i think this is actually the plot for the film i'm just saying

Reasons Logan should replace The Dark Knight as the gold standard for superhero films
  • Hugh Jackman‘s final performance as Wolverine: Yes, Bale is really good so long as you get past the “WHERE ARE THEY?!“ voice, but Hugh is on a whole other level. This is his swan song and he gave it everything he has. It’s the best lead performance in any superhero film, as far as I’m concerned.
  • The feels: Remember how Rachel died in that film and the reaction from most of us was ‘oh shit, that happened‘. It was more shock than sadness, lbh. Meanwhile, this film packs so much emotional punch. And it’s the full range emotions as well. There are some surprisingly funny moments. But when it gets sad, it does not hold back.
  • It’s proud to be a comic book movie: While Nolan’s Batman films, TDK included, repress any hint of anything that would compromise his realistic version of Batman, Logan embraces the fact that it’s a comic book movie. A very different kind of comic book movie, but still a comic book movie. Complete with a kid killing grown men with claws, clones, and cyborg hands.
  • Dafne Keen as Laura Kinney aka X-23: Seriously, there is not a single film in existence that could not be improved by Laura Kinney.
  • Diversity: OK, the diversity in Logan is not, say, Moonlight levels. But of the three central characters, one is disabled physically and mentally, the other is Mexican. Plus, the story explores the themes of prejudice and racism that have always been a part of X-Men with mutants being referred to as ‘objects‘ and made to be ‘controlled.‘ The Dark Knight has one person of color. And he gets the least attention of the side characters. Everyone forgets that because Morgan Freeman can make five minutes feel as satisfying as a 30 minute scene.
  • A tightly put together story: I honestly can’t think of a single plot hole in Logan. Sure, the timeline was up in the air, but I was never questioning the characters decision making, or how the logistics of this post apocalyptic future worked. Meanwhile, the Dark Knight has a few plot holes. Like how did Bruce Wayne swim onto a plane from a boat filled with models without any of them saying anything to the news? How is Lau’s arrest even remotely legal? The Joker’s plan hinges a lot on coincidence and people acting and reacting exactly the way Joker wants. And the ending. Why did Batman have to take the blame? Blame the Joker. It is technically his fault, since he pushed Harvey over the edge. And if he says ‘Harvey did it‘, who the hell’s going to believe him?

There’s other little stuff as well. The action scenes are better overall, it never feels too long, it looks better. But most importantly, Logan was a step forward. The Dark Knight was a step forward as well, don’t get me wrong. But it came out 9 years ago. The superhero genre has made leaps and bounds in the time since then. And I want to see a sign that we’re moving forward with the genre, and not clinging to 2008.

It doesn’t even have to be Logan that gets to be the new benchmark of the genre. It could be another film that made a similar or larger impact on the genre (The Avengers, X-Men, Spider-Man, Superman) or a film that’s just as good as The Dark Knight if not better. (Winter Soldier, Civil War, First Class, Days of Future Past, Spider-Man 2). Hell, I’ll take Deadpool or a DCEU movie. Just some indication that we’ve moved on from a film that’s actual impact has overshadowed the film itself.

I am by no means saying that Dark Knight is anything below great. But it’s been 9 years. We’ve had several other great superhero films since then. Some even better than The Dark Knight. Can we please just move on? Nolan has. The actors have. The genre has. DC… is getting there. Why can’t we?

We finally have a movie that seems destined to be the new gold standard for the rest of the genre. Let’s take this as an opportunity to move on and let the genre step out of the shadows of the Dark Knight.

CP bachelor AU: part 10

part 1 | part 2 | part 3 | part 4 | part 5 | part 6 | part 7 | part 8 | part 9


They’re filming the penultimate episode when Erasmus throws a huge, shining spanner into the neat mechanism of Laurent’s show.

This close to the end, the on-camera small talk is finally giving way to more serious discussions about compatibility. Damen is meant to spend this afternoon asking each suitor in turn where they see themselves in five years, and what they really want out of life. 

Erasmus is first; he sits on the edge of the couch, set at an angle to the leather armchair where Damen is enthroned, and twists his hands together. He hasn’t looked this visibly nervous in a while. Damen has obviously noticed it too, because he bats a few sillier questions at Erasmus instead of plunging straight into the heavy topics. He has an instinct for people that makes Laurent wonder what kind of easily-swayed idiot Theomedes must be, not to see how wired Damen is for leadership.

When Damen poses the in-five-years question, Erasmus runs a tongue over his lips and colour fills his cheeks. He’s the only suitor who hasn’t yet kissed Damen at least once on camera, and Laurent approved of that on the basis that it maintained tension, but now would be a good time for a kiss if one is going to happen.

Laurent moves his eyes away from Damen’s mouth.

Erasmus says, still blushing, “This is hard to say. I think you’re incredible, Damen. Really. But–”

But?? rings in Laurent’s head like a struck bell.

Keep reading

deadpassion1901  asked:

Did you see that Universal added Phantom to their cinematic reboot of classic horror? I have to say I'm super worried they are going to butcher it. I don't have high hopes for Tom Cruise's Mummy. It's too much to hope that they'll give Erik's story any justice.

I just heard about that last night, and yes, I agree with you. From what I’ve seen, they’re trying to pull a Marvel Cinematic Universe but with classic Universal monsters instead of the Avengers. So we’ll probably have the monsters teaming up to fight…more…monsters. With Inception-like soundtracks. And explosions. And floundering attempts at witty dialogue. I imagine the creative meeting at Universal  went something like this:

”Right, so the kids like film series now. Lots of interlocking plots. And they like reboots and sequels.”

”Actually, sir, if I may? They don’t necessarily want reboots for the sake of rebooting. If they’re good reboots and series with compelling story lines and characters, then sure, but–”

”They like the Avengers. They liked Ghostbusters.

“Well, yes, but not–”

“They liked that Harry Potter one about the zookeeper with the suitcase.”

“Actually, the reaction was mixed–”

“And the one where Hermione marries the Beast.”

“Reaction was mixed for that, too–”

“Johnson, come here.”

“Yes, sir?”

“Patterson here seems to think that the kids don’t want reboots or sequels or series.”

“Sir, I was merely suggesting that we focus on the story and characters versus simply rebooting for the sake of–”

“What’s your take, Johnson?”

“I liked Batman Versus Superman. Because I like Batman. And Superman.”

“Okay, but–”

“And there was the Flash. I like the Flash. And Batman. I like Batman.”

