“I don’t think this is what Hermione had in mind when she suggested you help me revise.”
Harry met Ginny’s eyes with a practiced angelic expression, “No?”
She shook her head, not falling for his act even for a moment. Almost unconsciously, he reached up to gently brush her bangs from her cheek and continued, “I’m surprised we even made it to the library, actually.”
“No thanks to you. You realize I’ll blame you if I fail my OWLs?”
Hey guys! Due to the whims of fate and Amazon, I got my special edition blacklight Journal 3 ahead of schedule. I haven’t read the whole thing yet, but it’s really fantastic–full of new details and hidden messages, and the construction is loads better than the regular edition!
However, the way the blacklight ink works threw me off for a minute so I want everyone to be prepared for what to expect! It’s not like in the show where the images are clear as soon as you shine a uv light on them. You need to hold your light over an area with blacklight ink for about 5-10 seconds so it can absorb the light. Then move your light away and the ink will glow brightly in the dark. It’s a really great effect but it isn’t immediately visible which can be confusing at first.
Could you possibly do a mafia!daddy!phil × pastel!little!Dan ? ?? Cause that hc is freaking grEAT (possibly some smut?)
Prompt: dan wearing those cute velvet shorts you see on Instagram and phil can’t keep his hands off of him. (mafia!daddy!phil and whiny!little!dan?)
Oral fixation pastel Dan is all I beg you for
can i pleeease have some more little dan with oral fixation???
Here y’all go. Plus dirty talk, exhibitionism, and cockslut!dan. If you have trouble getting past the cut on mobile, open in your browser.
son of the boss always has it perks, but when your father is the boss of the
mafia, the fringe benefits are almost endless. It certainly isn’t the most
relatable circumstance, but Phil Lester is acutely aware of the privilege his
heritage brings. His family has never had any financial issues, and, although
it may not be the most honest money, it made for a very comfortable childhood.
Growing up, Phil never had to worry about being bullied in school – even though
he was a fairly strange, quirky kid that would usually attract that kind of
negative energy in the cesspool of teenage hormones that is high school,
everyone was well aware of who his father was and what he could do, so he was
left well alone. Now that he’s older, his blood keeps on giving in the form of
a large house in London and connections with almost every business in a ten
kilometre radius. That’s not to say Phil has had an easy life, but his problems
are quite disparate from the average persons’. He may be rich with a notorious
last name that opens back doors, but he does live with the constant knowledge
that he may be shot dead at any moment, so he supposes it all evens out.
He works as part of the family, of course. That’s how the mob operates
and, although he’s had his fair share of morality crises, he enjoys it. He’s
not the eldest son, so, as long as nothing happens to Martyn, he isn’t expected
to take over when his father – willingly, or otherwise – steps down, but he is
still in control of some aspects of it. He supposes he’s a capo, in a way,
being able to give orders to soldiers to do the bidding that’s sometimes his
own, and sometimes passed down to him from his father. Most of the members he
ranks above are considerably older than him, considering he’s only twenty-five,
and he can tell from the hard look in their eyes when he gives orders that
they’re not exactly thrilled about that. It doesn’t really matter, though,
because to go against Phil is to go against the boss and, unless they’re
actively looking to be killed, that’s not a very bright idea.
Phil’s seen a lot of shit since being inducted into the business at
twenty. Before that, his father always kept things vague and the gory details
hidden, probably more on Phil’s mothers’ wishes than his own, but the reality
of what being in the mafia involves couldn’t be sugar-coated for him forever.
He’s seen theft, assault, battery, and a fair share of murder. It’s not what
Phil would call ideal, but it comes with the kill-or-be-killed lifestyle. He’s
pretty much desensitised to the horror of it all by this point, but there is
one incident that affected him above any other; it was also the chain of events
that led to him meeting Dan.
Could you tell me why you like Sheith? No offence, but I just can't find the appeal in this ship :/ I'm just curious of your opinion since you are one of my favourite writers in the fandom ^^
I mean, you’re not required to like it. But honestly it’s super sweet? It’s a great friends to lovers pairing. I tend to prefer it as they were both pining/into each other before Shiro left, but neither wanted to compromise their friendship and say something, especially since he’s about to leave anyway, and maybe when he gets back, they both think. When Shiro is back on Earth, then they’ll talk.
Then canon happens.
Canonically, they are each other’s favorite person. Canonically, Shiro has a tone of voice he uses just for Keith. Canonically, Keith’s soft looks are near always for Shiro. Canonically, Shiro is the person Keith most wants to see. Canonically, Shiro is both Keith’s greatest desire and greatest fear. Canonically, Shiro didn’t care for one moment that Keith was Galra, just that Keith had hidden such a big detail from him, and he ran to Keith’s side the very instant he was able.
They care deeply for each other, believe in each other completely and utterly. And each time they get comfortable around each other? The universe drags them apart again, and they have to find each other once more.
I ship Sheith because no matter how you crack it, no matter how you see that relationship, they love each other with all their hearts.
