Anabel, I think) was waiting just out of sight for the St. Oswald’s scene that followed, and her walking frame suddenly started to shoot toward stage far too early. She darted out to grab it before the EGM got interrupted by a walking frame. It didn’t get as far as on-stage so you wouldn’t have seen it unless you could see into the wings. General audience probably wasn’t aware but it was funny.

Ron and Ginny are both in the EGM and when Hermione mentions Harry’s scar, Ron approaches Ginny in the crowd and talks to her. It looked like a “Why didn’t you tell me?” type-thing.

Tom Milligan plays the carer who loses his trousers in the St. Oswald’s scene. He’s also one of the people who pushes the walk against Albus and Scorpius. This isn’t visible to general audience, but he’s still in his boxers when he’s pushing the wall.

I mentioned this two weeks ago but when Draco roars at Ginny after Albus and Scorpius go missing, Harry’s hand whips to his wand and he’s ready to curse the absolute shit out of Draco. The look on his face is murderous. I’d shit bricks if Harry looked at me like that. Of course, Ginny handles it herself because she’s awesome but Harry’s hand doesn’t leave his wand until Draco leaves. Now I’ve noticed this detail (only took me year - oops), I’m absolutely obsessed with it. All the Hinny feels, you guys. <3

More on Harry: Jamie’s waistcoat thing is quite well-known by now (and it should be) but another habit he has is taking his glasses off. He does it when he’s tired, or stressed, or frustrated or emotional. It’s as if he finds it too hard to look through his own eyes, as if it’s too tiring, too strenuous, to see what Harry Potter sees.

When Harry was ordering McGonagall to keep Albus and Scorpius apart, he normally slaps a hand down on the Marauders Map on McGonagall’s desk. It fell off, and he picked it up off the floor and slammed it down again. As a Harry fan, I find this scene really hard to watch because I don’t like his words and actions even if I understand his reasoning behind them. It’s the uglier side of his flaws. But of course, he recognises his mistakes later and makes up for them, because my boy is a heroic human being and that’s perfect example of a flaw and a strength.

When Albus leaves the hospital wing with Harry and meets Scorpius and tells Scorpius that “We’ll be better off without each other, OK?” James L stumbled back at these words, as if Albus had just run him through the gut with a knife. It was a perfect example of how she is so brilliant. She didn’t stay staring at Jamie as Anthony normally does but immediately crumbled to the floor as though in physical pain. Powerful stuff.

Hermione in the first AU: I love how Noma plays her in these scenes, it’s really beautiful. In particular, I love the manner in which she leaves the DADA scene. She walks off stage slowly, bringing the blackboard with her her hand. She’s half-commanding the blackboard but also half-steadying herself with it too. She walks off with such a straight back, her head held high, so dignified despite her personal internal pain. It perfectly exemplifies why Hermione is such a role model - not because she’s clever or becomes Minister for Magic, but because she’s brave and steadfast in her grievances and carries her burdens with grace and dignity, walking into and out of battles with her head held high. Another thing I love in these scenes is that when she and Ron meet on the staircase and he starts talking to her about Albus thinking they were married, she looks away from him and keeps facing away. I get the sense that as she’s hearing this, if she were to look at him, she’d break, because she loves him so much and it causes her such agony that they aren’t together. Having to look at this love of her life, whom she can’t be with, would just be too much for her composure.This scene is the most heartbreaking scene between them: it’s worse than the Dementor scene by far.

The library scene. Oh my, the library scene. It is nothing short of a privilege to see James do this scene. I remember the first time I saw her as Scorpius back in December and this was the stand out scene but this time around I was two rows closer and oh, my God. You could have heard a pin drop in the audience, she just floored everyone. I think I was sitting there with my mouth open, I was transfixed and I had no time to look at Sam, I just couldn’t tear my eyes from James. The way she screams out frustration with Albus, finally at the end of Scorpius’s tether and the way her body moved and twitched and curled, as if someone was performing the Cruciatus curse on her as she spoke about Astoria. The sobbing, the tears and the snot and everything. This was the most heartbreaking thing I’ve seen so far in this play, and that’s saying something. Honestly, I just can’t find words to express how powerful she was. It felt like the Earth had moved.

I love that Albus hands back the time turner when trying to get Scorpius under the cloak, it’s like a peace-offering and a gesture of trust. I love how James, when McGonagall left, sat so rigid and proud, her Malfoy showing, determined to be stoic and dignified after pouring her heart out but then when she admits that “I didn’t much like my life without you either”, the biggest smile split her face, as if Scorpius was for a moment, taken away and just living the pure happiness that Albus brought to his life. Albus then pulled Scorpius into a hug and Scorpius shrieked with shock as Albus did so which was funny and adorable; he’s just so uncomfortable with all this contact. James is a very shrieky Scorpius (which works brilliantly when Jamie plays Scorpius in the Polyjuice scene and gets all overexcited about the books). As I’ve said, James gets laughed where Anthony doesn’t and vice-versa. When Scorpius was talking about actions creating ripples and how they created “really bad ripples” the way she said those three words, so dramatic and dark, made the audience laugh out loud. I wish I could describe it, it was fantastic.

I always make these things too long! That’s all I can remember for now. Part Two in a few hours!

RUSHISO’S JAPANESE DRAMA & MOVIE LIST (update: 6.3.2015)

DISCLAIMER: THIS IS NOT COMPLETE, BUT I WOULD POST THIS LIST ANYWAYS.

here are some of my highly recommended must watch japanese series and movies! I have included my personal thoughts about it and some pictures would contain spoilers! 