“See? See, Patterson? People love cinematic universes.”

“That’s not what he said! He’s simply responding to something he recognizes, regardless of whether or not it’s interesting storytelling. There was no compelling character development or conceivable plot in Batman Versus Superman. It was pandering to the lowest common denominator and just like all these other sequels and reboots, it’s banking on the public’s collective nostalgia rather than channeling energy into developing new, compelling–”

“That’s it, Patterson!”

“…I…what’s it, sir?”

“Nostalgia! That’s it! We’ll capitalize on the public’s simmering desperation to escape the political and diplomatic shit show that has begrimed the world and take them back to a simpler time. And they’ll pay and arm and a leg for it. They will, mark my words. Disney’s doing it. Marvel’s doing it. DC is doing it. Ghostbusters did it with ovaries. We’re losing ground here–but we have something they don’t have.”

“…….What is that, sir?”


“…I don’t–”

“The monsters, Patterson! The monsters!”

“I like monsters.”

“See, there you have it; Johnson likes monsters.”


“We’ll do an Avengers-style team up of them all: Dracula, the Wolfman, Frankenstein, the Mummy–”


“And we’ll cast wildly popular leads like Johnny Depp and Tom Cruise.”

“Johnny Depp isn’t wildly popular anymore; nobody wants to look at him!”

“It’s fine, he’ll be the Invisible Man. Ohh, this is brilliant. There will be loads of explosions and action and Hans Zimmer–”

“Don’t you think this is a cop out?”

“And we’ll cast Zac Efron as the Phantom of the Opera and he’ll battle Chad Michael Murray’s Quasimodo for control of the button that will detonate all of Paris, and then Tom Cruise will slide in and save the day and Frankenstein’s monster will have a sex scene with the brides of Dracula while the castle explodes–”

“No, please–”



“Call the screenwriters. The Dark Universe is a go.”

“I like the dark.”

anonymous asked:

If we ever get a confession from Dean to Cas do you think it would be emotional (for them but also for us as the audience) - I'm not expecting a huge "I love you", typical romantic film line about "it's always been you". I also don't want it to be a life or death situation, like one of ten is dying so it's just said. If it were to happen I would like it to be angsty but with some sweetness after. I don't know what brought this on lmao

Hello my lovely Anon!

What a great question - forgive the overly long wait for a reply - and what brought it on was some bout of inspiration or other because I fucking love it, so thank you! :D

And oh we are getting that confession. It’s not a question of if anymore, it’s a question of when and how. If they don’t give us this moment I swear I will eat my hat. (you don’t own a hat) If they don’t give us this moment I swear I will go out and buy the most expensive hat I can find and proceed to eat it. 

As for the how… I can only speculate, mind.

*rubs hands together* *because destiel speculation* 


As in mirroring a scene that’s come before, one that we know and love, and one that would be serviced by being put into a new context.

For example: I feel Dean made a huge, big, terrible mistake in 12x12 when he couldn’t bring himself to tell Cas that he loved him back. Or even offer Cas a brief “We love you… I love you”, that could’ve been a brolove moment, right? I mean, I’m glad he didn’t, obviously, because Cas didn’t actually die, so if Dean had said “I love you” that would’ve completely taken away from when he says it for the first time and means it from the very deepest heart of him. After nine years of buildup I think they’ll make hella sure this moment fits the characters and the narrative to a goddamn T! 

But that doesn’t mean that it wasn’t a huge, big, terrible mistake to not give Cas back that proclamation of love. So I feel this moment could very well be mirrored in a moment in S13 that rectifies this huge mistake. They’re in peril -> Dean confesses his love -> they survive -> what the fuck did you just even say to me? And then there’s slow fallout a la mixtape scene and yeah, shit just got real here, and the romance is ramped up because Cas is still unsure what Dean meant and he’s too unsure to ask Dean what he meant and there’s growing tension and… I could go on and on, but I shall not.

Originally posted by mishacolins

Out of the Blue

Well. Here’s the thing: however they choose to utilise the plot strands they’ve got dangling all around, I feel I’ll-eat-my-new-and-overpriced-hat-for-lunch certain that they will focus the Destiel love story moving into S13. That means upping the romance, contextualising it completely, weaving those strands into the surface narrative and leaving no doubt that these two men are in love and want to be together. 

And I have no doubt in my mind that, and I’ll say it again, after nine years of bloody buildup they’ll want to make this moment explosive, but perhaps they’ll still keep it low-key and romantic as all fuck. Perhaps they’ll do one of those scenarios where we would never ever expect either of them to say it, and then BOOM it’s there, it’s said, and it’s the cliffhanger into the next episode or shit happens that then separate them or suddenly there’s a lightning storm and Lucifer appears and takes Jack and there’s distraction and immediate need for action and those words are just left there between them and… you know, drama drama drama. It’s how they usually do, no?

Originally posted by deanandimpala

First Kiss

I mean, personally, I like this scenario the most, perhaps because Dean is a man of action and it feels right that he wouldn’t just say “I love you”, but rather he’d no longer be able to stop himself from kissing Cas. Like “I fucking LOVE you and it’s time you knew it” type moment. 

For that matter, I can see Cas kissing Dean because Cas needs to go for what he wants and it’s possible he might lead the way, or at least initiate, taking Dean completely by surprise. Or not. 

I mean, the lead-up to the moment could be the tension between them building and building until they both know exactly what they want and they just smash together because it’s undeniable to both of them and they can’t stop themselves for another seconnnnnnd.

I like the thought of flirtation and lots of it before the kiss, whatever shape the kiss takes. 

I like the thought of a slow build of a “canon” love story (though I maintain that Destiel has always been canon because subtext is part of the text and integral to it, but leaving that now as canon here simply means Obvious To The Casual Viewer) where we get the entire nine previous seasons of the Destiel joint journey condensed and focused as though it was an Entirely New Concept, given to us in a three act structure over the course of S13-14. Presented to us through obvious callbacks - that will more or less make it plain that THIS WAS ALWAYS THERE CASUAL VIEWERS - but that will allow the Casual Viewer to adjust and accept and get on fucking board.

Then the first kiss moment would be riding on the season’s undeniable UST and the clear need in these two to be together, and the moment would either be confrontational and passionate or it would be slow and intimate and timid, but whichever way they go with it I believe it would absolutely happen end of S13 or be pushed to midseason S14 depending on how long they intend to go on with the show etc etc et al

Given how protective and in tune with these characters Jensen and Misha have been throughout this show and how incredibly seriously they take their characters’ respective journeys I have such enormous hope and trust that they’re going to give us something spectacular. 

