i love her so much and i'm done

5

“I hereby irrevocably appoint you chairman and CEO of Stark Industries effective immediately. Yeah, done deal. Okay? I’ve actually given this a fair amount of thought, believe it or not. Doing a bit of headhunting, so to speak, trying to figure out who a worthy successor would be. And then I realized… It’s you. It’s always been you.

Okay but can we briefly discuss how in complete awe Lexa was of Clarke? Here’s a girl who’s gone through so much and done so much for her people and here comes this girl who literally fell out of the sky. Who kills hundreds of her warriors and dares to sass thr great commander and she literally looks at her like she puts the stars in the sky. I don’t know what upsets me more how much Lexa loved and appreciated Clarke or that Clarke doesn’t have that kind of pure love and total support anymore.

Hamilton characters as things my friends and roommates have said at college
  • Washington: Every time you don't keep your side of the room clean, god kills a puppy.
  • Angelica: Honey, if that boy talks to you again and you don't like what he's saying, send him to me and I'll kick him so hard in the ass, he'll need my foot surgically removed from his mouth.
  • Maria: I look like a hooker in this dress, but not a cheap one. Like, a really expensive one. For the guys who wear nice cologne and suits.
  • Laurens: I don't know if I'm gay. Or straight. Or bi. I don't know what I am. I just know I have to pee now cause I'm so stressed about this.
  • Hamilton: I want to have a party just about me. Like, no music, no dancing, nothing. Just an empty room and me with a mic, so that everyone will come and have to hear me talk.
  • Eliza: I feel so guilty, I ate sugar before lunch. My mum always says it's unhealthy to eat sugar before noon. What have I done? I'm a horrible rebel. I need to go call her and apologise.
  • Peggy: DUDE IM NOT A GARBAGE CAN STOP THROWING YOUR FUCKING GARBAGE AT ME AM I THAT UNNOTICEABLE JESUS I HATE YOU ALL
  • Jefferson: Everyone here is so goddamn stupid.
  • Burr: Either I'll kill myself or my dorm-mate before summer break. I don't know which yet.
4

harlots // charlotte’s fuchsia dress

2

the calendar // panic! at the disco

myheartliesin221b  asked:

So I'm totally in love with your art and I think they're the most adorable doodles ever!! :D I was wondering if you could draw something for Emma (pale_silver_comb) for her birthday? It's on 30th December and I'm sure she'd love a sterek version of any fairy tale (sleeping beauty is the first thing that came into my head!). She's just done so much for me and is an amazing person and I want her to know how much I appreciate her <3

HAPPY BIRTHDAY EMMA! :D

I wish you delish cake, no rain, and a bunch of hugs!

4

like i aint make these bitches rock pink hair at some point

self indulgent doodles of briar in some nicki looks lmao, click through for references

eyes

Lily’s eyes were green. Lily was earth. She gave life to everything that touched her. She was vivacious. She was the start and the end of everything. She was rough and edgy sometimes but smooth as silk at other times. She was strong, she would turn you upside down like an earthquake. She was indispensable, if she wasn’t there, there was no life. 

Sirius’ eyes were grey. Sirius was air. He was free like the wind. He was also as intimidating as a hurricane. When he was angry he could not be contained. He either caressed you slowly or he smacked the living shit out of you. He was black or white, he didn’t have the colour of his eyes in his soul. He was rebellious, he would rekindle a fire when others tried to put it down. He seemed weak but would knock you down out of nowhere.

Peter’s eyes were blue. Peter was water. He was pure but easily manageable. He never knew his strength. He had the potential of a tsunami but he thought he was just a river. He never understood how big the effects of his actions would be. He wanted power but he already had it inside him. 

Remus’ eyes were amber. Remus was fire. He was the sun and he didn’t get along with moon as well as the others did. He had good and bad in him. He kept you warm but he also had the ability to consume everything around him. There was hatred in him, burning him from the inside but he always made sure he kept it under control. When he couldn’t, he needed others to keep him calm and they did. 