And because adrenaline junkie pining best friends turned lovers is super fun.
When Neptune and the Moon make music the emotional spectrum can be oceanic. The individual is tapped into the whole sensory orchestra of the collective, mood shifts by the Moon become fantasised by the waves of Neptune, enveloping the individual entrancingly, transporting them to lagoons to pure feeling, euphoria, and ecstasy, and sadness, and deep melancholy. Moon-Neptune individuals have permeable boundaries, they can become cocooned by the mood of the room, leaky and vulnerable. The individual is an impressive empath, capable of reading body language and hidden emotion well. It can be impossible to deceive these people with lies that, ‘you are fine’, because they can feel sadness in your eyes and in your spirit. These individuals can be psychic children, often developing profound empathy as young children, receiving invisible signals and hidden details. The imagination can be wicked with Moon-Neptune. Triggered by emotion, the fantasy world can sketch a murky ocean of darkness, prophetizing chaos and torture. So this vivid imagination can turn self destructive, depending on the mood or environment. The artistic expression can be rich here, any form of creative essence flows from two cosmic waterfalls, music, painting, writing, cinema, glamour, dance, any experience that mimics the creative activity of God. This is the illusion of all illusion, a lunar dreamboat riding into Neptune bay.
Jimin drove you crazy with his charming smile, his cuteness and
tender personality, but what Taehyung did to you with some simple
texts was on another level. The only thing holding you back: your
friend’s vast crush on him.
'Outlander' Postmortem: How production designer Jon Gary Steele built the 'A. Malcolm' print shop
Claire and Jamie (Caitriona Balfe and Sam Heughan) enjoy their reunion in A. Malcolm’s print shop (Photo: Starz)
Warning: This post contains spoilers for the “A. Malcolm” episode of Outlander.
A successful 18th century printer’s press like the one owned and operated by one A. Malcolm — a.k.a. James Alexander Malcolm MacKenzie Fraser — doesn’t just spring up overnight. No, the lovely Edinburgh-based print shop where Outlander‘s long separated couple, Jamie and Claire, had their six-episodes-in-the-making reunion on this week’s super-sized installment took well over a year of careful planning and construction by the show’s production design team, headed by Jon Gary Steele. Speaking with Yahoo Entertainment, Steele reveals that his crew started work on A. Malcolm’s shop midway through shooting the show’s second season. “Halfway through one season, we always start on the next,” he says, which means his team is already deep into designing Season 4 while Season 3 is still airing. “It takes a lot of time to get these sets done.”
And key sets like the print shop are treated with exceptional care. Not only is it the scene of what’s arguably the season’s emotional high point so far, but it’s also an environment that fans of the Outlander novels have been waiting to see brought to life… and they’ll know if the details aren’t exactly right. Fortunately, Steele is as detail-minded as the show’s devoted fan base, whether he’s building Jamie’s printing press or the brothel pied-à-terre where the Frasers continue their reunion. “The reaction we get from the fans makes us excited and proud, because they love the detail, so we work harder to make everything better each season,” he says.
We spoke with Steele about building a working version of “Bonnie,” Jamie’s beloved printing press, and the little details he hopes fans notice in the episode’s two major sets.
As I understand it, you built an actual printing press for Sam Heughan to operate in the print shop scene. Yes, we paid a specialist who does these recreations for universities, libraries, and museums, and had two of them built while we were filming Season 2. We also had someone come in and show Sam how to work it. Almost everything you see on that set was made [for the show]: every counter, every piece of print. I’ve had people ask me, “Why didn’t you put the print shop on one level?” I wanted two levels, because I thought it would be more visually interesting if Claire had to walk in and look down for the iconic scene of the reunion. I pitched it to Ron [Moore, the showrunner] and Matt [Roberts, the writer and producer] as it being a precursor to a factory. His store is upstairs, and then down below you can see all the workings. It was all built on one stage, and there’s catwalks and stairs that you can take. The downstairs was split in half with a wall of glass like the glass upstairs. It makes it more interesting for the camera. We didn’t want it to be a box: we wanted it to be possible for them to shoot it [from many angles].
Jamie hard at work over his beloved printing press, Bonnie (Photo: Starz)
Jamie names his printing press “Bonnie,” and in the book his name is carved on the frame. Did you replicate that detail? I don’t think we did. I wish we had remembered to do that! We tried to fill the set with detail and make sure that no matter where you looked, it looked period-correct and that there’s stuff to shoot through, as well as hanging paper drying everywhere. We did tons of research and saw that printing presses in the 1700s had these tool leather walls, so we did our own version of that. That’s the most ornate part, and it’s in the store where Claire comes in. It’s more utilitarian downstairs.