I can’t wait!!

Originally posted by godshipsit

Also, I expect to be a bawling, quivering, overemotional mess of feels once this happens. There will be copious amounts of tissues needed. For hours afterwards, I think. Happy tears of joy joy, but tears and tears none the less. And, you know, my neighbours will call the police because all the intermittent screaming will convince them someone’s being murdered in my flat. Screaming and screaming of glee, but screaming none the less. :)


JJP angsty film student AU

•mhm Kay so Jinyoung is a theater/ acting major
•Jaebum is a film major
•their arts school requires that one actor and one filmmaker pair up for their final graduation requirement of making a short film
•the school randomly pairs people up
•thus Jaebum and Jinyoung are paired up
•but Jinyoung is sweet and bubbly and sarcastic
•Jaebum is stiff and soft and quiet
•they fight about everything
•What will their topic be? How do they film it? Who do they include?
•they get nothing done for weeks because they can’t stand to be in the same room
•then Jinyoung finds out that Jaebum loves artsy noir films from the 1990’s (or any other oddly specific movie genre)
•he brings it up at their next meeting (they have to track progress, so they meet for 15 minutes every Thursday to see if they still can’t agree and then say they’ve been working)
•they discover that they have the same opinions on said movie genre
•Jinyoung almost busts a lung while spewing off all his theories and thoughts and ideas
•and Jaebum nods in agreement
•so they plan to watch their favorite oddly specific movie together
•it’s the only thing they discuss for days
•rinse. wash. repeat. the cycle of movies doesn’t end
•then Jaebum suggests they should attempt to make one themselves, despite it not being from the 90’s
•and Jinyoung totally agrees
•but they can’t agree on a topic
•Jinyoung thinks maybe they should remake something
•Jaebum wants something new
•they start to argue again
•then a professor who has overheard what’s going on sits them in a room and gives them a character analysis sheet
•the professor instructs them to answer it about themselves without lying
•when they’re done, the profesor take the papers and draws a Venn diagram on the board
•"You two need to find a common ground.“ The profesor says, then starts filling in the chart
•there’s three things in the middle overlap:
1. 90’s artsy noir films
2. Wanting to graduate
3. They’re gay
•"Looks like you’ve found your topic.” the profesor states, then leaves
•Jinyoung and Jaebum just sit there, staring at the board
•"Sooooo, are we going to-?“ Jinyoung asks
•"No.” Jaebum gets up and leaves, the door slamming behind him.
•It feels like all the air has been punched out of Jinyoung
•they were finally getting along and it was great and he was so happy to find someone with his same passion
•so he rambles to his roommate Mark about it
•Lucky for Jinyoung, Mark is best friends with Jaebum’s roommate, Jackson
•and Jackson tells Jinyoung that Jaebum is so far in the closet that he’s stuck in Narnia because of a certain childhood incident that he doesn’t know the details of
•so deciding to even poke the topic with a 10 foot pole is not okay for Jaebum
•Jinyoung feels awful and decides he’ll discuss it with Jaebum at their Thursday meet up
•Jaebum doesn’t show up
•he actually doesn’t show up for an entire month
•then when he does, he explains he has a plot
•a full three hours and two small arguments later, Jinyoung and Jaebum have a well baked plot
•they plan to film next week
•a month into crafting their artsy masterpiece and they’re looking at filters
•Jinyoung leans over Jaebum to point out an alternative filter
•Jaebum turns his head and damn near kisses Jinyoung
•they both freeze and Jinyoung returns to his original position
•further into the filming, Jaebum adjusts Jinyoung’s tie and they meet eyes then both look away
•these little moments keep happening and inside jokes keep forming (*squeaky voice* no it’s sepia three, Jaebum!) and they’re bonding over their differences
•then they get to a certain kiss scene
•Jaebum refuses to have anyone else helping that day
•he’s so freaking nervous
•Jinyoung laughs it off, “It’s just acting, Jaebum.”
•they manage do it after a few messes up takes and Jaebum is shook because all of his feelings cave in on each other
•they never really mention it and Jinyoung doesn’t come in for editing
•on the final two weeks before the due date, Jinyoung and Jaebum are spending every moment together trying to get it as beautifully edited as possible
•like Jackson is essentially Mark’s roommate now
•the last night in and Jaebum and Jinyoung watch the complete film
•they keep quoting it by heart
•Then Jinyoung looks over, just before the kiss scene, and says, “This isn’t just acting.”
•he pulls Jaebum in an gives him
another earth-shattering, heart-pounding kiss
•the makeout session continues until the end
•Jaebum breaks it up by saying, “Well I guess we’ll have to rewatch the end.”
•Jinyoung smiles back at him and says, “No, I like this one better.”

Okay so I feel like people really do not understand fetishization.  Like, accusing KS of that is Wrong??  Like, listen, I’m a queer girl (so don’t bother dumping that straight people BS on me), and I have read a lot of yaoi, BL, yuri, GL, etc. and let me tell you something.  KS is the least sexual BL/yaoi I’ve ever read, barring the like super cutesy and fluffy kind.

That’s right.  You heard me.  It is almost entirely unsexy, and the only scenes of sexual content are either interrupted, extremely brief, or focusing on the developing dependence between them rather than the act itself.  The sexual content is not “fetishy” and the manhwa isn’t “porn with plot.”  I mean, there have been a handful of scenes with sexual content, but they were hardly what I would call explicit.  I mean, have you read a yaoi lately?  I’m guessing not.

This manhwa was certainly not written by a 13yo and frankly?  I’m actually offended on the author’s behalf.  How dare you.  You owe the author an apology for that.  The writing of this manhwa is better than half the things I’ve read lately.  It’s consistent and well-paced, not to mention suspenseful without being frustrating.  The dark themes are extremely well-handled and are probably more the reason for the rating than the barely their sexual content.

Do me a favor and read through some of Blood Bank (great manhwa, btw) and compare them.  THAT reads more as porn with plot to me, though the tone is shifting by the later chapters.  The beginning has some kind of sexual content in nearly every chapter, enough that the plot is actually slowed down considerably.

You CHOSE to read a manhwa called KILLING STALKING and expected what?  Some kind of healthy little romance?  Really?  You thought it wouldn’t be dark and potentially upsetting?  If you’re so against it, then why did you waste your own damn time reading it??

