i already made a gifset of this scene but look at him

i don’t know about you guys, but i was in total awe of oswald’s character development in the last episode. the fact that he went from being completely selfish, hellbent on his own survival, to being willing to DIE for ed is just amazing?? like, i’m still not over it. he was willing to be tortured rather than betray ed, even after EVERYTHING ed admitted to. not only did ed try to kill him (in a very violent, painful, way) but ed admitted to leaving elijah’s remains in a dumpster. (i mean, i think that’s not true, but we all know ed treats corpses badly, so who knows??)

even babs was stunned at oswald’s love for ed. she looks at him like she can’t believe it, and she even has to repeat it back to him. “so you’d rather die than give up the man who tried to kill you?” because this is such a huge deal for oswald, and babs knows that.

oswald was more than willing to let butch shoot ed for “betraying” him in episode 5 (when ed took the money back from the voters). but now? oswald would rather die than see ed hurt, even after everything. i am still so fucking shook over that. it’s such a beautiful thing.

ANYWAY. @colfernygma‘s gifset (here) made me realise something. in season 1, oswald says that love is weakness (“your greatest passion becomes your greatest weakness”) which is an obvious parallel to what ed says in season 2 (”but for you and i, it [love] will always be our most crippling weakness”).

but oswald is now at a point where he doesn’t see love as a weakness. it’s his strength. he was willing to put someone else before himself, and he is now more emotionally “mature” than ed. if you squint, every time oswald talks to ed in episode 14, he’s basically trying to help ed see the truth – that ed does love him, that they need each other, that ed didn’t really love isabella.

he even corrects ed, at one point. ed says “i’ve killed before, oswald,” and oswald says “not like this”. okay, oswald’s making the point that ed loves him, which ed claims to not be true, but COME ON. ed is so obviously conflicted about shooting oswald, it’s not even worth going into here. (but for a beautiful, in-depth analysis of ed’s feelings on the shooting, check out @edngyma’s meta here!) oswald is the more emotionally mature of the two of them, even though ed’s the one in a position of power.

oswald is playing the martyr card really hard in this scene. he’s desperately trying to enlighten ed, to make him see the Truth – that he does love and need oswald. but edward nygma is in so much denial it’s literally tragic. he doesn’t want to see past his anger at what oswald did. he doesn’t want to entertain the possibility that he loves oswald, because he’s too blinded by his own pain at oswald’s betrayal. (again, further proof that oswald is more emotionally mature than ed at this point. oswald was able to see past ed’s betrayal, because he loves him.)

ever since the first season, oswald has been steps ahead of ed, narratively. when ed was a nerdy smol, working at the g.c.p.d., oswald was murdering his way up the criminal ladder. oswald was on his Villain Journey way before ed. oswald really took up the moniker of the penguin at the end of season 1, and ed hasn’t even been called the riddler yet.

and then, in season 2, ed was fanboying over oswald and wanted him to be his murder senpai, because ed was still behind oswald, narratively. ed has always been following oswald’s lead. since getting out of arkham, ed has even dressed like oswald. he’s always been playing catch up.

people have already paralleled ed shooting oswald to oswald pushing fish off the roof in the season 1 finale, so i’m gonna bring that up now. oswald had to kill fish, to fully blossom into a beautiful criminal kingpin in season 2. it was a case of the student becoming the teacher (with a dash of homicide).

oswald has always been ed’s teacher. ed asked to be oswald’s student in season 2. (“i brought you here, in part, because i was hoping you could guide me on this new path.”) and then, after getting out of arkham, oswald gave ed suits, and a home, and a position of power. though ed had become a murderer all by himself, he was still subordinate to oswald. he still looked up to oswald. he even says it (“i continue to be in awe of you oswald”).

in order to fully begin his riddler journey, ed needed to “kill” his mentor, as a symbolic way of letting him go and moving on without him. to edward, oswald has fulfilled his purpose as his teacher. ed has to assert his position as a Badass Villain (in the eyes of babs and tabs and butch) by killing his mentor. like oswald killing fish to show everyone that they shouldn’t mess him with, ed “killed” oswald to prove to the criminal underworld that he’s not someone to be trifled with.

to drag it back to my original point: oswald had already gone through a version of this arc. as with everything, it took ed longer to reach this narrative place. but now he has, and we all know he’s gonna go on to don the ridiculous green suit and bowler hat, and fully embrace the riddler aesthetic.

so, at some point, ed is going to have to come to realisation that love ISN’T a weakness, but a strength. in season 2, when he says “for you and i, it will always be our most crippling weakness”, he’s including oswald in that. “for BOTH OF US love is weakness”. but love is no longer a weakness for oswald. love is a strength.

now it’s ed’s turn to come to that realisation. oswald’s already TOLD him – “you need me, edward nygma. just as i need you. you cannot have one without the other.” oswald and ed are stronger as a team than they are apart. oswald knows this, but ed doesn’t. not yet, anyway.

it makes sense that oswald comes to the realisation that love is actually a strength before ed does. because oswald has always been ahead of ed. this is just a continuation of the pattern that ed and oswald always follow. oswald is, as always, steps ahead of ed.

(Not) Killing Your Darlings: Parallels Between ACD Canon and S4

I’ve slowly been working my way through a reread of the canon stories, and although I am used to finding phrases and plotlines among the stories that have been adapted within Sherlock, what surprised me towards the end of the canon is that the writers of Sherlock appear to be adapting the way the stories are written, as well. We’ve talked a lot about the idea that Mofftiss have Reichenbached the show in Series 4, but I’m beginning to think they have Case-booked it (and His Last Bowed it, a little, too). This will probably sound grim at first, but I remain an optimist when it comes to Sherlock, so bear with me. These are Princess Bride “pit of despair” times; I figure if we have to be here, we may as well look around.

As a quick reminder, Doyle published the short stories as:

The Adventures of Sherlock Holmes (1892)
The Memoirs of Sherlock Holmes (1894)
The Return of Sherlock Holmes (1905)
His Last Bow (1917)
The Case-book of Sherlock Holmes (1927)

I’m going to start at the end of His Last Bow and the later stories, because they best parallel Series 4, then look back very briefly.

Breaking the fourth wall

His Last Bow breaks the pattern of the Sherlock Holmes story collections in a few ways. It begins with a brief preface written by John H. Watson; he addresses the reader directly to explain that he and Holmes are still living, though ageing:

”The friends of Mr Sherlock Holmes will be glad to learn that he is still alive and well, though somewhat crippled by occasional attacks of rheumatism… Several previous experiences which have lain long in my portfolio, have been added to ‘His Last Bow’ so as to complete the volume.” (His Last Bow, preface)

… lots more under the cut.

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why this scene is so wonderful

I was looking for metas about this scene, but I couldn’t find anything, so decided to say several words myself.

Firstly, I made one gifset and captioned it as glare of death and people wrote that Bucky looks like he’s about to cry or has already cried. Tbh, I think it’s both. Great thing about this scene, to my mind, is not if he’s feeling anger or pain, but the fact that he’s definetely feeling something here!

As I remember, we only see two moments where Bucky is feeling something. First one is this:

Here, he’s angry af. Before this moment, we see hydra agents shooting wildly, but WS is calm, he casually walks and shoots for like two or three times only. But when Nat breaks his glasses(sorry, don’t know what they’re called), he becomes crazy and starts shooting without aiming properly. He feels anger and frustration.

Second one is a bit of confusion and hesitation:

(not my gif)

Throughout the whole movie, what catches our eyes is how calm ws is. He isn’t running, he never is in a hurry. Of course, he kills people, fights like an assassin, but he is always laid-back and really relaxed.

But in the final scenes, he acts like a crazy. WS’ actions are so brutal. Although he is sent to missions to kill people, I don’t think that winter soldier is allowed to make them personal. I mean that he must finish the missions succesfully, but he must know show his personal attitude towards it.