BE READY TO CRY, LAUGH, GET MAD, AND GO CRAZY if you start to watch japanese dramas and movies. I swear to god they’re the best thing ever. everything is unique on it’s own. my favourites would be the tear jerker films though. 

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Reasons Why Bebop & Rocksteady RULE OOTS
  • Yannow, our very first look at them you take em seriously.  They’re all chained up in the back of a high security vehicle, ready to be escorted to prison.  Rocksteady’s all grim and that ultra close-up on Bebop’s profile is sinister as fuck. These guys are dangerous! They’ve done some serious crime and now they’re gonna do some serious time. Why else are they being transported with the Shredder? Just the three of them?
  • Then they both sigh in relief he’s shackled up away from them. Okay, they’re knuckleheads. Dangerous knuckleheads, maybe, but knuckleheads all the same. <3
  • Rocksteady’s all fangirling and Bebop’s just supportive af of it. How many times has he listened to Rocksteady sigh and swoon over the Shredhead? Now the moment has come and he won’t let his man miss his chance.
  • That POP on BeBOP is cute af
  • omg they just slide right into a little banter easy as pie and holy shit they’re already having a fucking great time! you can see straight away nothing amuses these guys more than each other and they don’t give a damn if everyone else around them is baffled or bewildered. 
  • “My man!” “My man!” o m ggggggggggggggggg (●♡∀♡)
  • they can’t fist-bump so they foot-bump. Nothing will stop these guys showing their physical appreciation for each other! they’re in love and they don’t care who knows it!
  • wait, their truck is being bombed? explosions all around? mayhem and chaos and possible imminent death? Time to PARTAAAAY! they are all into it and loving every minute. This is the shit these guys live for and you can’t help but revel right along with them. Can you imagine when these guys first started dating? Say what you will, but they sure know how to show a fella a good time. ˉ̶̡̭̭ ( ´͈ ᗨ `͈ ) ˉ̶̡̭̭
  • They might not be that bright, but they know an opportunity when they see one.
  • And there’s some serious satisfaction in watching them bash the snot out of that bland, banal excuse for Casey Jones. or was that just me?
  • “Heeeeey, my name is Be BOP!” I LOVE that moment cos it really shows these guys are mad, bad and dangerous to know. That’s a nasty kick to the face and it’s done in a nastily gleeful way. The fun here is they’re so much damn fun but… you really should take ‘em seriously too. They’re bad guys. 
  • “Hi”. Ditto this moment. He kicks that cop right out the damn truck into the middle of a highway.
  • And the next thing you know, they’re sitting around laughing and toasting each other over it all. Make no mistake, these boys love what they do - especially the nasty bits.
  • Also, it’s so fucking adorable they just go right back to their favourite bar, no disguises, in broad daylight. Dweebs. <3
  • Every single damn thing about them is so boisterous and unrestrained and flamboyant and it is a beauty and a joy forever.
  • Bebop deathstaring the barkeep and cautioning him against making eye contact. It’s hilarious cos it’s hard to take him seriously, but the ironic part is the barkeep probably should…
  • ROCKSTEADY’S WISTFUL LITTLE DREAMY MOMENT OMMMMMGGGGGGGGGFGGGGGGGGGG IT IS SO SWEET THE WAY HE STARES OFF IN YEARNING AND DREAMS SO BIG!  (。♥‿♥。) er… even if his dreams are to start a major crime syndicate. it’s still cute af!
  • And Bebop is right on board with it all, spinning the dream into an even grander fantasy. We know they’re way too incompetent to ever get their shit together and make it happen, but they’ve got each other’s backs all the way. These two would stick together to the bitterest of ends.
  • The way Bebop polishes his knife is hot, shutup. 
  • They’re so very scared of Shredder and it’s so very cute.
  • Look at these dweebs; they’re thrilled to be on board with the big bad Shredhead. Look at his digs, they’re schmick af and what was that he was saying about ultimate power? They’ve hit the jackpot this time! 
  • Looming in the back looking all beefy and badass. If we didn’t know they were such utter dorks, they might even be intimidating.
  • Kids in a candy store, messing around with Baxter’s undoubtedly super expenno and very important equipment. No matter where they are, or what they’re doing, these boys are focused on fun, fun, fun, the messier and naughtier the better. That childlike charm jars oh so deliciously with their thuggery and viciousness. <3
  • FUNNEST, FREAKIEST, MOST FABULOUS TRANSFORMATION SCENE EVER!
  • AND THEY LOVE IT! Instantly, completely, wholly and unhesitatingly embrace the ever loving fuck out of that shit.  I did NOT expect that, but it makes them all the more delightful. They’re ecstatic, amped up on the new power throbbing through their veins, thrilled by their new bodies. They completely accept each other’s new looks as well, laughing together as Rock squeezes Beebs’ shoulder, not grossed out or put off in the slightest, affirming how strong and deep their bond goes. They’re keen as mustard to find out what all they can do, roughhousing without restraint or rancour, just love, love, love, LOVE.
  • And hey, you wanna know what? I’ve just pegged onto what makes this duo so damn appealing. It’s love. Everything they do, everywhere they go and every dream they have, it’s out of love. Love for each other, love for violence, love for mayhem, love for what they are, love for fun. There’s no hate or spite or anger or bitterness to them. Just joy and amusement and sheer, sweet love.
  • HOLY SHIT THEY CHECK OUT THEIR DICKS. CODE RED, THIS IS NOT A DRILL. A TMNT MOVIE AIMED AT A YOUNG AUDIENCE FEATURES TWO MASSIVE MUTANTS OPENLY AND UNMISTAKABLY CHECKING OUT THEIR JUNK, BEING VISIBLY THRILLED WITH WHAT THEY SEE AND FUCKING FISTBUMPING EACH OTHER OVER THAT SHIT. ARE YOU KIDDING ME. DID THAT JUST REALLY HAPPEN. DID I REALLY JUST SEE THAT, IN A TMNT MOVIE? I CAN DIE HAPPY. 
  • Also their reactions are just so cute. Rocksteady’s waggly ears, the kiss he blows his own dick. Bebop’s dangling jaw and flickering ears, the huge grins they give each other and, of course, the delighted MY MAN. Ooohhh, and Bebop points to Rock. 🎶I know what they’re gonna do laaa-terrrrrr! 🎶 (ᗒᗜᗕ)՛̵̖
  • “Check out my tail! Wiggle wiggle wiggle!” I die.
  • Pigging out on drums filled with spaghetti and meatballs and we can see just how easily they’ve adjusted to their new lifestyle. We all know these guys were slobs before and they’ve just embraced this opportunity to really just unleash their wild sides! 