Is this the model for how a well-off printing press might have looked in the 18th century versus a less-successful publisher? Yes it was. We try to make everything look beautiful; even the ugliest stables, we try to make look as real as possible, but also beautiful in a way. And that’s what we tried to do here. For example, we spent a lot of time on the “A. Malcolm” sign that hangs outside. We knew it was a hugely important thing for fans of the book. I told the graphics people that I wanted to put lots of symbols into the sign, so we did all sorts of research into different symbols and incorporated them. There’s tin, because there’s tin in the press, as well as Jamie and Claire’s initials. We also wanted to be able to shoot through it so they could have camera on one side, while Claire comes up to it on the other. And they really did make signs like that: they were cast-iron and were pierced, so we tried to make it period-correct like that.
Claire examines the sign for A. Malcolm’s print shop (Photo: Starz)
Like many of the sets, the printing press is predominantly lit by candlelight. How does that factor into your designs? We worry a lot about it. Back in Season 1, we used to joke that everything had to be brown with a bit of gray. It’s been fun to see more color appear. There’s a lot of red in the printing press, and we couldn’t use red in Season 1 because that was the color of the redcoats only! But everything is thought about with the candle in mind. We have candles, candelabras, and chandeliers on almost every set, and we also build fireplaces because that’s what they did in the 18th century: it was a source of heat and light. For exteriors, we have metal braziers. The DPs love them, and they look really good on film. When you shoot in a courtyard, it adds a little burst of golden color. We always take samples of colors and fabrics and hold them up next to the costumes, with candles next to that to see if they look good in candlelight or not. The DPs always make it look beautiful.
What’s one detail about the printing press you hope viewers at home notice? My favorite part is the storeroom upstairs because of the walls. We put little bits of gold on the molding around the doorways and the bookcases when you walk into the room. I remember a carpenter going, “You want gold in the touch-up?” I told him that it’s just a highlight. When it’s lit with the candles and chandeliers, the gold shimmers in the light. That’s my favorite thing. Also, the tool leather walls that aren’t tool leather, but look like it!
Let’s turn to the Edinburgh brothel. You’ve designed a lot of brothels for the show already. How did you want this one to stand apart? What I was trying to do was take this space and cover it in old rugs to make it look like a harem. The way I described it to Ron was, “I want to put built-in daybeds everywhere, with one in the center for the madam. And then everything around the openings will be covered with rugs.” He was like, “Rugs?” And I said, “Yeah, rugs. It’s not Paris — it’s more downscale.” We were trying rugs, and at first none of them matched, but then we found some we loved and made duplicates and covered the walls in the whole place so it creates a tapestry of rugs. And it works! It’s crazy, but it works. [Laughs]
And that was entirely your own invention? This is my fourth year on the show, and you always want to do something different. We’ve done tons of taverns and a couple brothels before, and we know fans love this stuff. So even though it has to be period correct, we want [each set] to be special. Everyone on this show wants it to be special in every scene and in every detail, be it the armorer who does the guns or the set decoration or the costume designers or the props department. When you see Claire’s medicine kit for the next season, it’s like a piece of art — it’s stunning.
Jamie and Claire continue their reunion at Jamie’s apartment above a brothel (Photo: Starz)
Speaking to the beauty aspect, Jamie’s private room does seem a bit more romantic than an actual brothel likely would have been. Anywhere that Jamie and Claire are going to have a romantic scene we try to make as sexy as we can, even if it’s a barn. They ended up having more scenes there than we thought, and the crew was actually a little angry about shooting in this little room. I was like, “This is way bigger than it should be. It’s really just a room in a brothel — this is the triple the size!” They need that room to shoot; it all works out and looks great.
Since they have to film so many intimate scenes, do Sam Heughan or Caitriona Balfe have special requests in terms of the kind of mattress or bedding they prefer to lie on? We only try to make sure the bed’s big enough for Sam, because he’s 6’3″ long! There was one scene where the rug they were going to be on was really abrasive, so we had to swap that out. But they’re very kind and generous to us, and never really ask for anything from us. They always come and say thank you to all the departments about how beautiful everything is. That’s a good thing, because we’ve all been on projects where it’s not like that.
Any hidden details about the brothel you want to call out to eagle-eyed fans? We put these little columns on the madam’s daybed. It was built especially for her so she could lounge on this giant daybed with thousands of pillows — kind of like an opium den, but it’s Scotland! So we put these big twist columns on there, as well as the fireplace mantles. Someone said, “That’s a little bit much for a brothel,” and I said, “If you can’t do it in a brothel, you can’t do it anywhere!” There’s certain sets that have to be exactly period correct, but we try to have fun with it [when we can].
Most of your pre-Outlander production design credits are films that take place in contemporary settings. Has it been fun living in the past for three seasons? I love it! It’s the most fun stuff I’ve ever done. I love doing things like American History X and Cruel Intentions also, but it’s a dream to do the 18th century, because it’s such a beautiful period for design. We build so much stuff and research continuously; everybody in the department is always looking through books or magazines, and Google is huge. What’s interesting is that in Season 1, we would type “18th century” into Google and you’d get Game of Thrones or other period shows. Now when we’re researching stuff, we see pieces of our own sets! I should have stock in Google. [Laughs]