James’ eyes were hazel. James was harmony. He kept them all together. They worked together like magic and James was how they achieved that magic. He would help Peter realise his strength when he didn’t and help him understand how much he’s needed to put out Remus’ fire. He would make sure Remus saw fire isn’t all that bad, it can be calm and good, too. He would protect Sirius and others from himself so there would be as little damage as possible. He would bring out the best in Lily, he would smooth out her edges. He had all these different personalities but he made them come together and work. 

internallydeceased  asked:

First of all, I love you all so much you're amazing at what you do and inspire me so much. Thank you for this blog I have not lived before this. I'm not sure if this has been done before or not, but what if Claire found out she was pregnant before she fully realized her feelings for Jamie?

Leaning back against the nearest tree, Claire huffed out a large breath, her mind finally calming as the rage of being *abandoned* here with young Willie dissipated.

“Mistress…?” The young lad yelled, scratching the side of his head, displacing his cap as he hopped from foot to foot, nerves getting the better of him.

“Out with it, Willie,” Claire sighed, exasperated with the whole ordeal.

“I’m just going further into the woods, aye? To piss…” he trailed off, not needing to explain further as he awaited Claire’s approval.

“Go on then,” she replied, a terse tone to her voice, one that she couldn’t seem to eradicate no matter how hard she tried, “just make sure you go downwind!”

Nodding, the lad scarpered, the leaves around his feet flying to the sides in his haste to leave.

Flopping back against the tree, Claire swayed to and fro, her toes buried in the detritus at her feet as she gazed around her, her mind trying not to conjure up fresh images of the raiders in the glade.

Pushing herself up, she wandered the same stretch of forest over and over, her movements making a wee path in the mulch, her footprints embedding into the forest floor. Shaking the renewed anguish from her head, Claire’s eyes darted just passed the tree line.

There, just out of sight and hidden ever so slightly by the thick bark of the oak trees, lay a familiar outcrop.

“Craigh na Dunn….” she whispered, her heart beginning to race as she stepped forward slightly. The swishing of the leaves around her kept her grounded as she laid her hands against the bark of the last evergreen, digging her fingers into the thin trunk as the wind blew through her hair.

Having little time to think, Claire hiked up her skirts and made for the hill, the rough terrain hampering her footsteps only slightly as she darted through the open ground paying no mind to anything or anyone who might be passing by.

Images of Frank swirled before her eyes as her ankles buckled, the small dips in the grass causing her to lose balance more than once.

She had to make it up there.

The wind blew, rising around her as she forged her way onwards, not giving a thought to the highlanders she’s ceremoniously dumped, or whether they would be perturbed by her mysterious disappearance.

Beckoning her forwards, the stones seem to call to her, the brisk breeze making hollow screeching sounds the closer she came to the circle.

The sun dipped low on the horizon as she finally reached the brow of the small incline, the hum and whisper of the stones echoing loudly in her ears now.

Reaching her hands forwards, Claire slowed her pace, her heart thumping madly in her chest –partially from her sprint, but partially a build up of nervous energy.

Could she really do this?

Could she simply abandon Jamie without a second thought, without leaving him some simple sign that she hadn’t been abducted, hurt or even killed outright.

The attack in the glen hit her square in the chest, the memory of the rogue redcoats grasping hands causing her to shiver as she slipped closer and closer towards the unconscious pull of the fairy hill.

Inside, deep in her belly, a warmth started to emanate. Beginning in her womb, the *glow* seemed to fill her frigid veins with new life, her eyes tearing up as the image of Frank wobbled and faded.

Suddenly her rash decision didn’t seem so clear anymore, and her flight away from Willie and the protection of the forest seemed foolish and selfish.

*No*, she reasoned, anger flaring as she took a measured step forwards, numbing herself to the strange sensation currently bubbling up just beneath her pale skin. She needed to go home, to the twentieth century where she belonged –where she had been desperate to return to this entire time.

Clenching her fists, Claire steadied her shoulders and fought back against the emotions coursing through her.

In the distance, a subtle cry pulled her from her internal conflagration, her ears pricking at the sound.

*Willie*…she could hear him calling out to her, his anxious fretting reverberating through the low ground as he searched for her.

