i love the lighting of this scene it is perfect

Guys how depressing is it how young Azula was?

see I watched Avatar before I turned fourteen, so I never realized just how YOUNG fourteen is. Now I realize how fucked UP it is for a fourteen year old girl to be manipulating, threatening, and killing people.

Like she’s this brilliant little political strategist, she’s blackmailing and lying to people and starting coups and she’s powerful and talented…

But she’s also really, really fucked up, like, remember when you were fourteen?

You were just a kid, really, you just started high school, you had acne and you said painfully embarrassing things and watched anime.

What was Azula doing?

Well argue that she’s evil, but she wasn’t born like that.

She was made that way.

Unlike Zuko, her personality took their father’s bullshit the OPPOSITE way.

She became what daddy wanted and that made her want his approval more than anything and guess what that brought her?

Misery and mental instability and the inability to connect to others.

Now Zuko’s character development is the greatest development ever written.

But hers is damn close because they HIT THE SAME POINT but Zuko hit it and realized oh shit…my dad sucks.

And Azula hit it and thought I need to become better. I need to become perfect. I’m the problem not daddy.

But she could never be perfect, you see, the world doesn’t go according to your plans, and your father doesn’t love you and won’t, because he’s using you as a pawn and your BROTHER realized this before you.

Your brother decided he wouldn’t be your father’s tool anymore.

I think one of the greatest scenes was when Azula was mangling her own hair.

Like that scene where she imagines her mother…

Earlier she had said “my own mother thought I was a monster” and then looked solemn…but light heartedly brushing it off by saying “she was right of course.”

But that always seemed to me like a quick cover.

Like me when I say “so I’m complete scum…how’s your day?”

You laugh off the things that hurt most.

Maybe she thought her mother hated her because she acted like her father.

Maybe she grew to resent her mother because she loved Zuko more for his compassion and the fact that they were probably more alike than she and her father.

It’s kinda common, actually, for a parent to be more fond of the child that more closely resembles them, it’s an ego thing.

Maybe she subconsciously knew that her father was more like her, but that he doesn’t truly love ANYONE cuz he’s an ass, and she told herself that his approval was enough.

But she didn’t get AFFECTION from him like Zuko got from their mother.

So in that scene where she sees her mother being affectionate but mocking as she tells her she looks lovely, maybe that’s all of her insecurities come back to haunt her.

It’s just.

Avatar is amazing.

Azula being 14 and THIS FUCKED UP.

Like incredible, you will never hate a villain more than Ozai.

He fucked up nations and fucked up his own family, and by all rights Aang should’ve killed him, like you wanted that to happen…but then he doesn’t.

And you realize Aang is a damn monk and all of these people, even if they can’t be saved, deserve compassion.

Azula, I believe, was saved. Zuko had more compassion for her, as he always did, than she ever had for him, but in a way, it’s really not her fault.

“Winter Night in the Countryside”

I’ve done a lot of these star trail photos of this barn. I’m still trying to get that “perfect shot” of this scene at night. I like this one, but it’s not my favorite, so Ill keep trying.
I made this time stack by combining 425 photos into one image.

PSA (extended edition): Akaashi says he feels good watching Bokuto

Wow! Thanks to everyone who liked the Akaashi says he feels good watching Bokuto PSA! Tbh, I don’t usually bother with the raws since they are so hard to find, but I took a peek at some other lines from the ch244 and I am really baffled by these translations on the MS release. Plus I saw some questions in the tags so I wanted to add some extra context to my earlier PSA.

Regrettably, I don’t actually have the raw pages (if anyone can provide them, I’d be most thankful!) but a Japanese fan had the chapter all transcribed. Fingers crossed to its accuracy but, from what I’m seeing and the snippets they included, it looks solid. So let’s do this: Operation Overkill Of Four Lines of Dialogue, commence!