Personally, I am fascinated by Killing Stalking.  As a writer, I’m amazed with the characters and the little details that have been used to build the world.  I’m amazed that the author can write something so dark with such consistency and flare, not to mention grace.  The relationship building is deeply flawed and unhealthy.  Obviously.  The two main characters are a serial killer and a stalker.  If their relationship was healthy, I’d be disappointed.  The complexities of their choices and their motives is what draws me in in the first place.

How do you feel about people who enjoy Dext/er, I wonder?  Or Break/ing Bad?  What about The Sopr/anos?  Hann/ibal?  Or any other show about criminals?  Are they also sick and horrible?  Or is it just because the relationship is abusive that you have a problem?  Is it the inclusion of abuse and sex in the context of a relationship between two men?  Do you really think that enjoying reading about criminals is something new??  People are always fascinated by the darker side of things.  It’s why film noir and true crime and detective fiction in general is still so popular.

Scared they may be, but people are still fascinated by the dark and what lurks within it.  If you’re having nightmares or panic attacks, obviously you should stop reading it.  Don’t read things you find that scary.  For me, I only have trouble with supernatural horror, so this kind of thing is really interesting and intense.  I enjoy reading it.  I’m on the edge of my seat with every new chapter I read, wondering what’s going to happen next.  Finding a story the captures my attention so fully is extremely rare for me, and frankly nothing anyone says will convince me not to keep reading.

If you want to try, you’re welcome to.  I won’t stop you or even bother to block you.  Hell, I’ll engage if you want.  But no one’s ever taken me up on the invitation before, so I doubt anyone’ll bother now.

why stiles and derek are back as sterek

I said I wouldn’t get involved anymore and just enjoy the ride for what it is but alas I’m bored and sterek still haunts me at night 6 years later. 

I think most of us came back from our respective garbage cans when we saw Stiles and Derek grace our screens again and together nonetheless. We’re back at it again, but I know we’re also cautious and calling it for what it is. At the end of the day though, let’s agree that we’re all here because we love sterek, no strings attached to teen wolf. So let’s go from there. 

As the hype kinda died (until it airs that is), all that is left is to replay those 4 seconds of sterek until the skin of my forefinger is scraped away. And now, what I’m struggling with is quite simply sterek

It would be foolish to hope for endgame, I know, but at the same time, there are things that don’t make sense. Color me surprised, we’re dealing with teen wolf.

First thought is that it’s a big ass effort to bring back both Dylan and Hoechlin. It is. It’s not just a call all like “so how are you feeling about making an appearance on trash wolf”, “hell yeah sign me up”. No. It’s planning and contracts and like 6 people making a decision and Dylan and Hoechlin with their busy careers. It’s an effort okay. Big one. So why would they do it?

Level-headed objective answer is: Stiles and Derek are fan favorites. Nay, they’re the two most loved characters. Of course they would bring them back for the last season. It’s for the fans. Any show would do that for the fans.

But now satan intervenes and it’s like let’s be honest this is teen wolf and jeff davis. How much would they actually do for the fans? They never gave a shit, why would they now, at the very end? Even if it’s for profit. 

Which brings me to my second train of thought. Queerbaiting is basically profit. But are they really making profit from sterek? Not really. The season is already filmed, ratings don’t really count anymore, and hell, they have a reboot on the way. MTV doesn’t give a shit. Sterek/Stiles & Derek are not being brought back for profits. Period. It’s a fact. Accept it.

Now publicity and hype are another thing. Imagine, in an AU, sterek is canon.This show will be remembered as a representation pillar for the unforeseeable future. Jeff Davis would be finally remembered as something positive. Point here is that it’s a good thing and no one can deny it - no freaking media outlet, network, or producer. Not to mention that this is the last season. There would be no pressure of validating or continuing this godforbidden gay ship.  

So taking into consideration the effort of bringing hobrien back, along with this being the last season, and the positive promotion that stiles and derek would entitle, I do have a bit of a “hope” encouraged by the trailer. Hear me out. 

From that supposedly 2 year future flash we get that Stiles is in the FBI and he’s in the DC. But then we get Stiles carrying Derek in the same flash forward. More than, from the people in the background, we can gather that Stiles and his team are there as well so clearly some shit is going on. So if shit is still going on in the future I can draw two conclusions: 1. It’s not serious. Like who would kick start another plot during a series finale. So it must have a higher reason. 2. Derek is on Stiles’ end. Again, the whole FBI is in DC. Why would they come to BH. Of course, reason should not be applied to teen wolf, but bare with me. Just scraping the surface, FBI would not meddle with BH. Obviously, Scott’s dad was there before “on business”, but for the love of god, this is the ending. And we have Stiles and Derek in the same place. Which also means that they kept in contact, which is not that groundbreaking, but showing that after two years and when Stiles is on duty should count for something. I’m not saying it should count for canon sterek, but still. 

Point here is that I want you to grasp the importance of showing Derek and Stiles together after a 2 year gap. Stiles is still the one supporting Derek. Like, how is that still a thing. It’s not about canon at this point. I don’t need an endgame. This is it. Stiles will always be there for Derek and that’s canon. Even after all this time. Thing about it is that it’s predictable and reasonable. Of course, them being friends/family entitles that they are there for each other.

But as in many cases before, showing it makes all the difference

It’s not Stiles supporting Scott, it’s not Stiles supporting Lydia, it’s not Stiles supporting his father. It’s Stiles supporting Derek.

Film choices.

And I’m sure there’s even more to it than we know right now. 

So this is what makes me be all torn up about it. I’m not looking into it as a big proof of anything and I should just enjoy sterek on my screen, but honestly? Even though it’s not suspicious that Stiles and Derek are brought back, it is curious how they’re brought back together.

Am I hoping for sterek endgame? No. But I am looking for some kind of closure. 

anonymous asked:

1/2 (While i do NOT ask this to be negative at all, i realize it could be a controversial topic so feel free not to answer!) I have a friend who stopped watching SPN a few years ago after, according to her, they jumped the shark to the point she just couldn't take the show seriously anymore. Now, i'm so deep in fandom it's hard to step back and be objective, but that's not the first time i've heard that complaint, and it got me thinking; obviously i love the show.

2/2 But it did make me casually wonder what keeps me coming back to it specifically, because ibr if any other show had made some of the same writing, plot, etc. choices as SPN has, i’d diagnose it with a serious case of the trope “seasonal rot” and move on. But i haven’t. And i think it’s because SPN is SO character driven. Like, these characters make the show and the genuine heart and love shows through in the writing. I think that’s what balances out the at times questionable quality for me.