Dipping down, Claire hid herself, her mouth going dry at the mere thought of him out there, frantically scraping every inch of the nearby surroundings in the hope of coming across her.

Her stomach dropped, the sensation rocking her as she gripped her belly, doubling over as she gasped for breath.

*NO*, she cried, albeit silently, the improbable explanation for her unease causing bile to rise in her throat.

*No. No, no…no!*

It couldn’t be.

She wasn’t sure, but it was certainly too soon to tell.

Her body, however, immediately dismissed the notion, the muscles in her womb tightening as if to protect the tiny visitor growing inside.

Slamming her back against a tree that grew on the edge of the hillock, Claire clenched her eyes shut, moisture spilling down her cheeks as she rubbed the same spot over and over, the rough material of her bodice irritating the sweat-drenched skin of her palms.

Before she had time to debate any further strong hands grabbed her, hauling her from the damp grass where she’d collapsed in anguish only moments before.

“Up with you, mistress!” The redcoats spat, distaste lacing their tone as they pulled Claire aside, taking advantage of her delirious state.

Finally, her faculties returning to her, Claire awoke, fury shooting through her from head to toe as she began to fight, her arms aching where the men had tight hold of her.

“No!” She yelled, her cheeks burning, impassioned rage seeping from her pores as she tried hard to flee.

“I don’t think so, my girl,” the older of the pair sneered, his blackened teeth grinding together as he bound her wrists and thrust he up into their small cart. “I’d save all your strength,” the younger returned, a fowl glint in his eyes as he secured her to the wagon, her wrists burning and her blood running cold as she guessed the next words out of his mouth, “you’ll need it soon enough. Just you wait until Captain Randall sees you, eh…”

With that, her heart plummeted.

As the horses began to pull away, Claire slid her knees upwards, cocooning herself against the thin material of the wagon wall, protecting the only thing that mattered now. The one thing she had wanted most of all.

Burying her head in her hands, she wept quietly, bitter tears rolling in thick rivulets down her flushed cheeks.

Why now? She cursed, her internal monologue going unheeded as dusk settled over the highlands.

Why now with a man she barely knew in a land where she was all but a stranger?

“I’m so…sorry,” she whispered.

To Frank.

To Jamie…

…and to their unborn baby.

TBC

eorlsdotter  asked:

Question! I noticed - maybe I'm wrong - that in all the adaptations, the casting for the main characters is similar: Darcy is dark haired, and so is Lizzie; Jane is blonde and (for some fascinating reason) Bingley is ginger-y. Is there a reason? something in the books that I missed? Some extra source? It seemed too much a coincidence (although I do love Ginger Bingley) thanks!!!

First off, I’m going to refer back to Mullan’s What Matters in Jane Austen? again, because he’s done a whole chapter on what her characters look like (and starts off with a basic examination of casting choices in adaptations and the admiration or outrage which always follows.) “How people look is often suggested rather than specified in Austen’s novels.” He then goes on to quote Sterne’s Tristram Shandy, “…paint her to your own mind–as like your mistress as you can–as unlike your wife as your conscience will let you.”

All we know of Jane is that she is considered very beautiful–as much is said by Bingley, her mother (who has no difficulty criticizing her children when they displease her,) and even Darcy must admit it as a fact. Looks are important in novels where often penniless girls must rely on other attractions in their manners and person–”…words used so frequently about characters when we first meet them: handsome, pretty, gentlemanlike, elegant…”. And yet she avoids specifics–perhaps as a reaction to other novels of her era, where a heroine’s precise points of beauty are totted up among her other virtues to make her a peerless wonder. Austen’s heroines are often described by other characters, rather than the narration, as it’s important to consider who is looking, and how, when looking at their judgements. Some people use a mention in Jane Austen’s letters about Jane wearing the colour green and Elizabeth preferring yellow to be some kind of marker of what their haircolours must have been in Austen’s mind’s eye, but that’s a tenuous argument at best, and if Austen had wanted the world in general to know imagined particulars about Jane and Elizabeth, she would have set them down in the text.