Konoha: 「赤葦、たまには木兎スルーしても良いんだからな?まあ復活してもらわないとマズい時もあるけど…」

“Akaashi, it’s fine to ignore Bokuto sometimes, you know? Well, if you don’t give us a Bokuto revival, we’re in for a bad time…”

Konoha here describes Bokuto’s revival with もらう, which is a verb used when receiving. Akaashi is effectively the one giving the team Bokuto at his peek, and Konoha is acknowledging that he is a recipient of this benefit. Unlike in the MS translation, Konoha shows none of that excessive teasing. There is also absolutely nothing here about Bokuto’s ego. This is a situation where MS is making Bokuto out to be worse/more troublesome than he actually is.

Akaashi: 「…俺が引き出せるのは木兎さんの力のほんの一部ですし それに


“… I can only draw out a mere portion of Bokuto-san’s strength, and besides

"it’s all because watching Bokuto-san play in top form feels really good.”

OK, OK, so I tried to spruce this up, I admit. I didn’t have the lead-in それに before so this is a cleaner version than the first PSA. I also overlooked とても like a dunce so there you have it: watching Bokuto makes Akaashi feel REALLY good! Also, grammar-wise, the basic rule of thumb is that は provides our topic marker, but while our topic here in the second half is “Bokuto in top form,” it is not the thing doing the action of seeing or feeling good. It is merely a reminder that Bokuto in top form is the point around which Akaashi’s efforts and feelings are being driven. So while perhaps Akaashi might mean others feel good watching as well, Akaashi is talking about himself with the emphasis on Bokuto’s performance.

In addition, Akaashi isn’t disregarding Konoha’s suggestion, he’s acknowledging it but then countering it with something positive about Bokuto. This is reminiscent to how Akaashi handled talking about Bokuto to Tsukishima at the BBQ. To perhaps make this translation even clearer, Akaashi is saying: I guess I could ignore Bokuto-san since I only do a little bit to draw out his strength, but I get the pleasure of feeling really good whenever I see Bokuto-san perform at his best (so I might as well keep at it). And then, of course, we have Akaashi’s expressions accompanying these two lines. First, he looks down and thoughtful. Second, he’s looking up and smiling. This is a very good and personal moment, and I’d like to thank Furudate for this gift.

There is still absolutely nothing here in regards to any highlight reels.

Friendly reminder also that Akaashi refers to himself as 俺, which is a very masculine pronoun as compared to the more general, politer 僕.

Sarukui: 「それ本人に言えば?」

“What if you told him?”

This is a simple conditional statement but with no assumptions attached. That is the nature of ~ ば. I might go as far as to say it has a blissful, ‘if you told him, what’s the worse that could happen?’ kind of attitude. It’s really basic but Sarukui is being chill and open minded. There’s no sign of aggression or forwardness akin to, ‘say that to his face.’

Konoha: 「ダメだダメだ!調子に乗りすぎる!」

“No, no way! He’d get too carried away!”

Konoha is the opposite of chill. He flings out his arm to stop them physically and verbally from pursuing this line of thought. 調子 means one’s condition or tone, so it’s probably safe go with Bokuto’s emotions. To help us in figuring out Konoha’s big concern, the image accompanying this scene shows a Bokuto radiating light, smiling huge, and looking like he’s about to fly. Or go supernova. But dare I say this looks like extreme, overwhelming happiness? So not only is this not presented as an egotistical moment where Bokuto’s ‘huge head would probably explode,’ (MS sure does love to throw in Bokuto’s mystical ego at every opportunity) Konoha does not say anything to that effect.

Well there you have it! I’m not a perfect translator by any means but I love these owls and they deserve to be handled with TLC what with their rare appearances–appearances which I hope increase from here on out!

You know what gets me about that finale (and the end of the Season in general)?

It makes so many of the little moments that felt like throwaways or baiting or loose-ends that would never be tied up make sense.

Like Clarke’s list - we thought it would be useless, but it came into play in 4x12. And the failed nightblood solution, turns out wasn’t actually such a failure after all. Or Abby’s vision. 

The whole “you keep her centred” line was really preparing us for the radio scene at the end of the finale, where Clarke confirms that “talking” to Bellamy has kept her sane. Even the “you still have hope” scene from 4x03 was setup for Clarke expressing her hope in the finale, because Bellamy gave her that. 

The fact that they brought the penal mining colony into the show was SO GREAT and satisfying. 