Hi there. I just reblogged this post over here that mostly expresses my feelings about this:


I think it’s really not accurate (nor fair) to describe the character growth and narrative progression as “seasonal rot.” I think that’s sincerely missing the point.

From a podcast interview with Davy Perez shortly after 12.04 aired (Not About The Weather, episode 8):

(Sorry, y’all, I started transcribing this two hour long interview, spent two days transcribing the first hour last November, got to 7.5k, and haven’t had a chance to finish… )

N: It’s really interesting, because what you mentioned as well with Dean when he was living his sort of normal life with Lisa and Ben, it’s interesting as well because we’re six years on from that. So how do you look at that kind of thing and then go okay. How do you stop it being regressive, if you know what I mean? How do you go like, oh, he’s actually grown from that, or if he hasn’t or if he has. How do those decisions get made?

DP: For me I think it’s funny because I might have read it in a book somewhere, or maybe it was advice I got, in regards to writing television versus writing film. When you’re writing a film, you’re writing what is hopefully a complete journey, where a character gets called to action, where they go on their journey of discovery or their journey of tribulation, and then they arrive to an end point and you find, “Oh, I’ve learned this lesson,” or “I’ve grown so much.” And that was a satisfying, closed-ended story. Television doesn’t work that way. Television is about a character that you become invested in, and that you fall in love with. That character grows in incremental ways. Not only do they grow in tiny little increments, and sometimes don’t even grow, they go backwards. You don’t close the loop. You keep the loop open, so that hopefully when you know that okay, this is our final season, this is our final run of episodes, that’s when you can find those landing points, and that’s when you can sort of say this is the end of this journey.
As far as having to imagine what Dean might be eight years ago, well all I can say is that’s who Dean is. There’s a well of knowledge to watch, and you can see that that’s who he is. Maybe they’ve grown in some small way. Maybe Sam can talk about the psychic stuff where maybe before he didn’t even want to talk about it, but he’s not a completely different Sam in that he’s learned from his mistakes and will never make the mistakes again. You want to make sure that you’re staying true to who they are, and allowing the characters to just live in those moments, and to of course grow and have that journey, but to really take time. In an essence you really enjoy those incremental growths and they mean so much more.

This is exactly what I’ve described as the “spiral narrative” where the same things come up over and over again, putting the characters in similar situations. But this has become a character-driven narrative. The mytharc is entirely secondary to what the characters are going through.

Playing “spot the difference” each time you see a “wait, that’s really familiar” moment is where you really SEE those incremental growths. This is not “seasonal rot.” I find myself irrationally offended on behalf of the writers here… like, got up and stormed around the house ranting out loud to myself.

So when meta writers talk about how the writers are doing all of this intentionally, we literally really truly do mean the writers are DOING THIS ALL INTENTIONALLY. They have even TOLD US THIS IS THE CASE IN ACTUAL WORDS.

I  wrote a thing recently that sort of touches on this a bit, that started out as a reply about character driven vs plot driven narratives, but I think it also goes a little way toward explaining some of the reasons why people are having difficulty understanding what the show is doing now:


If folks are still looking at the show as if it was actually a plot-driven narrative, there’s bound to be some sincere disappointment. But if you see it as a character-driven narrative, everything begins falling into place. I don’t mean to say that someone might be “watching wrong,” but if your impression is that the narrative is inconsistent and has made questionable plot choices, then I feel at least slightly obligated to politely suggest maybe watching it from THIS perspective and see if the entire picture doesn’t become perfectly clear.

Like this sculpture illustrates, look at it from the wrong angle and it all seems random. It’s supposed to inspire you to walk around looking at it all from DIFFERENT angles until the entire picture clicks into place.

This is the amazing beauty of the story Supernatural is telling us right now. I just want as many people as possible to realize this, because I think a lot of people right now are just seeing the random scattershot dots and feeling like they aren’t telling us a full story… I’m just trying to drag as many people around to the other side, to see what it looks like from where I’m sitting. Because it looks like art to me.

anonymous asked:

What's your favourite version of pride and prejudice?

((OOC: Oooooohhhhhhhhhhooooo boy. I hope you have a cup of tea.

So, I’m going to make this about the 1995 TV series and the 2005 film, because watching 5 minutes of the the 1980 TV version made me die inside, and I still haven’t watched the film from the 40′s. 


First off - the 1995 BBC mini-series. 

Because it’s a TV series it covers the development of the characters and the nuances of the plot much more comprehensively, because, well, you’ve got 5 hours and 27 minutes of period drama goodness. 

The Lake Scene. Need I say more?

Jennifer Ehle is Lizzie. She is perfect and I love her.
The same goes for Susannah Harker as Jane. Rosamund Pike is beautiful and it’s a close thing, but…

Actually I think I prefer most of the casting for the TV series to the film, because they just match the characters much better in my mind.
But I still really like the casting for the film.
The inner struggle is real here folks.

Okay, so you’ll notice that I haven’t specifically mentioned darling Colin yet.
Let me be clear. I love Colin Firth with a burning passion in all my soul. 
*whispers* I actually prefer Matthew Macfadyen as Darcy.

Now look, before you turn on me…

To me Macfadyen’s portrayal is much more natural and believable. We see him through the same blinkers as Lizzie after the initial terrible impression, which obviously get worse once she ‘learns’ about Wickham and Bingley.
But then once those blinkers come off you really see how mistaken she’s been. That revelation doesn’t have such impact with Firth’s Darcy.
I feel like the pride and the prejudice is more balanced in the film version. Firth’s Darcy is a bit of a haughty dick a lot of the way through, so Lizzie not liking him feels justified - rather than it being about the balance between her pride being hurt and influencing what she believes later and Darcy overcoming his prejudices.

I don’t know. It could just be the rain scene puppy-dog eyes that have turned me over to the dark side………….but I’m cool with it.

Originally posted by halfagony-halfhope

*incomprehensible screaming*

So, the film.

It’s a gorgeous film. The colours, light, costuming, locations, frigging soundtrack guhhhhhhhhh. Do me a favour and please just go listen to this: https://www.youtube.com/watch?v=Tv-Z8YCo5W4 *weeps*

I get a really happy glow from the film, which I put largely down to the colours and music. 

To get that P&P fix it’s ideal because, while the TV series is 5 hours and 27 minutes long, it’s also 5 hours and 27 minutes long. 

So….the answer is…both? For different reasons?