  • Awwwww, is Bebop worried about his body? The sweet-soothingness in Rock’s voice as he comforts his companion is swoon-worthy, they’re so supportive and loving of each other and OH MY GOD! BODY POSITIVITY! SO. MUCH. BODY POSITIVITY RIGHT NOW I CANNOT HANDLE IT! THEY’RE SO FUCKING HAPPY WITH THEMSELVES AND EACH OTHER AND LOOK AT ROCKSTEADY JUST RIGHT OUT THERE CELEBRATING HIS MAN’S BIG, JIGGLY BELLY AND HOLY SHIT BEBOP IS JUST LAPPING IT RIGHT UP OMG HE LOVES BEING FAT AND ROCK LOVES HIM BEING FAT AND HAS THERE EVER BEEN A MORE PERFECT OTP IN THE HISTORY OF EVER???? \(-ㅂ-)/ ♥ ♥ ♥
  • Woah and if you look close, you see it now - Bebop looks upset and confused when it seems at first Rock is telling him he’s not fat! And a big smile just races up his face when Rock tells him he looks REALLY fat! Can these two get any more gorgeous?
  • But - but that means that Rock knew what Bebop wanted to hear and that kind sensitivity in his voice was to reassure his man he’s got nothing to worry about, he’s fat as fuck. OMG THEY JUST GOT EVEN MORE GORGEOUS.
  • Also that whole scene is so obviously foreplay. Slapping that belly, Bebop’s ‘blubby blubby’ sounds, the big grins, the cries of ‘my man!’ - it’s intensely erotic and if Shredder and Karai hadn’t interrupted them, this movie would’ve been x-rated.
  • Also can we celebrate the animation detail? All. that. jiggle. hnnnnnnnng.  ( ♥ ټ ♥ ☚)
  • I’m sure Rocksteady deeply appreciates the suction skills Bebop is showing off right there. *ahem* 
  • The way Beebs grabs Rock for them to charge that meteor shard together, it’s just so cute! <3
  • “Smash it” “That’s what we do!” - and you do it SO well. <3 But seriously, I love that everything they do can basically be boiled down to those two simple words. And I mean everything.
    (ie: each other’s butts)
  • “My speedo’s already packed!” - eeeeeeeee, don’t tease, I wanna see THAT! (๑ ิټ ิ) But omg all that excitement is just too friggin’ cuuuuuute!
  • AHHHHHHHHHHHHH they’re destroying the Amazon rainforest yet somehow it is so damn cute??? Bebop singing along to his tunes, the relaxed happiness on Rocksteady’s face as he joins in, their uninhibited and unrestrained joy as they live it the fuck up!
  • Oooohhhh that fistbump after they blast open the meteor is somehow sexy as fuck??? It’s just so casual, so second nature to them, swoooooon! <3
  • To say nothing of their huge, lumbering forms as they stride towards it.
  • The turtles first look at them. Lost for words. <3
  • Bebop smoothing his ‘hawk, and Rocksteady ain’t too impressed at Mikey’s dig about it either. They got each other. 
  • Their squeaks and snorts and growls and grunts are just <3 <3
  • That clothesline Beebs floors Leo with is BRUTAL.  It’s not fat, it’s POWER.
    Okay, it’s fat too. 
  • And Rocksteady bodyslams Raph like it’s no big thing. Woof!
  • “Woah, MUMMMMYYYYYYYY!” I’m sorry, but it’s beyond adorable that Rock calls for his mum when Raph chucks him across the hull.
  • That little chuckle as he climbs up behind that machine gun! <3
  • “Dude! Seriously?” That’s the closest we ever get to seeing one of them cranky at the other, and he sounds irritated more than anything else. Nothing comes between these two.
  • OMG Rocksteady owns his fuckup like a man. That is a rare thing to see. Hell, not even the tmnt are capable of doing that 90% of the time! Between this, the body positivity, and the unstinting emotional support they show each other, these guys are just about the most adorably social justice warrioring violent, ruthless villains around! ヽ(o♡o)/
  • “This pig is flyinnnnnnnng!” - it’s sheer, solid, 24 carat gold. Bebop, you chubby delight.
  • He just fell 30,000 feet out of a plane and Bebop is still laughing and rearing to go. That bellyflop is the most adorable thing ever. <3
  • Rocksteady is having THE TIME OF HIS LIFE riding that tank down the river, firing the cannon, punching the sky. That is some fine living.
  • EEEEEEEEEEEEEEEEEEE the way Rock catches Beebs, “thanks buddy!”, Rock’s hand on his shoulder, Beebs fixing his ‘hawk, the adoring way they gaze at each other, the fistbump, just, just, just, EVERYTHING, god, how are they so fucking perfect??? ♡✧。 (⋈◍>◡<◍)。✧♡
  • BUT HERE’S A GOOD POINT: Beebs and Rock work amazingly as a team. They don’t beat the turtles here because they’re as smart, or as skilled, but because they know how to work together and they’ve always got each other’s backs. From the start of the film that team work has been in effect and serving them hella well. It’s yet another key indication to how functional and actually healthy their relationship with each other is - at this point in the film, more so than the turtles have got!
  • H O L Y S H I T those two big fat boys on their big fat boys, help me, I’m swooning so hard the world is topsy turvy Σ_( ♡ ཀ ♡ 」∠)_
  • Bebop flipping cars easy as that. The mighty power of all that brawn. Hubba hubba. 
  • Rocksteady kicking Casey clear across the room. POW.
  • “Get over here, little boy. Put down that popsicle stick”. (✽´ཫ`✽) *panting heavily*
  • Rocksteady charging whilst Bebop follows close behind on his bike.
  • Rocksteady charging. I mean, WOW. I mean, that’s fucking awesome. I mean, I need a cold shower.
  • The looks on the faces when they realise that’s one of their own damn grenades! (ᗒᗜᗕ)՛̵̖
  • And that final “my man”, complete with the unmistakeable slap of Bebop’s hand on Rocksteady’s shoulder. Even here, when they’re outsmarted, blown up, trapped and defeated, they’re not bickering or blaming each other. They’re still just as affectionate and supportive. The ultimate power couple. <3
  • In conclusion, Bebop and Rocksteady steal a truck, steal an artifact, steal our hearts and ultimately steal the show. They’re two dangerous and vicious criminals who’s idea of a good time is destroying shit, kicking butts and crushing skulls, who show no signs of remorse for any bad deed they’ve done and yet they’re also insanely supportive of each other, totally loyal and devoted, celebrate each other’s bodies, are completely at ease with themselves and easily embrace the dramatic changes they undergo, love to have fun, work brilliantly together as a team without having a single serious squabble or fight, look out for each other all the way and are all too obviously truly, madly, desperately in love. They’re a glorious study in healthy, happy romance and light up our lives every second they’re onscreen, sharing their joy. They’re a precious, precious gift we must all remember to treasure forever, because Bebop and Rocksteady remind us all what it means to live, love and laugh like there’s no tomorrow, and thank god for that. 