We saw that all of Kane’s talks about “you can’t save someone who doesn’t want to be saved” and Bellamy learning to let go of his loved ones, all the build-up of Bellamy starting to use his head over his heart was the writers preparing Bellamy for the decision of ultimately leaving Clarke, the girl he undeniably loves, on Earth to die. 

There’s more to be sure, but those are some big ones that I thought of.

Don’t get me wrong, Season 4 was far from a perfect season, but 4x13 did a lot in making me feel waayyyyy better about many of the earlier scenes/episodes, and shedding light on what the writers were planning on doing with the show from the start.

Musical Theory: Subtext in The Book of Mormon suggests that Elder Price is gay and that McPriceley could be a real thing

 So, I’m a big fan of this show on YouTube called Game Theory. It’s a show that looks at the subtext of video games to figure out answers to unanswered questions in the games (like who Rosalina in Super Mario Galaxy really is, or the true story of the Five Nights at Freddy’s series). It’s really interesting and I’d highly recommend you check it out. I’m also a big fan of a tumblr user called Loudest Subtext in Television, who is famous for writing excellent meta detailing all the gay subtext in the TV show Sherlock. The other day I was reading her meta and listening to the Book of Mormon cast recording, and it got me wondering… is there any subtext in that show? I initially dismissed the idea, but then as I started actually thinking about it… lots of weird things started to make sense, and I actually found a lot of evidence for what I suggested in the title of this post. I eventually came up with the theory that i’m about to present to you now. If you ship McPriceley, or you’re a big fan of the show, or you just like subtext in general, you might want to read on (obviously spoilers for the show below) :D

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Ladies and Gentlemen,

I am finally done! Done with this drawing and done with my life! To be completely honest, I won’t even try lying to you about how easy the painting process was; because it wasn’t. Far from it! It felt like this piece sucked the life out my body. 

I really do love sketching and drawing lineart, but taking hours of my time to colour said lineart in? Nah, thank you. Doesn’t have to be, you know? 

That being said, oh my god I am so happy how this piece turned out! The two vampires simply look adorable yet intimidating at the same time thanks to the lighting. The colour scheme is fitting as well; I’m glad I orientated the colours after an original painting by Yamamoto for Krul. The hardest part to complete were the delicate light particles you can see flowing around the two forms because SAI doesn’t have a Gaussian Blur effect. Thank you, SAI. After an hour of trying to create the perfect blur, I gave up and used Photoshop instead.

I hope the lovely two role-players, @lestkarrkingofeurope and @krullish, who inspired me to draw this scene like how it turned out as much as I do. 

Until next time~

Did you see Rogue One? (Spoilers)

In addition to important conversations about representation, something that’s stayed with me about Rogue One is that last scene. You know the one: Darth Vader just kind of walking down a hallway.

The entire story up to that point was one movie and it ended with a beautiful and heartbreaking scene on a beach. Then, the second movie began. We didn’t really need to see this addition to the story — we could have easily guessed what happened next — but Disney / Lucasfilm gave it to us anyway and I am so glad they did.

I mean, you kind of knew how that bit was going to end, one way or the other, and yet it was still so enjoyable and, I think, legitimately scary. Why?

It’s a short horror film.

I think a lot about how many of the best movies are camouflaged genre films and I’m sure I’ve written some way-too-long posts on Facebook about it more than once, but let me start with a different point about that.

Jurassic ParkTerminator (and to be fair, T2 as well). Both great movies. Something that always strikes me about the recent sequels / soft reboots / whatever… is that they forget the originals were at their heart, horror films — or at least relied heavily on horror tropes — borrowing stylistically and thematically.

I mean, okay, I’m no horror or genre movie expert, but if I remember correctly, as a kid, Terminator was always in the “horror” section of the video store.

Point is, Jurassic Park even has campy jump-scares.

And even though the T-Rex runs after the heroes, the protagonists are in a Jeep — so the speed is relative… and it’s effectively a nightmare hallway scene, where they can’t quite seem to get away as the killer slowly gains on them (more on that concept later). They don’t shy away from it at all.