What it comes down to is that they both cover the four absolutely vital points:

Mr Collins Being Ridiculous™
The Sass™
The Poet Shirt™
Wet Darcy™

I think I’m done. For now.))

Kinda sorta in a way an unpopular opinion...

But as someone who read and thoroughly enjoyed the book, I cannot say that I am surprised that they did not push SSC more.  If they follow the rest of the book the way they have followed it so far, the seven episodes will cover the book perfectly (and as I have said before, if they don’t keep the ending, I will RIOT), and the book does not really leave any dramatic loose ends to justify continuing the story. 

Because of that, I have never fully believed that they would even try to continue into a second season.  It would have been a wonderful, pleasant surprise…but with their lack of significant advertising, it just didn’t make sense to me.  Why they didn’t advertise it as a miniseries I really don’t know…maybe they were leaving room for the show to surprise them and do well on it’s own…but for a genre as particular as this one, even seven episodes does not give it time to establish itself if it is going to be a long-running show.

I think that keeping it to the seven episodes is a sign that they are doing the book justice.  They would have to make even more dramatic changes than they already have, and I don’t know that I would want to see some of the possibilities for the plot twists to keep the story ‘interesting’ enough for Shondaland TV.  I don’t mean that as an insult to Shondaland TV at all…I mean that as an indication of how nicely the story is wrapped up in the epilogue of the book.  It was not written as a story to keep going on and on…and logistically, that just does not make for good long term television.  A kick-ass miniseries?  Hell yes, which is what I have total faith we are going to get.  

Their mistake here, I think, was not being clear in their presentation of this show.  We knew how many episodes were filmed at the start.  We knew that they did little to advertise it…but we also looked at it as a show that *might* be long term.  Many people are afraid to invest in a show, particularly one that challenges (or altogether shatters) race and gender barriers, if there is a good chance that it will get cancelled early on.  Who wants to fall in love with characters, only to have their stories left dangling with absolutely no closure?  It’s safer to wait it out, see how it goes, and then watch it once at least a full season arc has been told.  I can appreciate the feeling…I’ve been stressing every week worrying that we wouldn’t even get the episodes they’d actually filmed, and I know where my characters are going to end up.  Even if the show didn’t air all seven episodes, I still have some closure…but it doesn’t matter.  I’ve fallen in love with the representation by these wonderful actors, and I want to see it all brought to life, dammit!

If they wanted this to be a miniseries, then they should have presented it as a miniseries.  Had they made it clear from the beginning, we wouldn’t be left feeling like we’ve been punched in the chest.  We would’ve known what to expect, and that makes all the difference in the world.  We wouldn’t be INFURIATED right now, and this show would have been seen in a much different light.  By leaving everything up in the air, setting it up to fail, this beautiful, charming, amazing show is left to look like a floundering mess.  This show, had it been properly presented, could have been that truly groundbreaking storytelling that Lashana hoped it would be, because it would have been seen for exactly what it is, rather than tainted by the appearance of failure caused by this horrible uncertainty.  It could have opened the door for more challenging stories like it, designed and developed (and freaking advertised) for long, successful run.  Instead, how many stories will be shot down for the sake of a “failure” that, by all rights, should have been the farthest thing from a failure?

I hate how much I was expecting exactly this to happen…and I am sincerely pissed that they are making us wait another 2.5 weeks for the next episode.

anonymous asked:

Part 1/3: Sad Anon speaking, but not sad anymore, thanks for the answer, I'm calmer. I'm just a bit worried and anxious for the season to start but that's normal me :) . Even though there is a small chance, I still think there must be smth re Jonsa. Me and my stubborn mind, I suffer but don't give up. Analyzing some things, I wonder why Kit/Sophie have been in many pics together lately? Why does Kit insist on telling J/S relationship is just sibling rivalry or Sophie's answers always lead to...

Part 2/3: the betrayal subject matter? I get the trust issues hype (even if it’s total BS) bc they used this plot and let it open in the last season to tease fans bf S7. But, why when asked ab J/S, Kit rounds and rounds and always comes up with smth re siblings, he isn’t clueless (not the producers or Sophie are), everybody knows the meaning behind this specific question, they don’t wanna know ab the brother/sister squabble but understand the odd interaction J/S had in S6 that made people…

Part 3/3: get romantic/UST vibes. WTH happened? The million dollar question! Giving more thought to that, I think J/S scenes were filmed that way on purpose, and the producers know why. Not just shippers with their shipping googles noticed this peculiarity but many others viewers and the press saw it too. There must be smth more to it than just siblings who weren’t that close in the past and now interact weirdly bc they (specially Sansa) have power struggles. PS: Hope you don’t mind my long ask.

Hi Anon, happy to hear you’re not sad anymore! And I don’t mind the long ask, but I’m not sure I can contribute that much to what you said... No, scratch that, apparently I did have a lot to add to this :’)

I think we’re all anxious atm, especially over here in our corner of the fandom! I know I’m still worrying about the leaks. I believe at this point that they’re partially legit, but incomplete and parts of them might be complete BS. There’s definitely a lack of context and such in some of them…

But we’ll find out soon enough! Iirc there wasn’t even that much info on episode 1 and 2 in the leaks and GQ mentioned we’ll be surprised, so I’m looking forward to the first episode!

I think in hindsight we’ll be able to make sense of all the things Kit and Sophie have said in interviews so far… I don’t even know whether Kit has actually been asked about romantic Jonsa in an unmistakably explicit way?

I know Aidan Gillen implied it could happen in an interview right after season 6 and the reporter wasn’t even necessarily asking about a romantic relationship… And Sophie answered a question about Jonsa at the Emmys, which was at best ambiguous with something like: “Things could happen, they’re cousins and it is GOT!” (not an exact quote, I know…)

But now, as you’ve pointed out, they’re still getting ambiguous questions, but all they’re ever saying is “sibling rivalry!” and “tension!” and “power struggle!”.

I’m sure I could analyse these interviews and find clues in them, despite Sophie trolling and Kit’s excellent lying skills, but I honestly can’t be bothered to do that :’)

If Jonsa is never going to happen, they could just say it right? I mean, while there was a lot of media coverage on it right after season 6, the ship hasn’t exactly become mainstream, it’s still limited to a niche of the fandom…
So there wouldn’t really be much damage in completely denying it imo…

But they keep distracting us with this Starkbowl narrative… And what do we even know about the Winterfell storyline? Not all that much… We haven’t even seen any pictures or footage of Jon and Sansa together? Why is that? 