But here

He slaughters hydra/shield agents in a way that is screams to be really personal to me. He freaking shot that pilot and didn’t even care to throw away the body. He’s just to eager to get to Steve. Yes, it is his mission, but so was that causeway scene and his actions in these situations are so different from each other.

Considering all of these, I believe that in that scene he is not unemotional. WS is about to finish his missions, not only because hydra ordered him, but because Steve makes him feel things that causes him pain and confusion and uncertainity.

Is he angry? Yes. Is he ] eager to kill Steve in the most brutal way? Hell, yes. Is he also feeling pain? He IS! I think that he’s torn between too many emotions and that reflects in his eyes. They are deadly, but at the same time a bit red and look like he’s gonna cry.

To be sure I have to look once again at this moment:

He looks so childish and it feels like he’s suffering. But then:

See how he narrows his eyes for a second? Yes, he’s in misery, but that eye narrowing thing also tells me that WS is also furious and wants to visiously kill his oponent.

P.S. Please, add your thoughts ‘cause I’m so interested in the interpretation of this scene.

13x01 - Episode Review - Part 2

“Nougat Winchester” and narrative mirrors in 13x01

It has taken me forever to finish this part of my review to the extent that we have already had another episode before I finished it! But rather than curse my inability to focus I’m gonna press on and complete this before I start my 13x02 review.

Ah Jack, Jack our little nougat Jack. The way the fandom has embraced you is very touching. The internet screams of “PROTECT HIM” certainly show that Alexander Calvert has done an exceptional job of “pulling a Misha” and making us fall in love with him by the end of his first scene. I was not expecting that one bit. 

I’ll be honest and say that over the hiatus I haven’t paid too much attention to him. I did read some of the meta and speculation that @tinkdw and others put out there, but it was never really something I focused my thoughts on. I figured he would be another character that would test the team free will dynamic and would be a good avenue for the writers to comment on the concepts of nature vs nurture. I remember reading some speculation once the episode titles first came out about “The Scorpion and the Frog” and anyone who knows that story knows very well that the title itself foreshadows Jack going darkside – to his own potential destruction. (The scorpion, in carrying out its own “nature” and stinging the frog that carried it – not only doomed the frog, but doomed itself as well.)

Jack has officially won me over though. He was a charming innocent and funny character, and I think his interactions with Clark brought a lot of light to an otherwise terribly angsty and painfully heart breaking episode. (#bringbackClark2k17)

But what really blew me away was how both Jack AND Clark were such OBVIOUS mirrors for Dean and Cas and to a lesser extent to Sam. It amused me to no end. Therefore this review will focus on those mirrors, and what they mean. 

Long post under the cut

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anonymous asked:

please do a gif set of when Amy holds Sheldon's hand in The Alien Parasite Hypothesis and now in the new episode where they they go to the bed room 😍

So, this was such an enlightening request, not so much for the gifset itself (which turned out great btw) but, it made me revisit The Alien Parasite Hypothesis. Season 4 Shamy.
I didn’t realize this 6 years ago (already been SIX YEARS, God it’s been too long), maybe ‘cause I was still a casual viewer then, maybe ‘cause none of us really knew where they were going with Sheldon and Amy, if they were going anywhere with them. But I just realized (6 years later, lemme repeat that), this was such a pivotal episode for them.
This is the first time they see each other as potential “mates”, at least from Amy. Let me show you what I mean.

Contrary to what we got for most of this show, I think Sheldon was way more into Amy than Amy was into him, at least at the beginning. 

I feel like at first Amy took it as ‘this is just me pleasing my mother by going out with some guy’, and it’s especially clear to me by how much more affected Sheldon seems to be about Amy ‘leaving’ him than she is.

Getting a bunch of cats to replace her?

The same thing Leonard suggests after Penny rejects him in the very 1st season of the show?

Oh boy, someone’s getting soft.

Anyway, my point is, Amy, up until the point she broke off her shell, if that’s what you wanna call it, was pretty reserved about her feelings for Sheldon.
We had the whole “boy slash friend” thing going on but I think she didn’t really think of actually dating Sheldon. 
Until this episode happened.
It starts off with her getting all hot and bothered by Zack’s bottom.

Which, by the way, isn’t it great that it’s now canon that Amy’s a butt person? LOL.

She rejects it at first, in typical “female Sheldon” fashion but eventually accepts it, and right where you’d think Sheldon would stop being interested in her because of her expressing sexual desire for another human being, he helps her.

He calls Zack, sets up a date, gOES WITH HER?!

Now, I do 100% believe Sheldon already had feelings for Amy (see cat talk a few paragraphs above) but I don’t think he realizes what this means until Amy walks over to Zack and leaves him alone.

It’s such a small moment and gets interrupted by his disgust that his hand’s been stamped, but I think that it’s actually very meaningful, he’s saying goodbye, not to her, but the idea of ever dating her.

Thankfully Amy realizes that she prioritizes someone’s intellect more than their looks, and decides to ‘reject’ Zack, so to speak.

Sheldon is definitely relieved.

Once they leave the bar, Amy seems to finally realize what we’ve all seen the second they met. Maybe Sheldon could be a potential mate. If she prioritizes intellect over looks (not saying that Sheldon’s unattractive, just that it wasn’t an instant “hoo” moment when they met for the first time), and Sheldon being one of, and possibly THE smartest person she knows, then, it makes sense that she would think about “experimenting” and seeing if she really does feel anything for him.

One of my favorite parts about this scene, and I’m sure, yours as well, is that Sheldon’s first instinct is not to grimace and pull away (which would be 100% in character for the Sheldon that we knew then) but rather, his first reaction is to hold her hand back.

By the end of the scene we get that she didn’t feel anything, but still, this marks the first time Amy truly thought of Sheldon as more than just a boy who is her friend.

How do I do that giffing?

Basic gif tutorial

Note: English is not my native language, but I shall do my best to explain it. Also, this is my first time making a tutorial like this, so I hope ya’ll can follow it a bit.

I am tagging some people that were interested into this from me: @goramidiot @lithiumkatana17 @kidsofthekelvinhero @prynacle @moonlight-at-dawn

Summary: Here I’ll explain and show, the way how I make a basic gifset. I will talk about the way I start and what you should keep in mind when making gifs and post them on Tumblr. Again this is just a very basic tutorial. But I will cover all the basics that I start with, always.

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Tag List

Request: Hi could I get a Rob x reader fic where they meet after his band plays. Smut please.

A/N: Catching up on requests, sorry it’s taking so long :( this was also partially inspired by this gifset of Rob Benedict’s tongue … yeah idk it just spoke to me.

Pairing: Rob Benedict x Reader

Warnings: Unprotected smut (be safe), explicit language, teasing, dash of fluff

Word Count: 6521

Tagging: @nekodresden85 @tas898 @natasha-cole @nerdyforyourbooks @annoyingobsesivechick @fruitiplierq @jack-of-all-arts @peteachu666 @overcastmisfitkid @thewhiterabbit42 @lenawiinchester @magpiegirl80 @mija-novella @feelmyroarrrr @thatone67chevyimpala @lumenella @crushing83 @laffytaffyhumor @super–who–locked @paddy1219 @riversong-sam @yo-ho-yo-ho-thefandomlifeforme @tas898 @sdavid09 @fizonafan @yearoftheweasley @bloodstained-porcelain-doll @lamthetwickster @monicapernas @dont-hate-relate-pls @fangirl-faye @crowleysprincess159 @perseusandmedusa @bad-intentions-22 @wayward-mirage @im-a-slut-for-an-accent @defineoptimist @negansgrimes @royalfunkstar @secretsupernaturalblog @authoressskr @nicmob @ashiewesker @your-not-invisible-to-me @mulit-fandom-fangirl @whovianayesha @zuzaak @spnackleholicswainer @ryleeroseb4 @chloecolbourne @bluehamster13 @weasleys-wizard–wheezes @thatone67chevyimpala @sea-you-bitch @nerdysandwichqueen @wonderlandmoonrose7 @your-silver-and-gold @therealdeanwinchester13 @welcome-to-awesometown @eileenlikesyou-maybe @derivedfromapho @dontwasteyourbreath @amyapathetic @cantchoosejustonefandom @thecandylovingarchangelgabriel @capnjacksparrow14 @ariethegreat98 

The theater was packed full of people, kazoos and glow sticks catching your eyes as your best friend pulled you by the hand to the side of the stage. Your best friend was a huge Supernatural fan, while you were still working through the first season. You liked the show, but you were pretty unfamiliar with the actors and the behind the scenes stuff. When your best friend scraped together the funds to go to one of the show’s conventions, she begged you to at least go to the Saturday Night Special Concert with her. It was actually good timing. You needed a break from work, from basically your life for a weekend. What better way than to travel to a new city with your best friend?