Jurassic WorldTerminator Genisys? They’re action movies. They traded in these kind of beautiful tension-building scenes borrowed from genre movies for robot explosions and a T-Rex fighting a genetically engineered super raptor. They abandoned telling the story well — in other words, matching how the story is told (form) to what the story is about (function) in favor of trying to make “a wild ride” or whatever.

Back to Rogue One. That last scene is one of the only times I’ve ever found Darth Vader legitimately scary on screen (O.K. maybe the ending of Empire — but not like this). I was so impressed with this scene. It could have easily gone the way of the prequels — Vader boomeranging his lightsaber all over the place, force-leaping half a mile, performing needless pirouettes, but instead, he just walks forward.

Which — kind of unrelated — is tonally similar to what I loved about the 2003 Clone Wars animated series. General Grievous, ironically unlike the weird coughing cartoon character we got in the movie, was a badass killer. He was legitimately scary. And the way they put together the scenes that centered him as a villain really emphasized that. They borrowed tropes and stylistic elements from horror.

Vader doesn’t move fast because he doesn’t need to (of course, canonically he can’t really). He just plods forward, methodically killing everyone in his path. Tell me you don’t see the T-800 in that. Or Jason. Or Michael Myers. I love it.

The scene is a perfect, self-contained piece of art. The protagonist has a clearly defined goal with an item (a classic McGuffin) tied to that goal. That one rebel needs to get the disc down the hallway and through the door, to safety.

Here’s what makes it a short horror film:

The door gets stuck. The lights go out. Smoke and mist rises. The antagonist — a killer villain — appears with a goal in antithesis to the protagonist’s. Between the two, there’s a group of protectors. They fight, the protagonist and his allies try everything they can to stop or escape the villain and achieve their goal until, as we build to the climax, a dramatic question becomes clear. Will the protagonist sacrifice his life to achieve his goal, or will he succumb to fear allowing the villain to prevail? He pushes the disc through the crack in the door, he tells his last ally to run — to carry on without him — and he sacrifices himself for the greater good.

Again, this scene has a really simple yet elegant structure, executed flawlessly. Protagonist wants to deliver the disc to safety: Thesis. Antagonist wants to prevent the delivery of the disc: Antithesis. Despite complications, obstacles, and ultimate sacrifice, the disc is moved to safety: Synthesis.

The protagonist achieves his goal, though not how he wanted to. Strengthening that journey, he had to sacrifice what he wanted (personal survival) to achieve what was needed (survival of the disc and therefore, the group).

We knew that would be the conclusion all along because we’ve seen A New Hope, but I think it’s still compelling because it’s so perfectly structured and so well executed — the form of the scene perfectly matching the function.

Even better, this scene is thematically a microcosm of the entire story that just came before it.

Using horror tropes and borrowing from that genre works so perfectly in this scene because that’s exactly what it is. It’s a survival horror. The protagonist in this scene is stuck in a confined space, trying to escape while being hunted by a supernatural predator. What about that doesn’t lend itself to horror?

More major releases should embrace this philosophy. Hollywood needs to respect the intelligence of audiences a little more and stop jamming stories into whatever genre they’re determined to make. Instead, let the story guide stylistic choices. They shouldn’t be at odds; they should reinforce each other. That’s when a movie becomes art.

Let’s circle back to that idea about the slowly advancing killer. This may deserve it’s own article, but personally, I can’t separate these ideas.

The more I thought about this scene, the more I also got to thinking about Vader in this scene and why that slow, plodding advance is such a scary thing as well as why it ends up in so many horror movies. I mean, aside from how common it is in the history of genre movies, one of the most acclaimed indie movies of the last few years is a horror called It Follows where the whole premise and plot boils down to that one thing: a slow but endlessly advancing death.

I remembered something I read online a while back about human beings (originally mentioned in the context of how human beings usually portray ourselves in Sci-fi). Here are some screenshots of those posts…

(If you wrote any of this and would like credit, let me know. I haven’t been able to find primary sources.)

Whoever thought up that last scene must have known about these ideas. And much like the scene itself is a microcosm of the movie, the choices made in regard to how Vader attacks his enemies are a microcosm of what makes the scene beautiful. The writers didn’t make the flashy choice, or the bigger, badder, more epic choice. They made the right artistic choice. They made the human choice.