(Tbf, we haven’t seen any pics or footage of Jon and D@ny either, but that’s to be expected, I believe…)

We’re being distracted with Starkbowl and J0nerys leaks and I feel as if this must all be leading somewhere.

D & D decided to change Sansa’s storyline back in season 2, when they were discussing endgame and upcoming important plot points and twists with GRRM. The only point in doing that I can see is to bring Sansa back North earlier on in the narrative and to spend more time on her relationship with Jon. 

That’s why the argument that Jonsa was deliberate, but only because it’s a red herring sounds so weak to me. If it was a red herring, they should have made it a bit more obvious, because not nearly everyone picked up on it. 

And if the only reason for Sansa to develop her relationship with Jon is to make it more of a shock when she betrays him, that would first of all be bad storytelling. It not only defies the logic of Sansa’s storyline, of returning to her roots and reclaiming her Stark identity, having learned the value of home and family. It would also be incredibly stupid for the producers to be hyping it the way they have been since the last episode of season 6 aired. If Starkbowl happens, it won’t be the shock they’d want it to be, because they’ve been pushing the narrative for a year!

Back to Jonsa’s romantic potential: I agree that it’s very hard to believe that none of the romantic/ambiguous language, non-verbal cues, settings, lighting, … was deliberate… But if it was, I think the safest course would be to deny any romantic set-up. There would still be people who’d dismiss it, but at least they would have given us a fair warning.

There are moments when I’m afraid that we have been misinterpreting all the signs and that we’ve been reading too much into it. Or that Jonsa really was only meant to be a red herring. Sometimes I tell myself I’d better get over it, because it’s never going to happen… But if that’s the way it’s going to play out, I’m telling you that I’ll experience that as a form of betrayal, because I feel as if I’ve been led to believe that Jonsa will happen. 

parrots4cake  asked:

what's your favourite Ezra films in order? (sorry if that's been asked before)(also i really love your art :D) the way you draw little credence is so adorable :)

Hi! First of all thank you so much I’m glad you enjoy, aaah :’D This means a whole lot!

Secondly, it hasn’t been asked before, but it’s convenient timing because it was being discussed the other day haha. I’ve seen a lot of Ezra films (not all, at all), but I have a tough time picking favourites…
So think of the top 3 not as 1-2-3 but a combined 1? :’)

Top tier gives-me-feelings-I-did-not-ask-for:
Fantastic Beasts.  This is a given, isn’t it. It has broken me. I’m broken.
The Perks of Being a Wallflower. This movie has me crying, so, there’s that. The book does, too. Patrick is a wonderful friend but he is human/not absolutely perfect and it only makes me love him more.
We need to talk about Kevin. This movie and book alike are both some of my favourites ever, despite how uncomfortable they make me. It’s got layers, and you’re never entirely sure if you can fully rely on the storyteller to give you an unbiased retelling of what happened? Kevin’s an absolutely intriguing character and such an asshat, I enjoy him immensely.

Also if you’re interested, the rest comes in a more or less structured order!
Beware the Gonzo. This is an incredibly cheesy film but I have a bit of a soft spot for it. The characters are so do-or-die about everything that happens to them, and Gonzo is so overly intense about what he wants to do, it’s good fun.
Another Happy Day. So, I watched this one without subtitles and I wish I had had some, because people were talking All The Time and I probably missed a lot of it. Elliot has a lot of issues and can be an ass, but I feel for him, and his siblings+mom though. 
The Stanford Prison Experiment. Given that this one is based on a real experiment that happened, this one just makes me feel sincerely bad even though it’s interesting as heck. Ezra gives a great performance and so does a lot of the other actors too!
Every Day. This film deals with a lot of topics. Like a lot. Yet it doesn’t really bring all of them to a conclusion? Jonah is adorable, and I would have loved it if his sub-plot would have been actually brought up to his family?
Afterschool. I picked up my tablet and kept drawing during this film. Robert has the potential to be an interesting character (and the story has the potential to be an interesting story) but…
Madame Bovary. Leon Dupuís may be the most beautiful thing I’ve ever seen and the look of the film/the acting is without flaw, but this movie made me so SO SO tired. (Melodramatic aristocratic ladies being tired of their lot and fucking everyone else over in the process, yippee)

Oh, and he was in Batman V Superman, wasn’t he? And I saw it. But no.

I’m pretty sure those are all I have seen so far, and this turned out longer than intended (because of unnecessary commentary), but I hope it’s fun to read at least haha.

anonymous asked:

Can you talk about the pros and the cons of Olivia Hussey's Juliet? She is my favourite Juliet, but I would like to see a more critical review of her portrayal for once!

Ah! I’m really happy that you asked this because I’m hopelessly in love with Franco Zeffirelli’s movie and I could talk about Olivia Hussey’s acting all day long.

The first thing I would like to remark is the context in which the movie was made. In many ways, it is a mirror of the youth movements of the 60s, and the trope of idealism versus violence, dreaming versus fighting, is one of the main characteristics of the movie. The fights are really violent (the opening brawl, for instance, was filmed in a more aggressive way than usual, as it fatally has Capulets and Montagues murdering each other and women screaming with their children in their arms), and it presents Romeo and Juliet’s love as an innocent, harmless force as opposed to the cultural violence that surrounds them. Olivia Hussey underscored how excellently the movie had harmonized with the ideals of her generation. And, indeed, you could say it is an ode to sexual freedom, peace, and the power of youth. You can see that in the way Zeffirelli filmed the bedroom scene, with Juliet lying naked after consummating a marriage she arranged herself.

Zeffirelli seemed to be particularly interested in her character:

The central idea is that of a puppeteer, Destiny, who handles all the characters. They are all puppets on a stage and no one is fully responsible. The whole tragedy is permeated with the idea of fate. There is nothing to do. Juliet is the only valuable opposition to it

So he decided to exploit the transgression of Juliet’s acts, and I will always be grateful to him for giving us such a powerful, intrepid Juliet. He was also one of the first directors to cast teenagers to play the lovers. Precisely, physically speaking I consider Olivia to be really suitable for the role. The innocence and tenderness of childhood she conveys wonderfully, but once she gets to express herself you find that her eyes denote such intelligence, her voice such fortitude, that you couldn’t possibly dismiss her as a dumb kid. (To be honest, I can’t fathom how it is possible to distort the play to the point that people think the word “dumb” befits Juliet and Romeo.) She transmits so much expressiveness with those piercing, inquisitive eyes and her loud, firm voice. See how monotonous she sounds when she lies to the Nurse, but how fierce her voice is during the “O bid me leap…” speech in the cell. She is a Juliet that does something else apart from blushing and smiling tenderly—she is also restless, frustrated, even rude in some parts. She doesn’t limit herself to simply reciting her lines in a monotonous tone, but rather she inserts so much depth and energy in every single word that she succeeds in constructing a complex Juliet—Olivia handled the duality of her character really well. Sometimes she cries fearfully on the floor as she implores her parents to listen to her and sometimes she contemptuously yells at her mother that she won’t marry Paris “by Saint Peter’s Church and Peter too.”