We know Elizabeth’s eyes are fine, and dark, but beyond that, we are given no details. On a genetic level, dark eyes are far more likely to occur in people with darker hair, but Austen wasn’t working with genetics–and dark eyes paired with lighter hair can sometimes be a rare sign of remarkable beauty, as in the descriptions of Irene in Galsworthy’s Forsyte Saga books. (A description which was entirely ignored in the casting of my future wife Gina McKee, but then Irene’s beauty and her allure is such a pivotal force in the novels that to pin it down as necessarily belonging to certain shades of colouring is to make it more trite than it truly is. Irene’s beauty is something beyond what one sees at first glance–it is transcendent charm.)

Dark could mean brown, or also a very dark blue or grey–it’s impossible to tell, exactly. Anne Elliott’s eyes are mild and dark, Fanny Price’s are soft and light, Harriet Smith’s are blue, Jane Fairfax’s a deep grey, (and her lashes and eyebrows called dark, giving us some notion of the likely shade of her hair,) Mary Crawford’s are sparkling and dark…eyes are often the only thing near to a solid description we are given of physical attributes, and even then half of the description is more to do with the expression of the personality or feeling of the character through their glances and gazes, rather than specifically the colour of their irises. (Only Emma Woodhouse’s exact eye-colour is known–they are “hazle” and no adaptation so far has given enough of a shit to make certain of casting.) Marianne Dashwood has very dark eyes, and there is a general comparative description of the figures of the two sisters–but casting directors rarely, if ever, I think, take specifics of figures into account beyond an ‘acceptable’ level of Hollywood slimness.

Now, for the casting trends (exceptions to the pattern you laid out being the 1940 P&P’s Greer Garson being a dirty-blonde/light brown Elizabeth, while Maureen O’Sullivan’s Jane had very dark hair; and the 1980 miniseries with Elizabeth Garvie’s Eliza also having light brown hair while Sabina Franklyn’s Jane was several shades darker–but indeed, the two more recent and well-known adaptations of 1995 and 2005 have the colourings you mentioned,) it’s probably just down to Hollywood mechanics where you’re going to have to combine the tropes of a comparative Ugly Duckling sister as well as a Best Friend/Beta Couple plotline. Coding a blonde woman (or man) as ‘good’ and a darker-haired person as ‘less good’ has been a Thing since long before cinema showed up on the scene. There’s a reason Laura Ingalls spends so much time inwardly (and outwardly) bitching about her sister Mary’s luck in being blonde (and also better-behaved, though this is never explicitly tied to the fact that Mary is blonde, but just ties INTO the overall notion that Mary is The Better Daughter.) Dark-haired heroines throughout older literature have bemoaned their lack of golden locks (notably also in LM Montgomery’s works, with Anne Shirley’s famous sensitivity about her hair being red, but also briefly in Emily Starr’s contemplation of her own black hair and atypical looks, which gets a bit of verse thrown at it which I can’t find sourced anywhere else so must have been made up by Montgomery herself: “If the bards of old the truth have told the sirens had raven hair. But over the earth since art had birth, they paint the angels fair.“

So culturally, in the west, there’s a pervasive notion (especially when it comes to women,) that dark-haired women are the ‘darker’ side of their humanity…the temptresses, the more-likely-to-be-bad. (Though any reasonable reader would be like “…well, they’re human, you see, not out-and-out evil.”) But of course anyone compared to the fair-haired saintly paragon of womanhood would look bad–and so equally is the angelic blonde woman a trope in literature, often but not always used in comparisons against her brunette foil.