“You’ll love Louden Swain!” Your best friend gushed as the two of you made it to the rope that put a barrier between the people standing on the sides and the stage, which was a few feet away. You had waited for hours in line to get here, but evidently it was worth it.

“Looks like a good turnout,” you commented with a nod, feeling that pre-concert adrenaline buzz within you. You loved music, loved concerts, so you were in a happy place even if you were in unknown territory.

“The lead singer, Rob Benedict, is cute as fuck, too.”

You gave your best friend a smirk, but you couldn’t help but feel a little intrigued. “Oh, really?”

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Royal Albert Hall 2011 - Ramin Karimloo, Sierra Boggess, Hadley Fraser

Differences between the RAH and the replica blocking:

#1 and #2: No portcullies, the phantom chokes Christine to keep Raoul away from them, after this Christine falls to the ground and Raoul runs to her.

#3 and #4: Raoul is strangled on the staircase, hence Christine doesn’t run around him. The phantom has to walk up to Christine before he can grab her, this happens much later than usual.

#5: Christine doesn’t walk up to Raoul after ‘shattered’, she just turns around to stop the phantom.

#6: The phantom never puts the veil down, so he still carries it during ‘I gave my mind….’

#7 und #8: The throne is on the other side of the stage, therefore the phantom just sits on the ground. He puts the veil down after ‘make your choice’.

#9: The phantom directly addresses Raoul after he frees him.

#10: Christine stops halfway up the stairs, Raoul comes back to lead her out.

I was asked some time ago to do a RAH gifset and didn’t know how to do it because there are too many differences in the blocking - I can’t ignore them, they are important for the atmosphere of this interpretation but I also wanted to point the subtle acting choices out. Therefore I decided to do two gifsets, in this one you can see the most relevant (imo)  changes from the replica blocking. You can read my opinion under the cut.
(The other gifset can be found here)

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Wonder Woman Review

I was questioning whether or not to do this, but on the advice of @byzantinefox and @bantarleton, I’ve decided to make a post addressing the events portrayed in the film. I’m not a film critic or scholar (my wondertrev buddy @twoquickdeaths could probably say more about those aspects of it than I could), but I am a history major with a great interest in the First World War. Hence, I will be addressing the events of the film, their historical context, and the way they are portrayed. WARNING: Spoilers below!

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So this gifset crossed my dash recently and I started thinking about the parallels between Okay, princess, what now?/Now we survive, and What now?/Now we put it away and hope we never have to use it because 403 is a clear echo of their conversation at the end of 401 but already, so much has changed.

In the first exchange it’s Bellamy asking Clarke for a plan.  This is basically how they operate– she plans, he executes.  It’s their most natural leading strategy, and by using his season one nickname for her Bellamy is re-establishing that dynamic.  (It’s important to note here that this is not because Bellamy is subordinate to Clarke, just that he’s recognizing that her areas of expertise and his are in different fields).  It’s also a hopeful moment, because Clarke’s now we survive is accompanied by a swaggering strut that says we can do this.  She doesn’t have a plan yet, but she knows that with Bellamy’s help, they’ll find one.  They both have hope here, in each other and in the future.

In the second exchange, however, they already have a plan, and it’s awful.  It’s brought Clarke to tears, and neither of them really ever wants to even look at the list again.  So when Clarke asks Bellamy what now, she’s really saying we need a new plan.  Bellamy doesn’t have one, but h’s not going to break Clarke’s heart by saying so.  Instead, he just tells her to put it away, because that’s honestly the best he’s got.  They’re both lost and despite what he tells her in that scene, Bellamy doesn’t have much hope either.  

The first exchange ends in strutting confidence and the second exchange ends in tears, but the second one also shows us how deeply Clarke relies on Bellamy.  When she’s lost and has absolutely nothing left, she turns to him– and even if he doesn’t think he has much to give her, he tries anyway.  That amount of hope and trust in each other is really powerful, made all the more so by their completely hopeless situation.

Reasons to Love Adlock #3

I was going to answer @aurora-borealisss​ on her post when she said: “we actually got stuck because we couldn’t indicate when exactly it all started. I mean when did Sherlock fall for her and who, in the end, was the first one to fall in love with another?”

I’d say just go to my tag: Reasons to Love Adlock. It’s just some “metas” I wrote about Adlock and stuff.

She said to feel free about details… It was supposed to be short but… 


I don’t think Sherlock and Irene fell in love quickly, but we can never really pinpoint the exact moment they felt their own definition of “love”. I personally think they both felt the something after their first meeting. It wasn’t love at first sight. It was more on something after first connection. It just so happened that they had a deep connection immediately on the day they met.

I don’t think love perfectly suits Sherlock and Irene. They’re them. Somehow, it just makes sense. How do you explain Adlock? It’s Adlock. The name itself explains their relationship… A relationship too complicated for us to comprehend, but it’s too simple for either of them.

I never believed they were confused with their feelings. They knew exactly what happened to them… They just don’t like it.

But there is only one exact moment where they addressed it… confessed it, even. That scene where Sherlock opened Irene’s phone.

But how did they get there?


Happened the moment they made business with royalty.

Sherlock was directed by the Queen of England to get the photographs from Irene. Irene was directed by the Napoleon of Crime to get the meaning of the codes from Sherlock.

Sherlock was intrigued with…

  • Irene’s cunning personality
  • how Irene handled with the authority (royal family, informing them of the existence of the photographs)
  • how bold Irene is to ensure her protection against the royal family
  • how she intimidates people with her power play

Irene was intrigued…

  • with Sherlock’s stubborn personality
  • with how Sherlock handled with the authority (royal family, refusing to be decent because he doesn’t like anonymity)
  • with how bold Sherlock is for going in public wearing nothing but a sheet
  • with how he intimidates people with his unpredictability


Happened on the first twenty seconds (I timed them) after meeting for the first time.

Even though they had twenty seconds before being interrupted, they had already started a huge game and when they don’t plan on losing.

Sherlock was fascinated…

  • with her audacity to be entirely nude
  • when he knew she was doing this to put him off balance
  • when she kept flirting with him to intimidate him
  • with her confidence
  • with her playfulness

Irene was fascinated with…

  • with his stoicism at the face of her nudity
  • when she knew he was doing this to tell her he’s not going to lose
  • when he kept eye-contact with her to intimidate her
  • with his self-control
  • with his evenness


Happened when CIA trained killers attacked Belgravia.

Most of these happened nonverbally (which says a lot tbh).

Sherlock harmonised with Irene…

  • when he looked at Irene to point out that she’s involved with something bigger than just clients
  • when he looked at her to stop her from continuing after she tried to tell the agents that Sherlock doesn’t know her combination so he and John won’t stand in the crossfire
  • when he looked at her in desperation for help in opening the safe
  • when he looked at her to ask if there is a trap in the safe

Irene harmonised with Sherlock…

  • when she looked at Sherlock to point out she doesn’t know how truly dangerous her phone is
  • when she looked at him to tell him that she tried all she could to keep them both out of this mess she had created for herself but had not gone as well as she’d hope
  • when she looked at her own body to tell him her body’s the answer
  • when she nudged her head to tell him to dock under the safe

Here’s a GIFset of this exact whole thing: LINK


Happened when the other took domination.