hayaku14  asked:

Hey are you still taking up prompts?? :D I loved your 'i thought you were dead' drabble so much omfg I'm such a sucker for near death stuff :'D Anyways, can you do #7 for Miyusawa :333333333 ohohoho~

[“I almost lost you.”]

(-wheezes- Near death fics are so painful my god I can’t. My heart. What has this fandom done to me. Thanks for the ask, although please be careful of the broken shards of what remains of my heart.) There’s only so many ways to write a near death fic right?! For maximum pain, I suggest reading with the music on. Or to River Flows in You  as that is my go-to sad music.

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This is my first Fic Care Pack for your Sterek High School AU needs. A Fic Care Pack is basically a huge, absolutely massive, fic rec list. There are 112 fics, divided into two parts: A Part are fics that I would like to read over and over again (includes a surprise under the cut), B Part are fics that I had fun reading and would recommend, even if they aren’t my favourites.

If you have any suggestions, send them in my ask box and I’ll see about putting it in the revision. You can also send me theme suggestions for the next Fic Care Pack.

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anonymous asked:

Hiya, Ashlee! Could I bother for just a second? I'm having quite a bit of trouble writing lately; I have an idea set for what I want to write, but I just can't get the juices flowing enough to press my fingers to the keyboard and make progress. There are somethings I REALLY want to get to, including a huge project I want to get moving, but I can't shake away this block holding me back. Do you have any tips on how to break away and get to writing again??? Thanks! -That sweet Anon from earlier. :D

Hey sweet anon!! You’re not a bother at all, I’m actually flattered you’d even think to ask me. :)

I understand perfectly well what a bitch writer’s block can be. I have a few different methods I use to break through it, so I’m just going to throw them all at you in no particular order and hope that one of them helps. 

Disclaimer: some of them will be contradictory because every case of writer’s block is different and what works one time might not work another. Also take everything with a grain of salt because a) I am sadly not a professional author, b) I am probably terrible at giving advice and c) it is very late and I may or may not be high on cold and flu medicine. 

Let’s go!