So, in addition to everything else, why is that short film so good and so scary? I think it’s because this method of hunting is distinctly human. For all his force powers, the scariest thing about Darth Vader in that scene is that he just. Keeps. Coming.

Aang: I met with this guru who was supposed to help me master the avatar state and control this great power, but to do it I had to let go of someone I love, and I just couldn’t.

Iroh: Perfection and power are overrated. I think you are very wise to choose happiness and love.

Aang: But what happens if we can’t save everyone and beat Azula? Without the avatar state, what if I’m not powerful enough?

Iroh: I don’t know the answer. Sometimes life is like this dark tunnel. You can’t always see the light at the end of the tunnel, but if you just keep moving, you will come to a better place.

Daryl Dixon x Reader - You’re perfect to me (Request) [SMUT]

@prettyepiic: Hello there I have a request for Daryl x Reader.

One that involves Daryl comforting the reader after she finds out her boyfriend cheated on her, and leaves her for someone else. She feels even less desired because she’s a bigger girl.

Daryl tells her that he’s fallen for her and they end up together and in love…

But could there be a light sensual smut scene? 

Something romantic I hope you’ll write it!

Thnks♥ if you add names the reader is named Holly.

P.s:Your work is amazing!!!

I hope you like it ♥

WARNING: Sexual situations, cheating , cute Daryl ♥

English is not my first language so, sorry for eventual errors.

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I saw Fifty Shades Darker and I fucking loved it. It’s less uptight and more fun, more light. Jamie smiles a whole lot and he improved his performance. Dakota is perfect. I think that one of the things that didn’t work out on the first movie is that he had to be cold towards her and after seeing Darker, I believe those two are not meant to not being caring and loving and touchy with eachother. They have massive chemistry (the sex scenes are fairly more explicit and even I had some hard time to understand that those intimate scenes were not real) and I am planning to see it again next week.

anonymous asked:

Can you tell me PLEASE your thoughts on Barry and Iris sitting in their window and how he caresses her face? And the lighting

I’m so sorry this has taken me so long, anon. I’m almost exclusively on mobile and I wanted to back this up with pics/gifs. Plus life is so full I can barely find  moment to breathe. So I’m quite late, but here you go hope you see it. :)

(No gifs or pics are mine.)

Honestly Running Home To You is in itself a perfect love song from a musical, filmed almost as if it were being performed on the stage. All they have is two actors, a set and lighting, and a song. And the sobbing audience, of course. ;)

So I’m glad you asked about the lighting because I was quite impressed by their use of it.

First things first though, everyone has already waxed poetic about how beautiful it was and how softly he caresses her face. Everything about the scene is soft. The song is soft, the touches are soft, the lighting is soft. It’s comfort and home, just like it should be.

(Hold it together, man…don’t…cry…) Grant is a very good actor and it shows here, but he’s never quite as good as when he’s acting opposite Candice. There’s a reason they looked everywhere to find such a perfect fit, since their chemistry and how they gel together is of primary importance considering Barry and Iris are the top of the speedster family tree and their relationship is iconic. Grant and Candice acting together are a director’s dream in that they work off each other and become even stronger actors together. That’s impressive considering how strong they are alone.

So we get a love song sung to Iris, only the two of them. It’s from the heart, it’s everything it needs to be to make up for the other one being spoiled. Note the lighting is soft amber when he starts and Iris is further into the apartment, mimicking lamp light from their home.

When they move in front of the window, the lighting shifts to blue. So pretty, so soft, so romantic.

But the lights outside the window remind me of something else. For that matter, so does the blue. What does it remind me of? Oh yes.


Look at the lights! It’s not a perfect match, but it has similar elements to the other. Focus on the color blue, pretty lights, romance, we even get a similar pose with Iris’ arms around Barry’s neck.