Sherlock respected Irene…

  • when she managed to render an agent unconscious using her element (knowing the human body)
  • when she threw him unbalance by touching him
  • when she was a full-on dominatrix again, using her whip
  • when she proved him wrong (surprising him by not going down without a fight for her advantage, something he usually does)
  • when she managed to beat him

Irene respected Sherlock…

  • when he managed to open her safe using his element (knowing whatever the hell he knows)
  • when he threw her unbalanced by accusing her
  • when he was a full-on detective again, using his wit
  • when he proved her wrong (surprising her by observing her physical body for his advantage, something she usually does)
  • when he managed to engage her


Happened immediately after Belgravia.


  • shared his mind palace (something he values so much)
  • listened to her intently despite already solving the case (he could have easily filtered her out)
  • made her physical form wear his coat in his mind palace because he felt that they were equals
  • tried looking for her frantically when he woke


  • shared her time (something she needs, being on the run)
  • stayed beside his bed to talk to him despite him being unconscious and her running away from the police
  • went out of her way to bring his coat back

More meta about this: LINK (more words + ugly and first GIFs I ever made)
Another link about their behaviour in this scene: LINK (less words + GIF)


Happened after the day they met.

I believe this is when they felt something for the other.

In between those times, something happened between them that even I cannot explain. In between those times, they’ve delved deep into the other. I doubt they were confused with their feelings. I think they are perfectly aware of what’s happened to them… that they’ve grown a something for the other.

Irene knows what love is. Sherlock knows what love is. 

They know something shifted between them after their first meeting. It was attraction but as they had distance, they started to reflect on more about the other, thought too much about the other… until attraction became something more than what they bargained for.

From their first meeting alone, they found out more about the other than they’d like to have or what they were planning to have. Irene wasn’t just a woman to steal photographs from. Sherlock wasn’t just a man to remove out of her way. They’ve grown an interest with the other…

…and as they had that distance, I think they started to realise how crazy they are, how alike they are… and they both know they’ve felt it, whatever “it” is for the other, but they didn’t want that.

Them being them… It made several reasons why they can’t address it besides the fact that they are stubborn and don’t want to admit that they both lost a war they tried to start.

Sherlock can’t because…

  • he’s a detective with many powerful enemies
  • he’s going against Moriarty
  • he’s earned the reputation of not falling victim to emotions
  • he identifies himself as married to his work and work alone

Irene can’t because…

  • she’s a businesswoman with many powerful clients
  • she’s working with Moriarty
  • she’s earned the reputation of not falling victim to emotions
  • she identifies herself as someone who likes women a little bit more

With that, they try to supress and brush everyone else off when they try to question them. They are not machines, though. They show enough to others. They’re humans, too. It happens. They just don’t try to be bold about it. It just is.


Happened before Christmas until Christmas itself.

I think, after they realised what’s happening to them…

Sherlock defied…

  • the government (Mycroft) by hiding important information/property
  • his previous desire to stay stoic about her death
  • his own integrity of not taking a cigarette over anything
  • himself by submitting to his grief over her

Irene defied…

  • the network (Moriarty) by trying to get out of her deal with Moriarty
  • her previous desire to not grow attached to him
  • her own integrity of not trusting her phone to anyone ever
  • herself by submitting her life in his hands

I have made a more detailed meta about this part here: LINK

It shows more on their defiance against Mycroft and Moriarty. How Sherlock actually withheld information even when it was unnecessary and the reason why Irene actually faked her death.


Happened on New Year’s Eve.

Sherlock was resigned…

  • when he has to accept that she had actually died
  • enough to write a violin composition in her name
  • when he was forced by his own emotions to express his grief
  • and broke John’s belief that he would never be heartbroken over a woman
  • enough to make John realise he cares about her

Irene  was resigned…

  • when she has to accept that she can’t convince John
  • enough to take her phone back for his own safety
  • when she was forced by John to confess that she’s not dead
  • and broke John’s belief that she’s only using Sherlock to mess with him
  • enough to make John realise she cares about him

At that point, they had already lost on each other. John was already a witness to the downfall of Sherlock Holmes and Irene Adler against each other.

They’re already showing signs of something with each other, and they both know it. They have to force themselves to admit to it at that point because there’s no point in denying it to themselves. This is the point where they address to themselves that this is definitely something they can just suppress. They’ve done so much. It’s too stupid to deny something blatantly obvious to themselves.

And I think they were both aware of how the other was taking it at the same day.

Irene felt Sherlock has feelings for her…

  • when he let himself be known that he was there at Battersea (he could have easily left the building when Irene sent that text but he didn’t)

Sherlock felt Irene has feelings for him…

  • when she let herself go and admitted to John about her own feelings about Sherlock (when she said “Look at us both” to John, that did it)

But even then, they were both uncertain about the other, but they had sensed that there is some mutual connections involving either of them.


Happened after Battersea.

Irene understood…

  • that he needed some time alone to process the fact that she’s alive and was in shock, which is why she stopped John from following Sherlock

Sherlock understood…

  • that she wanted an intial text from him instead of a reply as a small indication that he wants to keep contact which is why he greeted her

After New Year’s, they both probably were now more sure that the other has reciprocated their feelings… and they are both very pleased with it… because they had just gone through hell denying it to themselves so it must have been freeing to know that both of them were torturing themselves because of what has happened.

I think they both blame each other for being like this HAHAHAHHA


Happened when they saw each other again until now.

When they saw each other again, there’s no doubt they’re already aware of each other’s feelings… and they’re both elated to seeing each other again.

They’re much more playful with each other via sass. 

  • “Who’s that?” “Killers?”
  • “I assumed you’d pick something more specific than that but thanks anyway.”

They’re both not adhere to complimenting each other.

  • “Oh, you’re rather good.” 
  • “You’re not so bad.”


What happened in that fireplace scene… They’re already aware of what is going on between them but I think they had different agendas at that point.


  • checked her pulse and pupils to confirm that she truly has feelings for him… he didn’t know he was tricked… he didn’t have a reason to check her feelings at this point… he just wanted to make sure for himself… why? because he wants to know it’s legit
  • “It’s not the end of the world.”
  • After confirming her feelings, to him, it’s not the end of the world, it’s not their very last night… He’s finally taking her up on her offer. He’s telling her that they probably even might.


  • wanted to have that dinner because she knew she had betrayed him and this is the only chance she has left with being with him before he shuns her away for hurting him… she knows that if he leaves 221B by then, she would never have dinner with him. ever.
  • “Too late.” 
  • It’s the end of the world for her. Mrs Hudson calling Sherlock means that Sherlock will be sent to Mycroft. Sherlock will know what she’s done. It’s the end of the world.

Meta on how their physical affection changed since this scene: LINK

At the end of the scene with the negotiation with Mycroft…

At that point, they are both hurting. Sherlock is confused because he was pretty fcking sure Irene had feelings for him… Irene is sure Sherlock will never forgive her what she’s done… Both of them were sure. They were a giant almost but Moriarty had to meddle with both of them…

…and here, they both address and do not deny that they have feelings for each other… and…

im dead

im just dead…

im dead guys…

idk how to continue :)

ive gone down to adlock hell too much… 

im getting stressed

i love them so much

im sorry

Lyanna + Rhaegar / Jon + Sansa

Already made a list of parallels between Jonsa and Nedcat way back during S6 here, but I thought it would be fun to list more parallels. Pretty much inspired after seeing that one gifset of Sansa at the crypts with Lyanna’s statue. Some j*nerys shippers might say I’m ‘reaching’, but what the heck it’s for fun. Also, I am aware that Arya has the most common with Lyanna out of the Stark kids; not discounting that, I mean I love Arya, but again just some things I noticed. 