  • That scene that you can’t get out of your head? That one exchange of dialogue that keeps echoing through your thoughts, even though you have absolutely no idea who’s saying it or why? That little spark for your big project that makes you get butterflies in your tummy, the idea that started it all? Write it down. It doesn’t have to make sense. It doesn’t need any context at all. Don’t bother about stitching it into a larger plot or universe right now - just get it on the page. Yeah, it’s not going to sound as good on paper (or screen) as it does in your head, but it’s no good to anyone if you just keep it up there. The important thing is to just start writing. Worry about everything else later, and just start with what you have. You never know what could flow on from there.
  • But Ashlee, I hear you say, What if I don’t have any scenes or dialogue yet?! Never fear! If all you have is an idea - not even a plot, just a raw, basic, idea - you’re still good to go. 
  • Grab yourself a nice big piece of paper and write your idea down in the middle of the page. That’s right, we’re going to mind map this bitch. I find it helpful to use different colours for different things - one colour for character ideas, one colour for plot ideas, another for sub-plots, another for backstory, etc. etc. Apart from that, there’s no order to this part. Literally scribble all over the page, wherever you like, whatever comes to your mind. If one idea links immediately to another, sweet, draw a pretty coloured line between them and give yourself a pat on the back. If not, it doesn’t even matter. You’ve got plenty more paper to fill, so just leave that lonely little idea floating there in your cloud and move on to the next one: they’re all going to link up eventually, so don’t feel bad for it. 
  • Once you’ve got your awesome multicoloured mind map, step back from it and admire your handiwork. Look at all those words on the page! You did that! You deserve a cookie. Go get a cookie and then come back to your pretty mind map. It’s time to turn it into some not-so-pretty documents.
  • Group ideas based on colour and type them up into separate documents: At this point I normally do one for characters, one for plot and one for whatever the hell else I wrote down in my initial creative frenzy. 
  • Let’s start with the character document. I love characters. I especially love my own characters. They’re like my babies. (My teenaged, fictional babies.) But at this point in the process I don’t give them very much attention. I write down what I’ve got - usually a physical description, age, what their main goal/motivation is and some defining features that have bearing on the plot (eg. selfish, over achiever, etc.). 
  • And then I leave them alone. I’m a big believer in letting characters grow and develop over the course of the plot, so I don’t like to cram too much information on them immediately. Some people fill out massive character forms, but I’m not about that. If I know I want them to start out one way and end up a changed person by the end of the story, of course I write that down. But it is literally in the form of: “Starts out selfish. Develops heart/conscience. Sacrifices own happiness/original goal for others and ends up getting happiness through that act anyway.” Bam. Done. No more detail needed right now. Say bye to your babies and move on.
  • The plot document is next! You’re going to use a lot of headings and bullet points here. Probably. I do, anyway. Now is the time for me to introduce my good friend - outlining! (Outlining and I are actually not friends. We’re more like begrudging students who got paired up for a group assignment and really don’t want to work together but know that we have to in order to get a good grade, so we’re all passive aggressive and complain about each other to our friends for the whole project but end up pulling it together at the end and getting a pretty good mark. But whatevs.)
  • Take the points from your mind map and put them into a rough chronological order. After that, try to fill in any gaps you have, but don’t feel too bad about empty spaces. If you need to write “Something awesome happens here and they escape” just go ahead and do that. No one will judge you. Once you’ve got a big, very rough plot outline down, the fun really begins. 
  • Take that outline and break it down into three acts. Beginning, Middle, End. Simple, right? Now take each of those sections and break them down into chapters, where one big plot point/event/development occurs each chapter. Underneath the chapter number and the summary of the plot development you just assigned to it, break it down into three scenes (by scenes I don’t necessarily mean scenes, like how they use the term in screenwriting, I more mean it in the sense of pacing/emotional beats). In these scenes it’s good to make notes of any new characters or plot developments being introduced.
  • Here’s an example from the first draft of the outline I did for my novel.
    ACT I:
    Chapter 1: Introduce Jenna, Harper, Elle and Gabby as they move into their new dorm for their final year of school, and Jenna finds the weird old book.
    Scene I: Jenna saying goodbye to her dad, moving in with the girls and giving a basic rundown of how things work at this school/are different from what she’s used to.
    Introduce basic physical descriptions and history of the girls.
    Introduce Jenna’s dad being a professor on a research trip, hence the boarding school.
    Scene II: As Jenna’s unpacking and putting her stuff away she discovers a secret compartment in one of her drawers, inside of which is the book with notes about a storm and a shipwreck.
    Scene III: Jenna’s first day of classes.
    Establish Jenna as a good student.
    Introduce Bill the prefect.
    Introduce Chekhov’s Gun!!!!
  • You see some scenes are more detailed than others. I haven’t gone into what each scene really entails, and I haven’t even got a Chekhov’s Gun yet, I just know that I want one. Because Chekhov’s Guns are one of my favourite tropes and I love them. But anyway. The point of this outline isn’t to be super detailed and to have your entire story worked out - it’s simply to give you little breadcrumbs that you can follow when you get lost. They’re just jumping off points that remind you of all the bases you need to cover. 
  • If you have any snippets of dialogue or specific ideas you know you want to include, they’re just added bonuses you can put in their corresponding scenes. 
  • Don’t panic if you don’t have enough information to do an outline like that for your entire story! At first I actually only did an outline like the one above for Act I. Act III got a single paragraph summing up how I wanted the story to end, and Act II only got a few disjointed sentences with lots of question marks at the ends. But it didn’t matter, because I had a starting point, and as I wrote other stuff came to me and it got easier to fill in the gaps for the rest.
  • If you’ve made it this far go get yourself another cookie, because you’re being a real trooper. 
  • As you write, if you come to a scene that’s not working, skip it. Move on. Come back to it later. Maybe you don’t even need it, or maybe you just aren’t looking at it the right way at the moment. Whatever the case, let future you deal with it and just jump ahead for now.
  • If you want to go ahead and write random scenes in no particular order at all, do it. I do it sometimes, and store them in a separate document until I get up to that point in the manuscript. Then I copy and paste them in, do a bit of tweaking and reward myself for how much my word count just jumped with very little effort from my present self.
  • If neither randomly writing nor outlining is helping you, go ahead and step back from the project a bit. Go get another cookie. Go sit in the sun. Go for a drive with the windows down and try to find the exact words to describe how the wind feels against your face. Do not feel guilty for this. Everything is research.
  • When you come back, you don’t have to dive straight back into the proper writing. Make a playlist for your story. Choose a fancast. Make edits. Go searching for random prompts that don’t match your plot at all but will be a good exercise in character. Not everything you write has to have the goal of being in your final draft.
  • That’s a really important thing I’m going to emphasise: Don’t look at this with any sort of finality. First drafts are always crap. They’re meant to be crap, it’s why they’re called first drafts. A lot of the words you write today are not the words that are going to get published, so who cares if they don’t quite flow? They’re there, you wrote them, and that’s all that matters.