So while it’s entirely possible that this wasn’t a conscious choice from the crew, it very well could have been. Iris is also wearing a darker blue dress here that doesn’t pull focus from the lighter blue lighting. There seems to be quite an emphasis on the color blue this season when it comes to westallen, besides the classic red and yellow because he’s the Flash. So what is that? Blue is a lovely calming color that evokes peace and stability, yes, but it’s also the primary color of the speedforce. Is this a nod to Iris as Barry’s anchor? Possible foreshadowing of speedforce involvement in beating Savitar/losing Barry to it? Savitar himself has blue highlights to his suit. We could drive ourselves crazy with theories at this point.

But the main thing I take from this is that this is again almost a “reset” for westallen, harking back to the occasion they finally got their first date right and their romantic relationship on track. It fits, considering the first proposal was spoiled to a degree and their relationship had been derailed. And it’s just lovely.

And then, of course, when Barry proposes for a second time the song is over and the lights have changed just like they do after every love song in every musical I was ever in, and of course they reflect the reds and yellows of the Flash because that’s who this show is about and there is no Flash without Iris West. I approve!

Also, that pillow was perfect set dressing, lol. Nice.

All in all, the cast and crew gave their all for the musical ep and it showed. And westallen has raised the bar for all couples everywhere. (I won’t get started on the writing choices made to finangle them to this point, lol. No seriously don’t get me started…)

Westallen deserved a gorgeous iconic romantic scene, and it was so nice that we actually got it. :) Now I need to go watch that scene again excuse me…

Originally posted by forbeautifulpeopletv

Hugs for you nonny, sorry I’m late!


Favorite Battelstar Galactica season 3 Episode: Unfinished Business

I have a lot of favorites of the whole series and a few for each season. And this happens to be the one for Season 3. I just love it as a whole, for all the quotes, the scenes, that peek we have into something that was “unseen”, how their minds go back there from time to time and when sun light plays with Mary just gracefully! This episode is the perfection for Space Parents.

Hate To See Your Heartbreak

Summary: Guiding Josh through a heartbreak. 

Word Count: 1,017.

A/N: Holy shit, it’s been a while but finally I’m able to post a new Josh fic for you guys. This entire thing was heavily inspired by Paramore’s song (hence the title) and I thought it was a perfect song to write a fic about. Also, Debby and Josh’s relationship is mentioned in this and yes I’m very well aware that they broke up a long time ago. Hope you guys enjoy and feedback would be greatly appreciated!

Originally posted by tylerandthejosephs

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Thoughts on that TRR Chapter

I know we all have a lot of feelings about that finale of TRR. I just needed to get one thing that really bothered me off my mind. As someone who was a Prince Liam stan through this whole book, I’m really bothered by the Prince’s reaction to everything. I know they’ve been setting up that the Prince has to engaged at his coronation or he forfeits the crown, but he is going to be the goddamn KING. Are you telling me he couldn’t put a hold on the proceeding to say “excuse me while we deal with this situation, then we’ll resume the ceremony.” 

Liam’s reaction was particularly bad because throughout this book he has been nothing but sweet and caring and seemingly attentive to MC’s needs above all others. He knows (through his friendship with Drake if nothing else) how bad the people at court can be to outsiders, and doesn’t seem like the type to confess his love and (if you bought the diamond scene) sleep with a girl, be seconds away from proposing, then not talk to her when new information comes to light. Liam said multiple times that the last thing he would want to do was hurt MC, and by not even bothering to get her side he did just that. This whole story was basically about MC proving she was worthy of Liam, but the one and only time he was given the chance to prove he was worthy of her, he utterly failed. 

I don’t think the writers can continue on in the next book with Prince Liam as the perfect gentleman/good guy trope without it ringing false to me. In this situation he was the ONE person with the power to give MC a voice, but he chose to believe a photo that could have easily been explained by MC and Drake (the people he supposedly trusts the most). This isn’t just a mistake that he can come back and apologize to MC for later for not realizing how detrimental his inaction was. He is now ENGAGED to someone else, the very someone who may have victimized MC. 

If/When Liam comes crawling back to MC in the next book, I hope we are given the choice to be pissed at him for not standing up for us. I’m gonna be really upset if the next storyline is MC begging Liam to take her back and apologizing for this violation of her privacy and agency (or worse still if we have to pay diamonds to prove our innocence). 

I may have to switch to Team Drake or Team Hana as they had appropriate responses for someone who is supposed to care about MC.