- So anyway, in the show we first get a glimpse of Lyanna’s face in the scene with Sansa with her statue at the crypts (before LF comes and provides narrative exposition). I find it interesting how at the time of this scene Sansa was posing as a bastard (in the books she pattered her persona after Lyanna’s son), and she had to dye her hair black, making her look more closely with Lyanna visually.

- The color blue; Lyanna is associated with her love of blue winter roses, while Sansa tully blue eyes have often been commented on. (While a warrior like Arya, Lyanna’s love of winter roses makes me think she had a romantic side just like Sansa)

- The War of the Five Kings and Robert’s Rebellion both started with the death of a Stark patriarch, and the ‘kidnapping’ of a Stark sister(s) also factored into it. Robb (like Ned) fought to avenge his father, but also to rescue his sisters (much like Ned tried to rescue Lyanna). Arya had already escaped by that time, so only Sansa was left behind.

- It started with a Baratheon; it ended (hopefully) with a Targaryen. Both Lyanna and Sansa were originally promised to a Baratheon (though Robert did genuinely love Lyanna and Joffrey was a Lannister in truth), but ended with/in the arms of a Targaryen prince eventually. 

- Sansa saved Dontos with her words while Lyanna saved Howland Reed with her skills, both showing the innate compassion these two have.

- Personality-wise, Jon is more Stark than Targaryen. He takes after his mother in looks, and likely in temperament. Meanwhile both Sansa and Rhaegar are known for their musical talent, courtly grace, and love of beautiful things. There are still parallels between Rhaegar and Jon though.

- Both were known and revered as great leaders and great warriors, also both show the traits of a stereotypical prince charming. Rhaegar in looks and manner, Jon, as we know, is ‘brave, gentle, and strong’. 

- Rhaegar left Lyanna in the Tower of Joy to protect her leaving behind his guard with this important duty; Jon arguable did the same when he left Sansa in Winterfell, and the missing scenes tell us that he entrusted Ghost with her safety. 

- Rhaegar battled Robert one-on-one for the love of a woman (though the audience was confused which woman it was. the readers now know it was Lyanna). Meanwhile Jon battled Ramsay one-on-one for the honor of one (his ‘sister’ Sansa). The difference being, Rhaegar was beaten and killed, while Jon was triumphant and would have killed Ramsay until he saw Sansa. 

- This one’s a bit of a far reach, but Rhaegar crowned Lyanna ‘The Queen of Love and Beauty’ which is a symbolic title, nothing more, since his queen at the time would have been Elia Martell, his wife. Meanwhile, Jon leaving Sansa in charge of Winterfell could be symbolic in him crowning her ‘Queen in the North’ (yes, I know her official title is Lady of Winterfell). 

Feel free to add some more!

thehemingwaygoldfish  asked:

Okay, girl *cracks knuckles* Talk to me about Theo. What? Why? How? What's going on with the boy? I love Cody Christian and I was fascinated with Theo in the previous seasons. Do gush, please!

(I already typed an entire essay on this and then I accidentally clicked the back button!! TT______________________TT *bawling forever*)

“Do gush, please!” – Girl you just know the right words to say to me. Also, by gush you mean go completely crazy though, right? Cause I did 😁

A little background though; I stopped watching the show during season 4, and I only just started because it’s ending and just for old times sake. I know roughly about what happened with Theo in season 5, Cody is pretty and I could understand his inclusion into Jeff Davis’s infamous harem of pretty boys, but that’s about it.

The thing about me is that I’m a sucker for villain redemption arcs, it’s like the blood that courses through my veins, and not many villain redemption arcs has been as amazing or well done as Theo’s, and that’s a credit to Cody’s acting; he does things with his eyes in scenes and words are just not needed. I only give Jeff maybe 40 percent of the credit because he does this thing where he writes these amazing scenes and teases these amazing story lines that never end up going anywhere. But it’s a credit to Cody that he’s managed to convey so much of Theo’s recently recovered humanity with what little scenes he’s had.

Which brings me to what I’ve realized with Theo through this season, I don’t know if it’s in the previous season as well, but obviously was Theo truly wants is to be part of a pack. He wants that camaraderie and to feel like he belongs and to have people there who wants him there and who will have his back. Liam wanted Theo’s help when he released him from the hole and what Theo needed was Liam’s friendship. And in their own very violent ways, I think they both got maybe more than they bargained for.

As I’ve mentioned earlier; Jeff Davis isn’t a terrible writer, Jeff tries to do too much with the little time he has and everything just ends up crashing and burning. But when we look closely at the small bits of writing where he’s good, he’s actually really good, and the characters he creates are fun and interesting – too bad he ends up not taking advantage of that like 90 percent of the time. It’s very apparent with Theo’s arc as well. He teased these little bits of information and completely forgets about it in the next scene, or its not brought up again, one such thing is what exactly happened to Theo when he was in that hole (hell?).

They kind of hint at what happened to him, but it’s up to us to make our own judgement; ultimately it’s implied that he spent however long he did down in that hole being tormented by the ghost of his dead sister and living through the agony and fear of her ripping his heart out of his chest over and over again for eternity. The scene itself is played on repeat for nearly 5 minutes and it ends with Theo saying, “It’s okay…you don’t have to stop.” Which is a heart wrenching line of itself, but with Cody’s delivery; the way his voice kind of breaks and the tears in his eyes and the genuine sadness and resignation on his face – that just fucking killed me and my soul was officially sold to Theo and Cody.

It then it immediately cuts the scene which was the ending scene of the last episode, in which Malia and Scott return to face the newly freed Theo for the first time, and the scene that immediately follows Theo’s hallucination, as he comes back to himself, is Malia beating the crap out of him. He doesn’t seem to really realize where he was in that scene and he actually says the words, “It’s okay…you don’t have to stop,” to Malia. *screeching squeal that is hear from across the oceans*.

But in true Jeff Davis style, that bit is never addressed and that scene is never mentioned again. It’s shaded in the hospital scene with Liam but nothing really comes of it. Which just breaks my little Theo-loving writers heart.

To quote the person who posted this gifset: ‘He loses his heart. And finds it at the same time.’ *cue a thousand fangirl screams sounding in the background*

This is from episode 18 (cause Cody and Theo didn’t appear in episode 19 which is the biggest travesty of all) and I think it shows just how far he’s really come. We’ve seen his character development when with Liam, mainly because Liam is the person who released him and the first person to show him genuine friendship. He doesn’t owe Mason anything but he saved him more than once in that scene and then actually tries to take away his pain when he didn’t have to. No one would have known and no one would have expected it. That comment Mason made though leads me to believe that this will be brought up in the finale again where he’ll show people *coughLiamcough* that he does care and bringing his development and redemption full circle from being someone who caused pain, to someone willing to take it away from others. Excuse me while I weep for a bit.

Here are more example of how far Theo has come as a character and in his friendship with Liam: when he stopped Liam from killing an asshole in a way that’s 100 percent Theo.

Also, in episode 12 we learn that Theo is homeless and living in his truck (his parents are never mentioned again, though I assume they’ve amscrayed the fuck out of Beacon Hills) and in that scene, another 5 minute scene of Cody Christian with almost zero dialogue in which everything is conveyed through his body language and his eyes alone. What I saw in that scene was someone who was just lonely but also still proud, not wanting to go asking Scott for help even when something suspicious happened. Also as this post made into a short drabble, another heart wrenching Theo scene giving me all the fucking feels.

And just… this, girl.


I should stop now probably. In conclusion, stalk this person’s tumblr girl, you will not regret it. I discovered it like 2 hours ago and I have done nothing of use irl since.

The end.