I have no idea if this makes any sense at all - I definitely went off on a few tangents - but I hope that you find something in there that can help you get past writer’s block. Feel free to message me if you have any questions or comments, and good luck with your projects!!

Notes from the show: Scorpius & Albus

Alright so I went to see the play again this weekend (so at Saturday 15/10 and Sunday 16/10) and seriously I could ramble about this play for centuries but here’s a very quick recap of some of my favourite assorted Scorpius/Albus moments over the weekend:

Keep reading

10

With the 25th anniversary of its very first episode coming up in November, and FXX currently in the midst of a full series marathon ahead of the launch of its Simpsons World, we here at Hitsville have chosen our some very favourite episodes from everyone’s favourite Springfieldianite family.

Bart The Daredevil (Season 2, Episode 8)
chosen by Megan Fozzard
“Bart the Daredevil” was the first Simpsons episode I ever remember watching (not when it originally aired, I’m not that old).  As I watched it, I was about as transfixed as Homer and Bart watching the advert for the Monster Truck Show featuring Truckasarus in the opening few minutes of the show. This newly found programme was hilarious to 10 year old me and a transition between ‘kids’ and ‘adults’ tv. And I couldn’t believe that according to the TV Guide it was on every single night on BBC2 at 6 o’clock, which was right after dinner as well (when the programme moved over to Channel 4, this lead to a dark era of ‘kids’ to ‘adult’ TV which introduced me to Hollyoaks).  I wasn’t really watching for the ingenious cultural references and satire that has become a hallmark of The Simpsons, such as Dr Hibbert showing Bart a ward of children that have been injured trying to copy violent things they have seen on TV and commenting that ‘as tragic as all this is, it’s a small price to pay for countless hours of top notch entertainment’.  I didn’t really understand all that yet. I was in it for the slapstick, as Homer accidentally tries to jump The Springfield Gorge with a long sequence showing him hitting various rocks on the way down, only to be airlifted back up, and then the ambulance crashes and Homer is heading back down the gorge again on a stretcher hitting the same rocks. Looking back, it was a great introductory episode of The Simpsons for me, showing Homer as the manchild parent and Bart as the mischievous boy, but of course I’ve learnt they’re more than just that in the past 11 years. Happy Birthday, The Simpsons!

Three Men And A Comic Book (Season 2, Episode 21)
chosen by James Daly
“Three Men And A Comic Book” is perfect example episode of The Simpsons. The plot is based around Bart (my favourite Simpson), but the main appeal for me is that the story is original. I know it’s riddled with homages, but the story isn’t a carbon copy of anything else and that gives this episode an integrity that many others just don’t have. For those who haven’t seen it, the plot follows Bart as he teams up with best friend Milhouse and resented acquaintance Martin in order to pool their funds and buy a rare Radioactive Man comic book. It’s not long before the alliance gives way to bickering as the three decide to the keep the coveted article in Bart’s tree house and all spend the night resulting in a sort of Lord Of The Flies styled conflict between the three that ultimately ends with the comic book being destroyed. The weight of this tragic occurrence is cleverly juxtaposed by Homer and Marge’s complete ignorance of the turmoil that the three-way comic book ownership caused, suggesting that what’s important as a child may not be when all grown up. On a personal level, this episode really appealed to me when I was younger because it combined my love of superhero culture – which I was a bit too removed from and therefore even more fascinated by it – with my childhood desire to have friends over and stay in a treehouse.

Mr Plow (Season 4, Episode 9)
chosen by Josh Bunham
“Do you come with the car?” I once got really drunk and broke into my girlfriend’s bedroom to tell her I loved her, made her watch Mr Plow with me and then fell asleep on her kitchen table table. That’s how great this episode is. That’s how quotable this episode is. I thought that if I didn’t get my girlfriend to watch it at that moment then we might spend the rest of our lives slightly out of sync, with her never quite knowing why I was telling people I had been at a pornography store, buying pornography. I would argue that Mr Plow is possibly the most quotable episode of The Simpsons ever. I know a lot of people would argue with me but….witch-ah. Yes, I do expect you to agree with me because I made a stupid noise. Homer and Barney find themselves pitted against each other in a lot of other episodes, but there are very few where they prove how much they care for each other as friends. Guest spots from Adam West and Linda Ronstadt (who she is I’m still not really sure but, Senor Plow no es macho…) are among some of the best executed in the history of the show and top off what is simply a perfect episode from a perfect season of a perfect show. 