In cinema, quite often it’s just to better differentiate between characters, and to use these assumptions which are deeply entrenched in our cultures to play upon our immediate and almost instinctive reactions to visual cues. Jane is super-good, so she’s blonde. Bingley is likewise a bright and easy-going character, with more elements of comedy about him, so he’s got lighter hair, too, either as a strawberry blonde or redhead–but he is definitely the sidekick. I, personally, would be all for a ginger Darcy. Or a ginger-everybody P&P. (But that’s not going to happen, because redheaded men are culturally de-sexed/made less masculine or attractive, whereas redheaded women are more inclined to be overly-sexualized. Humanity is weird.) Darcy is a brooding brunette, because darker hair in the case of a male character gives them gravitas and mystery. It’s that damn Byronic thing coming into play. Dark hair, dark secrets. It’s a visual construct we’ve trapped ourselves into, at this point. Also, when you’ve got two love-stories running more or less concurrently, an audience needs visual markers to help them quickly identify and individualize (and therefore emotionally-invest in) the characters. More morally-dubious and fascinating hero and heroine Elizabeth and Darcy are brunettes because we see them making mistakes and drawing our attention by being fuck-ups. Lizzie can’t be the Prettier Sister, so she’s more automatically made the Brunette Underdog. Darcy is brooding and mysterious–so it’s very easy to make him dark-haired. Their contrasts are in their secondary characters–Jane and Bingley. Jane is prettier, and good-hearted (moreso than Eliza, anyway,) so she ascends to Blonde. Bingley is the Good Friend, and seemingly with fewer social defects compared to Darcy, so as the Nice Man, he gets lighter hair to also differentiate him from Darcy and make him more matchy-matchy with Jane. Our brains are making these connections based on visuals even before we’ve gotten half a dozen words of dialogue from any of these people.

This happens often in films and TV shows–in Coppola’s Dracula, Sadie Frost (a natural brunette) was made a vibrant redhead as Lucy to contrast to Winona Ryder’s more sedate and mysterious Mina. (Though this also had the fun effect of tying in a possible reference to the historical link between redhaired people and vampires, and the whole mythos of redhaired women in particular and sexual allure/witchcraft/spiritual evil–particularly as THIS version of Lucy is much more heavily sexualized compared to her book counterpart. I don’t know how much of the hair-colour-change was on purpose from Coppola’s perspective, and largely it’s just handwaved as being so people could really tell apart the ONLY TWO MAJOR FEMALE CHARACTERS IN THE FILM, but personally I think it’s an interesting choice–particularly compared to Katie McGrath’s blonde Lucy.) Again, we see the contrasting of virtue coded in hair-colouring, as Lucy is a character known for her sweetness and purity…as well as being a secondary female character to the heroine, and hence her more-virtuous foil…with lighter hair. Mina’s place as an educated, working, and married woman, with a more active part in the narrative, particularly as her brushes with dark forces mark her as ‘unholy’, makes it easier to code her as ‘complicated’, i.e. a brunette. Interestingly, this is set on its head in Penny Dreadful, where Mina becomes the blonde, doomed damsel, and her friend/lover Vanessa is the raven-haired woman at the center of a maelstrom of fucked up shit full of vampires, witches, and devils. Essentially if you want your heroine to go ‘bad’ a little (or a lot), give her a better-by-comparison blonde friend and have at it.

Of course, since these tropes are so pervasive, we do see stories where this is purposefully mirrored or mocked, where the icy blonde is the femme fatale or turncoat who uses her appeal to deceive others–but this relies just as heavily on the initial assumption that a fair-haired character is intrinsically ‘better’ on a moral level.

To conclude, this is why I think we see that general trend with colouring when it comes to casting/styling these characters in cinematic adaptations, as we have really very little in the text to go on, but from the characters themselves there are long traditions to draw from for visual cues to quickly and adeptly condition audiences to draw certain assumptions about these characters which enable us to rapidly bond with and understand them to some degree. I want to specify “Western” audiences because the blonde/brunette thing is at its roots kind of a colourism thing which is grossly pervasive in a white supremacist society going back for centuries, and Caucasian beauty standards do not and should not apply globally; but as the media most of us are familiar with is dominated by this white heteronormative patriarchal history, these tropes and codings exist for ultimately gross reasons. Frankly we could all do without them from this day forward, but change can be slow and so these stereotypes continue to exist and blonde people on-screen for now often continue to be the tacit code for ‘these people are the purest bestest people’ while the darker-haired people are almost always more morally-grey, complicated–even troubling–and made more ‘fascinating’ by their more flawed natures. It’s a shitty way of doing things, but we’ve been culturally conditioned to respond to things like that, and so it works.

Anyway, thanks for asking this one–my answer went to places I wasn’t fully expecting me to go, but I enjoyed blowing the dust off my film studies qualifications and I always love yelling about culture.