Okay so I was thinking about these amazing posts I’ve been seeing of late about the relevance and importance of fanfic as transformative media and why it matters. And I think it actually goes beyond the fact that thousands of our most important cultural items are actually fanfic of another thing, and that it allows those of us outside of the mainstream mould (women, LGBT, POC) to make our own representation and tell our own stories in the worlds we love. It’s also the fact that fanfiction as a medium is different than other media based on the stories it can tell.

Think about it: the novella is basically dead at the moment for a start, meaning that written works have to be either novel length or a short story. This means that particular structures and meanings are going to be prevalent - your theme and message has to fit an expected length. Therefore things get either cut for length or expanded beyond the original intention in order to fit ‘novel’ or 'short story’. The intention is also then that the thing have a satisfactory set up, middle, and ending, to establish the universe, embellish, and bring it to a close. When you start out writing for publication, you keep in mind that you might not get a second book, and that a short story really won’t become a series. Any continuation is in the hands of how much money the original thing makes.

Fanfic destroys those limitations. Fanfic allows us to write the smaller story off to the side, within a universe we all recognise. Without having to focus so hard on world building and set up, more complex and interesting ideas start to emerge. You can challenge the worldview from the original story, or put a new slant on something. Your work can be what it wants to be without being marketable or universal. You can write 'what ifs’ and see what happens when you change one thing in a whole established universe. You can essentially do much more subtle, inventive and experimental stuff without the labour of justifying it with a whole conventional novel/movie/whatever first.

What made me think of this was a gifset from the movie Stardust. There’s a random moment in the ending during the wedding scene, where the gay transvestite pirate Captain Shakespeare leans back and winks at Humphrey, our hero’s original love rival. Humphrey looks pleased and flattered, and his girlfriend sneers. The joke is that the snotty original love interest, Victoria, has ended up with the man she said she wanted, only to discover he’s gay.

In an original story, Stardust, that’s all that can be: a joke. The story is done, Yvaine and Tristan are happy and the villain defeated. No one cares about two minor characters and a slightly problematic throwaway gag. From the creator’s perspective that’s that. No one would be interested in a second movie about Humphrey coming to terms with the new world beyond the Wall, or his homosexual feelings. No one would watch Humphrey, a minor antagonist, stumble through this new magical world and meet again the handsome older gentleman who winked at him at Tristan’s wedding. No one cares if he then joins the pirate crew, and the two men slowly fall in love as Captain Shakespeare starts to train this stupid (but hot) young dandy in the ways of his lightning ship.

But fanfic would allow for that. In a fanfic you could write a 100,000 word adventure epic about two supporting characters. Hell, you could parallel that story with Victoria growing up as well, realising that there’s more to the world just over the Wall, and finding herself a place beyond the provincial It Girl. And again, no one would watch a movie about that. No one could market it. In the original media it remains speculation what happens next. Fanfiction opens the door to exploring whatever part of this universe you want, without diminishing the original story.

And the question then comes 'well why not write a whole novel about a young man from a small village who becomes a gay Lightning pirate?’. And the answer is that the story then becomes divorced from its context. It matters for this hypothetical Humphrey story that we know that Tristan became the hero. We know he was humiliated when Tristan returned, having grown into an accomplished man, and made him small and unimpressive by comparison. It matters that we know Captain Shakespeare’s homosexuality and transvestism has only just been revealed to his crew (in the climax of the original movie) and that they were accepting of it. It matters that we come to this story with Humphrey and Victoria well aware that they’re supporting characters in the broader story. It matters that we know Tristan and Yvaine’s story just ended, and we come with an emotional tie to those people. Those details carry far less weight when explained in an opening chapter that also has to create an entirely new world. Those nuances matter less when we’re more concerned with introducing the characters for the first time and trying to make an indifferent reader care.

What I’m saying is that this story COULD be told as its own book, movie etc, but that it SHOULDN’T be. Yes, an original novel about a young country dandy discovering a homosexual life of piracy would be amazing. But it wouldn’t be -this- story. That character wouldn’t be Humphrey learning and growing as a result of Tristan’s actions. That novel wouldn’t include Captain Shakespeare, whom we all love already and whom we come in already emotionally invested in. It wouldn’t return us to a world were already familiar with, thus allowing us to take the fantasy elements for granted and focus on the characters and relationships. And those things change the audience’s perspective on the story, and create an experience wholly different to what you could get in any other medium.

What I’m saying is that even leaving aside mainstream media’s reluctance to show stories about LGBT, POC and/or female characters, fanfiction matters because it allows us to tell the weird side-story as the main story. It allows us to tell smaller stories, and focus on minor characters who were underdeveloped for good reason in the main story. It allows us to try weird shit and, on a meta level, deconstruct the story itself. It allows us to respect the original story’s focus and plot, the original world, and then put a new angle on it. It allows us to examine sexuality, character growth, motivation, race, gender, and whatever else we want within the confines of a world we already know and have emotional investment in.

Fanfiction writers are doing amazing things with structure, with character, with the focus and theme of their work, because working within an established universe gives you opportunities that an original story won’t. Fanfic can be terrible and trashy and cliche but y'know, so can original media. Fanfic at its best is transformative, original, literary and engaging. It expands the original characters and universe by shifting the focus, narrowing in on a particular facet, or changing the plot or setting in some way and examining the consequences of that change. Its more than a stepping stone before we become 'real writers’. And it isn’t for people who are just too lazy to make their own thing.

Fanfiction is beautiful, and it deserves more credit than it gets.

anonymous asked:

I love the gifset you reblogged with Pete and Gwen! I was just wondering what was wrong(?) with the Homecoming review you mentioned in your tags? What are your thoughts on Homecoming? :) Anyways love your blog and your writing! Have a great day!

Thank you! So I have somewhat unsuccessfully attempted not to be Really Negative about Homecoming, except on twitter where I’ve clearly given up altogether, but heads up: I’m about to be pretty negative because I care way too much about Peter Parker. My opinions are my own, etc. Right off the bat: I actually do think Spider-Man: Homecoming is going to be a fun summer movie. It’s probably well-written and engaging! It looks like a good movie about a teenage superhero coming into his own and I’m excited about the diverse cast. 

It also, in my own opinion, looks like a terrible movie about Peter Parker.

There was nothing wrong with the review (it was in USA Today) so much as that literally everything it described made me, a person who loves Peter Parker, cringe. Full disclaimer that I haven’t seen Homecoming yet and it’s plausible I might like it in the end! I won’t, but it’s plausible! So everything I’m talking about is based on interviews with the cast and creators/trailers and released scenes/etc. 

But I’ve got so much beef with this movie I practically own a cattle ranch. 

I’m just going to try to hit my main complaints: Ned Leeds, or, This Should Have Been a Miles Morales Movie, Peter as a New Yorker, Peter Parker vs Spider-Man: A Fake Argument, and Why We Actually Do Need To Know How Ben Died, Thanks. “Traincat, how much have you thought about this?” I don’t want to talk about it! Except I do, under the cut:

Keep reading

I have not peeked into my dash AT ALL since the new episode, mostly just scrolled a few blogs to catch myself up on gifsets etc, but I wanna put down a few more thoughts from rewatching 13x01 and 2 today - which was hours ago so I’m not sure how much I have to say -

- in 13x01 *Sam* says that they “need” Jack - thinking of course about his portal opening abilities, and next episode is the one to start poking him about what else he can do, seeming really interested for the teleporting. He also has the conversation with Donsmodeus where he has already been researching what Jack can do and completely misses “Donatello”’s flip on Jack about moulding him because now Donssmodeus is talking his language about that, all of which vaguely worries me. I know there’s a discourse about Dean the Bad Parent out there but only from 2nd hand chat that it exists so I just wanna weigh in. 13x02 hammers home that “needing” people is BAD (which I covered a little more in my notes about the episode about how “i need you” is now a bad phrase and hopefully that loops back around to where it became such a hot subject in the first place and Dean says something more about wanting or loving Cas than needing him when he’s back, but Lucifer said it about Mary and Michael said it about Lucifer, and Sam said it about Jack. So. It’s not all sunshine over there even when it’s adorable and Sam is so supportive and I am loving every moment of him and Jack).