Lisa’s First Word (Season 4, Episode 10)
chosen by Liam Whear
The Simpsons is a show without continuity, yet still one that involves you emotionally. Maybe it’s the sheer power it’s held over pop culture since its 1989 debut, making these characters unescapable. Or maybe it’s the sheer quality in the show’s writing during its peak. “Lisa’s First Word” is a shining beacon of this. It’s also hilarious. What works best about “Lisa’s First Word” is it creates a great snapshot of 1983 America, struggling in the grip Reagan bought down on it, as young families have to adapt to survive. Marge and Homer nearly have the chance to own their dream house crushed because of monetary woes, until Grandpa Simpson comes through in a heartwarming scene. The Soviet boycott of the Summer Olympics puts Krustyburger into bankruptcy. Cyndi Lauper is topping charts. The world seems to be on the edge of something but it doesn’t know what. In between all this confusion, Homer and Marge somehow find the time to bring Lisa into the world. Straight from Marge’s announcement of her pregnancy, scriptwriter Jeff Martin places the emphasis straight on Bart. His prankster side becomes a lot bitterer, screenwriter Jeff Martin capturing how it must feel for a baby boy to be shoved from the spotlight. It becomes almost emotionally draining to see him being ignored by Patty and Selma, and to see him taking his jealousy out on here. But it’s ultimately rewarding in the payoff, when Lisa’s first word is ‘Bart’, setting up the close yet feisty relationship Bart and Lisa develop throughout the entire show. The emotional dynamics explored in “Lisa’s First Word” have certainly been touched on an infinite amount of times before, and an infinite amount of times after. But “Lisa’s First Word” simply does it the best, and in a mere 20-minute episode that doesn’t sacrifice humour for sentimentality. And of course, there’s that perfect bittersweet ending. You know what I’m talking about.

Marge Vs The Monorail (Season 4, Episode 12)
chosen by Joe Murphy
There really is nothing on earth like a genuine, bona fide, electrified six-car monorail. There may be more important episodes of The Simpsons, more inventive or possibly even funnier ones, but few condense everything brilliant about the show into a single package as neatly as “Marge vs. The Monorail”. Every line is perfect, every visual gag inspired, and it is as good an episode as any in the fourth season to mark the point at which The Simpsons embraced a new level of weirdness and never looked back. Above all else it offers a quite literally show-stealing turn from Phil Hartman, the greatest guest voice-actor the show ever had (Can it really be a coincidence that the golden age of The Simpsons ended around the same time that Hartman died?). The people of Springfield banding together in an act of mass idiocy was a theme the show had used before, and would continue to use to great effect for years to come, but here it reaches its peak, proving beyond doubt that a song, a dance and a sly suggestion of Shelbyville’s superiority are all it takes to whip Springfield into a frenzy. So, all together, sing it with me now: “Monorail, monorail…”

Last Exit To Springfield (Season 4, Episode 17)
chosen by Chris Taylor
“Last Exit to Springfield” is one of those episodes that even the writers look back on fondly and go, “Yep, we definitely did a lot of things right here”.  For a very long time, this was the perfect example of The Simpsons’ mix of highbrow and low brow humour - often within the same jokes – at least until John Swartzwelder’s phenomenal run of episodes from 1995 to 1997. Focusing on the politics of the Springfield Power Plant and Homer’s employer Mr Burns, it sees Homer becoming head of the union to fight Burns’ plans to revoke their dental plan (“Dental plan! Lisa needs braces!”) It all sounds rather routine for an episode of The Simpsons but, in that half hour, the show manages to pile in as many jokes, references and parodies as they possibly can until the whole thing feels like its fit to burst. Moby Dick and “Classical Gas” bumps up against The Beatles and Batman, with a nice stop-over into Homer’s image of the world of crime a la The Godfather II. Even with so many jokes, it doesn’t feel too heavy handed and the traditional Simpsons heart still beats within. It’s hilarious, it’s heartwarming, it’s quintessential Simpsons. In its tidy half an hour length, it manages to boil down the very essence of what makes The Simpsons so great, creating something of a microcosm of the show as a whole. Pretty much the perfect starting point for anyone not yet acquainted with The Simpsons.

Bart Of Darkness (Season 6, Episode 1)
chosen by Joe O'Brien
’Twas an understandably difficult and virtually impossible task to pick a favourite episode of The Simpsons. Of the 500-odd episodes the show has produced, I adore at least 200 of them, and picking an all-time favourite is beyond my decision-making skills. “Bart Of Darkness” though, is an episode that always stood out for me. Season 6 is quite possibly the season I’ve watched more than any other and this season/DVD opener is one of the cleverest, most memorable and most quotable of the bunch. If you’re reading this, you are probably a massive Simpsons fan yourself and so describing the plot of the episode would be pointless. To keep it short; it’s the one where Bart breaks his leg and The Simpsons get a swimming pool. Although it’s terribly obvious to me now as an educated film fan, there must have been at least a dozen times where I’ve watched this episode and not known that it was largely a parody of Hitchcock’s Rear Window. As if my appreciation for the episode wasn’t great enough, discovering this fact a few years ago certainly gave me a whole new level on which to enjoy it. In fact, it’s only been in the last five or six years that I have started to notice just how many references The Simpsons cram into every episode. It’s quite remarkable, and for a pop culture guy like me, it’s an absolute treat. All that aside though, what truly makes “Bart Of Darkness” a classic is the comedy. To me, some of the show’s most unforgettably hilarious moments can be found in this episode, from “trashcan or no trashcan!” to “Shut up, brain! I got friends now, I don’t need you anymore.” to “'Tis a fine barn, but sure ‘tis no pool, English” to “Oh, I see! Then I guess everything’s wrapped up in a neat little package!” to “Take your best shot! I’m wearing seventeen layers!”, “Bart of Darkness” is relentless when it comes to delivering the funnies, and let’s not forget the infamous creation that is “Milpool”.  