- Sam talks about how Kelly and Cas thought Jack was worth all the fuss, and “so do i”, aligning himself with Jack’s parents etc etc he’s now morally responsible for Jack as a guiding figure. Dean had no such conversation and was not included in this conversation which was started BECAUSE Dean had said horrible things about Jack. I don’t think at the moment Dean’s on the level of “parenting” Jack, at least in the same way I don’t think Mary in season 12 can possibly compare to John for their entire upbringing when having a bad parent conversation. You can condemn her treatment of them and complain about how she should have reached out more or not left or whatever (I mean I’m pretty supportive right up to “lying about working with the BMoL” and then switch to sympathetically understanding while agreeing it’s a mistake but blah blah those power stories and that’s how we learn and grow around here)… But yeah none of it can possibly scar them like their entire youth spent with John’s version of parenting.

Granted literally all of Jack’s issues pretty much stem from Dean, whether it’s activating his memories of Lucifer reaching out to him and getting our first “I’m good” which means “I’m not good” which is SUCH a loaded statement about not just wellness but ethical morality levels (e.g. was that the first chink in Jack’s goodness where he has warring influences on him now - though I still of course think his core is completely good/neutral) and of course saying all the stuff about Jack to make him think he’s not worth it and then be so horrified and confused about his own life and abilities we get that last scene. Asmodeus barely managed to make a dent in Jack’s self-worth except for teaching him trust and wariness, but even then a better pep talk about God and all would have avoided the problem entirely if the Winchesters were forthcoming with their issues with faith and religion and explained the shittiness of this world’s Creation properly instead of being uncomfortable about explaining Lucifer and Chuck and the myriad issues they cause.

But yeah, I think Dean’s fucked Jack up immensely but he’s just not in a place to care or understand and he has not stated Jack is his responsibility in any other way than protecting other people from him, because he can’t see him properly yet. Another thing I caught while thinking about the framing of this all and Jack from Dean’s POV is that Jack looked enraged to see Dean at the police station when he was running from the angel radio, and to Dean it seems like *only* Sam taser-ing Jack avoided Jack attacking Dean again and he has no way to say whether Jack would have or not. We had already seen so much more of Jack’s nice side by that point we can assume he was just scared and running and overloading, but Dean does not know that. He’s also in no place for Sam’s attempts at sensitivity training to work, but Sam has already attempted to call out the problem Dean has a few times, to no avail but at least he’s putting the words out there, bridging the problem between them by making it clear they need to be on the same page, and trying to get Dean to cooperate.

(I haven’t seen the discourse about this but I wonder if the haste we have to assign them all as family members to Jack while the show is taking a slow approach to having Dean own any responsibility for Jack while Sam has dived straight into being the Best Uncle Ever has made this more of a problem because it’s hard to have Sam in one place with Jack and Dean in another and NOT see the connection to Sam and Cas automatically making him uncle or step father to Jack by proxy, while the earned family philosophy means Dean has not chosen any connection whatsoever to Jack except the one he already made clear, that he still sees Jack as a monster and a problem and even with deeper sympathy and understanding after spending time with him, he can’t credit Jack his human side or trust him to control the angel side… the 10x09 mirror conversation between them (or 2x11 if he’s seeing Jack as Sam and putting himself back in the season 2 mindset aka ranked one of his worst ever and proportionately THE worst) just goes to show his problems even more. He didn’t trust himself back in season 10 and wanted Cas as a failsafe to throw him into the sun. He’s probably looking up how to do that right now :P)

- but to get back to Asmodeus and Jack, the big fuck up the Winchesters made in preparing Jack for the world was not warning him that having any sort of destiny was a Bad Thing. Asmodeus made it up completely but it goes in line with Kelly believing there was a higher purpose for Jack and Cas’s utter defeat about the idea saying it was all just random happenstance; though it was a circumstantial lie I find it interesting in the wider metaphorical picture in the same way Kelly praying to Sven for help in the open of 12x23 is circumstantial but fascinating in a wider picture :P Obviously there’s a massive Destiel barrier to communication in the room specifically in the general area of Donatello talking about having a direct line to God or not, because on a better day Dean could have been regular old bitter about that and snarked enough of a warning for Jack to get the idea that no such thing exists and God doesn’t care… And I hate that’s the HAPPY day for them, but there you go, Dean was still so fucked up about that prayer not being answered a couple of days before that he does the thing I saw a gifset pointing out from Sam’s same page speech about just shutting down completely when it comes to the subject of Cas and his death and Sam’s hope and God not helping and all that in general.

I’m pretty sure I’ve mis-explained all of these thoughts horrifically so my inbox is always there for me to get back to this maybe on Monday or something… it’s my birthday then and I love random meta asks from people confused about what I meant about something giving me a chance to write an even longer post. I’m genuinely excited to research up the table post I need to make about the final Bunker kitchen scene on me bday >.>


KUBO APPRECIATION WEEK: Day 6 - Favorite Scene

    I’m going to cheat, since I just about adore this film in its entirety. But if you had to make me pick a scene, then I’m sorry, I’m not going to give you just one. While I already appreciate this film for having the balls to kill off both parents on-screen and keeping them dead, the highlights of Kubo and the Two Strings, for me, were the more touching and lighthearted moments.

Keep reading

a113cowgirl  asked:


Oh god… where do I even start…

The problem is that I don’t have just one specific favorite scene. Like every time I try and narrow it down I think of another one that I love but okay I’m gonna try and pick just one.

The Neon Lights/Sha-Boom scene. To start off I just have to say that that scene is so beautiful and the animation seriously has not become dated at all. It’s still as beautiful as I remember it being as a kid.
“Just like in it’s heyday, right?” That’s honestly one of my favorite lines from Lightning and like. 

Okay I’m absolute shit at explaining things. I’m really bad at expressing why I love certain things but I’m really gonna try here.

It makes me so emotional that he did that for Sally. He listened to everything she told him on their drive. He listened and he paid so much attention to everything she was telling him and he tried so hard to make Radiator Springs look like it did back in the day. Like, he’s only known her for four fucking days and he already cares about her so much. He already cares about this little town so much ! Four days ago he was yelling about how it’s “Hillbilly Hell!” and now?????? He doesn’t ever want to leave!! Four days!!!!!!!

And god when he nudges her, and she nudges him back, the face he makes kills me. Like he didn’t expect her to actually nudge him back, and he’s just. He’s so shocked and so happy.

And god the music. Sha-Boom is one of the best songs on that soundtrack and I’ll fight anyone that says otherwise.

And god the goodbye part. First off, he’s so damn happy to see Mack and it makes me very Emotional. But god then Sally pulls up and I get WRECKED.

I made a gifset of his face in that moment and haha kill me ! He can’t even talk to her. He wants so badly to say how he’s feeling but he can’t and it just. God it pains me so much. And god Sally’s face. And her lines.

“Good luck in California. I hope you find what you’re looking for.” G O D.

And then he starts chasing after her!!! He’s yelling her name and trying to get to her but the damn paparazzi won’t let him through. And you can hear Harv in the background, “You don’t belong there anyway” and the door shuts and McQueen is still fighting to get out. To see the town. He’s forced away from Radiator Springs and I bet you anything as soon as that trailer door shut he started crying. That’s just my headcanon but like…

And then that reporter tells Doc “Thanks for the call” and god… Sally’s reaction…….

“Best for everyone? Or best for you?” that line…….

The residents all watching as he’s taken away, all assuming he called them. Sally slowly going into her house and shutting off the lights. Everyone slowly turning to go home and the town just shuts down. And Doc’s left alone. With that damn broken stop light.

G o d just…..

anonymous asked:

I'm behind on meta so please feel free to ignore this if it's been already talked about, but I thought it was interesting how - as weird or sort of unusual that fight scene was with dean and the demon, or at least i don't recall anything like it - by making it look sexual and obviously violent, it kinda parallelled Mary's struggle with that asshole hunter. What weirds me out is that it puts Sam & Lucifer in the same role of saviour which is never good, but maybe they just wanted to connect them

like that bc they both want a connection w/ Jack, maybe even see themselves in Jack, who knows lucifer;s side, since they were unable to provide dialogue 4 him besides repeating how Mary is weak bc she gets tired & is all humany and they need to get out and he might need her. ANYWAY, shitty writing aside, do u think it was a parallel and if so what are they trying to say? Was it to show that maybe Sam’s intentions aren’t the purest either, not in an evil way but like bc he’s so intent on getting Mary back that he might be blind - for different reasons than Dean - to Jack as a person? He’s trying so hard & almost doesn’t even entertain the thought that Jack might be corrupted by his power at some point, or by Hell which we see almost happens bc of lack of info. Sam seems to hold on to as much hope as he can, while Dean is at the opposite end of the spectrum (hmm I wonder who could balance it out?). But what do you think of Sam having been weirdly aligned w/ Hell like, he even unwittingly gave the info to Amodeous about how powerful Jack is, while Dean, without even trying, seems to be Jack’s role model for Good (& I love how Jack has a Dean decoder built in) and he even throws him a Bible to read (which, if presented without commentary can be risky, he’s better off reading the Supernatural books, but still, it’s the Holy Book).

Hi! What an ask :D Also I am ALSO so behind on meta so I’m just going to answer this like it’s all new to us, sorry everyone who has already been over this, me and anon are going through this together ;)

To go through chronologically because I’m super tired so I need to break this down…

Yeah, awesome weird fight scene. I loved it - Tink said something about them having a new fight coordinator? There’s been 2 incredible fights back to back for Dean so far and I’m loving it. This one was great I think with the director as well - I feel like he of all of them takes liberties with BL scripts and puts in extra nuance and missing implications that their writing didn’t pick up… He’s 99% responsible for the crypt scenes for example, and in 11x21 included ALL the nuance that made the longing retcon magic happen between Amara, Cas and Dean, just by visual implications. He also super digs the prison imagery and bunker porn and generally using the locations really well… I don’t know much about all the different directors but I’ve learned that seeing his name means it’s time to get excited and nerdy about what I’m going to SEE :D

So yeah, good combo. It made a great parallel with Mary’s fight which I liked first of all just for the Mary and Dean paralleling, especially as she needs connections back to the main storyline just for asserting she still exists, because as you say it was pretty bad writing especially around Mary in that episode, where she just dragged herself around after Lucifer and needed saving. Putting Dean in a parallel situation somewhat defuses it in overall handling of the nonsense, even if I don’t like that it was written this way in the first place. I have still not had time to explore my dash much but I hope people have been making posts about the parallels to female fight scenes, especially Black Widow in the marvel movies… In my notes I just commented he was straddling people to death and left it at that (even though that obviously wasn’t what he was doing - it was a shorthand for the fight style :P) but really it also mirrored 10x15 and Dean in that weirdly charged scenario with whatisface, where he got straddled and had the worm coming out Cole’s throat while leaning over him etc and it put Dean in a very submissive role to all that. In the same way, having Dean fight back by getting his legs around the guy and ending the fight literally *cowering* on a bed with the demon standing over him with the phallic knife, was a fascinating staging of power dynamics where he actually looked more vulnerable than Mary did.

I think Lucifer nice guy’d it - he said he needed Mary and when she wouldn’t go along with him, immediately started whining more and hurt Mary just to make her complacent and remind her that he was still in charge and more powerful than her. Sam of course has no such dynamic with Dean, but I think overall he’s going to be more assertive this season and carrying on - according to the PR - with having more of a leadership role in the dynamic. He’s definitely making the better choices right now while Dean urgently needs a personal day or six. So I think first and foremost it’s a compare and contrast rather than a direct parallel. There’s a great gifset I reblogged somewhere or other about Lucifer in 12x23 saying hurr blurr I can’t raise my son from a prison cell, and then Sam in the cell with Jack just captioned “HOLD MY BEER”, and Sam currently is the only positive father figure - and actually the ONLY father figure *on the board* for Jack, since the pool is Cas - dead, Lucifer - in the AU, Dean - not interested right now… Meaning Jack is pretty much Sam’s sole responsibility and the Lucifer vs Sam stuff may be being played as an oppositional thing. So Lucifer being a dick to Mary after saving her but doing it conditionally and in an attempt to make her go along with him (and that he only wants her to trade for Jack anyway) vs Sam just saving Dean because they love and trust each other already forevers and there being no terms and conditions except for not wanting his brother dead for well duh reasons is… nice. 

But yeah it does also put Sam in a weird place where he’s being paralleled to Lucifer in any way and he has that long history with him. And I think by and large this is supposed to be positive for Sam and all but I agree with you that Sam can and maybe will fuck it up, and being oblivious to the dangers is the main way. In the “Donatello” conversation he doesn’t notice that Donatello switched from “Jack’s nature wins” to “let’s try moulding him” which was Asmodeus’s idea (and Sam’s) - but because Asmodeus was AGREEING with Sam and Sam was assuming he meant for the better, then he didn’t notice that Donatello was suddenly agreeing with him.

I think it’s pretty inevitable Jack’s going to have some sort of wobble - we’ve seen Lucifer is a tiny bit in his head even if he already picked Cas as his father and it’s clear he has a good heart, Asmodeus showed how easily some trickery and the path of good intentions can open a portal to hell (aww season 4 Sam) and that is something Sam himself has to deal with and his his hugest character thing overall - his arc led to that, and then on the other side of it has been about repenting for it and feeling awful that this was what he was basically raised to do >.> He should hopefully be a good influence on Jack to guide him away from repeating his mistakes but only if he can see the problem in the first place.

(Also yeah I love Sam and I’m excited and positive for his relationship with Jack but like you I think we do need to think about the problems, Sam’s lack of experience, this being a complicated time for him to take charge of a thing when historically almost every time he has been in a position of responsibility or strength he’s fucked it up when handling things himself, or else gone down some really dark paths… I think he CAN help Jack and ultimately WILL but that doesn’t mean it might not be rough along the way and I think people need to be prepared for that if they’re getting invested in it… Maybe even more so than the people who want Dean to be good with Jack and are getting upset about how hard it is because in a way that is a much more obvious problem and we were warned about it from the start, while Sam and Jack seems like such a good and pure thing it might be easy to let your guard down that the show can easily insert trouble and darkness into it…)

I wonder if there will be some tension to come between Sam and Dean about Jack kinda latching onto Dean though? Because I’ve wondered before that he is the moral centre of the show and Jack was mimicking him because he’s sort of needing Dean’s approval too, not just in a survival way but because Dean is so SURE of what is right, so being like Dean is default being right. (I think Sam has said something similar in 3x07 about always following Dean around trying to be like him when he was young? In that “i know when you’re scared” argument) And of course Dean being so sure of what is right and Jack not meeting that standard by default has been a massive part of why Jack levelled up in Winchester self-doubt and self-hatred in just a few days. Took less than a week to ruin him and Dean’s standards are probably a large part of it >.> So yeah, I hope Sam understands all the nuance of why Jack might have been mimicking/idolising Dean when Sam is the one trying to be the positive role model to Jack, just because he knows the force of Dean’s personality. I hope he doesn’t take it as a bad reflection on himself, ESPECIALLY if/when Jack fucks up as I feel will inevitably happen. 

I think it does sort of reflect Sam and Dean’s long-standing alignments though… I just remember the season 6 poster where Sam has the snake and Dean has a literal freakin’ halo because subtlety? What is that? :P