And Maggie Makes Three (Season 6, Episode 13)
chosen by Lewi Hudson-James
A reoccurring theme throughout The Simpsons seems to be Homer’s carefree, almost dumbfounded attitude towards his job, his family and life in general, and although there are episodes where he shows his feelings and an emotional side, this is normally left to the female characters or the more sensitive males, such as Millhouse or Ned Flanders. 
However, in Maggie Makes Three, I was literally bought to tears at how the writers approached the theme of the episode, and the sweetness, genuineness and sentiment of Homer’s actions. 
After paying off all of his debts, Homer is finally able to go for his dream job at the Springfield Bowling alley. But, when Marge becomes pregnant for the third time (with Maggie), Homer has to quit the job he had been wanting for so long as the wages he earns there aren’t enough to support his growing family and their needs. He asks Mr Burns for his old job back at the power plant, and at his work station are the words on a plaque which read “Don’t Forget, You’re Here Forever”, which Homer partially blots out with photographs of Maggie – both on her own and with him,  leaving the sentence “Do It For Her”. The both heart-warming and heartbreaking actions of Homer, acting as a third time father and showing his deep down caring side, and sacrificing a large part of his financial and personal happiness, really resonated with me, and clearly affected millions of other viewers too, as this episode was the fourth most viewed Simpsons show the week it aired on Fox in January 1995. 

A Fish Called Selma (Season 7, Episode 19)
chosen by Sean Lewis
I’m not a big believer in black and white thinking, but one of the few things I am adamant on is that Planet of the Apes: The Musical is the funniest three minutes to ever be broadcast on television. I love the name. I love the concept. I love legitimate theatre. I really just want to shake the hand of the writer who thought of the idea of replacing the words to “Rock Me Amadeus” with “Dr. Zaius, Dr. Zaius”. The fact that I still get that song stuck in my head at completely random times is a testament to how great that whole bit is. The other moment that cements this episode as my favourite is the perfectly paced scene where Homer and Troy McClure are drinking on the night before Troy’s wedding, and Troy admits that he’s only marrying Selma as a publicity stunt. The classic Simpsons “suspense” noise plays. It then cuts to the wedding day. The camera slowly pans across to Homer. It focuses in on his head, and we hear him thinking… the riff to “Rock ‘N’ Roll Part 2” by Gary Glitter. I literally have no idea what is said in the next scene, because I’m always laughing too hard by that point.

El Viaje Misterioso de Nuestro Jomer (Season 8, Episode 9)
chosen by Joe Armstrong
The brilliance of “El Viaje Misterioso de Nuestro Jomer” is the way it balances relatable issues with its surreal storyline, offering the best of both worlds. In an entertaining tale about Homer going on a vision quest, the episode still manages to address everyday problems such as loneliness, relationship complacency and alcoholism. Much of the episode takes place at Springfield’s annual chilli cook-off. Chief Wiggum’s been trying to cook up a batch that can singe Homer’s legendary fireproof stomach, and, thanks to the help of some Guatemalan insanity peppers, it looks like he’s succeeded. That is, until Homer coats his mouth with molten candle wax to avoid the chillies burning his mouth. Then things start to get weird. Eating the psychotropic peppers causes Homer to trip balls (I think that’s the technical term). This part of the episode contains some of the finest visuals and animation the show has ever produced. Homer’s body takes on a strange fluidity, swirling and splashing as though he’s made of liquid. Stars and planets coalesce in the sky to reveal the grinning face of a coyote, his spirit guide (voiced by Johnny Cash). The coyote’s message to Homer is to find his soulmate, a journey that leads him to a lighthouse and finally to a greater appreciation of Marge. This episode’s one to savour for years to come. 

The Springfield Files (Season 8, Episode 10)
chosen by David Scott
If you were to ask me what is one of my most vivid childhood memories, it wouldn’t be a family holiday, or maybe my first kiss. It would be the words, high pitched and creepily sing-song, “I bring you looooove”, spoken by a drugged out, glowing (and genuinely kind of creepy) Mr Burns. "The Springfield Files" has stuck with me in a way few episodes of television have. Sure, the episode is home to some truly iconic jokes that are hard to forget, from Homer’s horror at a billboard proclaiming him to DIE (or something far worse), his hypnotic 'lava-lamp’ jiggling or Abe’s battle with a toothy tortoise. But there’s a mad genius to every scene, whether it’s beautiful little details - The X-Files’ iconic Cigarette Smoking Man lurking during Homer’s explosive lie detector, the “most illegal shot” of the show’s history exploding the episode’s sci-fi references in just a few seconds, or Homer’s camping equipment, all tagged with “property of Ned Flanders”- or some truly bizarre and stupid jokes, like Leonard Nimoy’s utterly ridiculous introduction - “and by true, I mean false" - Moe’s hidden orca or "The Bus That Couldn’t Slow Down”, that I just cannot help but adore. Like Urkel! To me, “The Springfield Files” is quintessential Simpsons. Jokes fire at rapid pace, brimming with genius and joyous stupidity at every turn. Scene after scene chock full of  the kind of pop cultural markers that Simpsons nerds adore and iconic visual gags that are still passed around in photosets and gifs to this day, and it is just an incredibly fun and entertaining watch. Plus, it’s hard to ignore Fox Mulder resplendent in a speedo on his FBI Badge. Stupid sexy Mulder.