To me, Olivia portrayed Juliet as a young girl who is too alive to contain herself—as if the world weren’t big enough for her. One of the things that amazes me about her acting is the way she uses her body to transmit her indefatigable energy. She shows a great command of herself. For instance, I noticed that she spends a huge amount of time running. We find her running the first time we see her, she leaves the scene running after her conversation with her mother, she arrives at the ball running, she comes in and out of her balcony running repeatedly, she arrives in the church running again, and hurriedly crosses herself before running again toward Romeo with her arms wide open. I could go on. (But interestingly, during Paris and Friar Lawrence’s brief conversation in the cell, she comes in running as well, but once she spots Paris she stops suddenly and starts walking instead, as if she were attempting to behave more correctly, faking to be a more restrained and therefore acceptable woman. She does this as well when she runs to her mother’s bedroom and stops abruptly before Lady Capulet can see her.) With this restlessness and her resolute nature, she transgresses the tediousness of her society—she is simply too in love with life itself to confine herself to inaction. It makes perfect sense to hear her describe herself as “a boundless sea” when you hear her exhilarated laughter. 

And then she denotes so much determination and self-condifence. Olivia takes advantage of every single line to portray Juliet as an independent, strong-minded young girl. “But trust me, gentleman, I’ll prove more true / Than those that have more cunning to be strange.” She sounds so angry when she says that. More than swearing her love to Romeo, she looks like she is threatening him not to fool her. (He actually even nods nervously there and it’s hilarious.) And her face is priceless when he tries to swear his love by the moon. She tells him off. She is so resolute and skeptical throughout the whole balcony scene, it’s wonderful. I invite you to watch that scene again, paying attention to her facial expressions.

Another scene I think is worth commenting is 2.5, when the Nurse delivers Romeo’s news to her. I like to compare her acting here with that of other actresses playing Juliet. In this scene, her impatience is usually portrayed more like an inoffensive, sweet frustration. She is still adorable even when she is irritated. However, Olivia’s Juliet does not even try to palliate her impatience. When she goes down the stairs and notices that the Nurse is not yet come, she boldly places her needlework on the table as she goes on ranting about how disgusted she is by old people. When the Nurse finally arrives with Peter, Juliet basically puts her hands on her waist impatiently and kicks him out after giving him a quite exasperated look. She then even takes away an apple that the Nurse was holding in her teeth and clenches her fists. But when she finally gets her Nurse to tell her what she wants, she euphorically bursts into laughter and thus leaves the scene running enthusiastically. I find this much more entertaining than, say, Rebecca Saire’s acting, who was only slightly impatient in comparison with Olivia’s liveliness.

The movie is replete with moments like that. I still can’t get over the way she looks at her own cousin when she turns around (screencaps here), or the fact that she doesn’t even look at Paris when he kisses her hand and says farewell before leaving the ball. Moreover, the camera tends to focus on her emotions. The first kiss is filmed in a way that only allows you to contemplate Juliet’s face and all the different emotions she goes through. There is that long kissing sequence in the balcony scene where you can only see her face as well. And in the last scene, the first hint that she is still alive comes from her hand. The camera focuses entirely on it as she begins to move her fingers slowly, but all of a sudden she clenches her fist with strength and resolution. The camera then follows her hand as it reaches her face, and those wide, alert eyes open again. Those are just a few examples, but the movie is full of close-ups of her intelligent eyes.

The main flaw of Olivia’s Juliet, however, is the same flaw of the whole movie: too many lines were cut out (more than half of the play!). Certainly they skipped some of her wittiest moments, such as the part where she deceives her mother, or the “gallop apace” speech, in which she so explicitly poeticizes sex. Although its absence is partly compensated, in my opinion, by the more than evident sexual agency she shows throughout the movie. She actively looks for Romeo at the ball, and even when he touches her hand for the first time, the camera shoots her eyes closing in ecstasy. She grabs his shoulders in their second kiss, and even holds his face in her hands and kisses him as he stays still in the balcony scene.

Another thing I dislike is her reaction to Tybalt’s death. The way she criticizes Romeo is wonderfully acted again—really vigorous and enraged. But it stops there. The last thing she says is, “But wherefore, villain, didst thou kill my cousin?” In the play she goes on trying to find out what must have really happened between Romeo and Tybalt, and she comes to her own conclusions. However, in the movie, we just see her bash Romeo and then we don’t see her again until the next morning, when she is happily sleeping by his side. It sort of weakens the character, because Juliet doesn’t forgive him entirely until she decides it couldn’t had been his fault.

And, of course, there is the potion speech missing. It is actually the soliloquy she chose for her audition, but Zeffirelli decided to cut it out because he feared it would alter the balance between Romeo and Juliet in terms of their importance to the plot: “If she does this potion speech, she’ll get all the attention. The film won’t be Romeo and Juliet—it will be ‘Did you see Olivia Hussey in that scene?”

But I think Olivia’s Juliet is excellently paired up with Leonard’s Romeo—the angriest Juliet comes with the softest Romeo. It is as though Thought and Dream intertwined. While Juliet speaks with a very potent, determined voice, Leonard’s Romeo has more of a whispering, soft tone. (We literally see him sighing with his eyes closed against some pretty flowers.) This duality of their personalities is tangible in the very way they are introduced in the movie. Romeo’s entrance is accompanied by a dreamy, tender song as he appears smiling at a flower that he is holding in his hands; Juliet, on the contrary, shows up running while a much more energetic song is playing (from around 1:03 on). It goes on like that for the rest of the movie and it culminates with their last words. Romeo raises the venom with tears streaming down his face as he slowly whispers, “here’s to my love”. (It! Breaks! My! Heart!) Juliet, however, roars her last words, and even half smiles at the dagger for a moment as she commands it to “rust” in her.

So what I love about her is her strength and her ability to denote so much expressiveness with her body. If only I could watch her perform all the missing lines. She did so much with the little she was given, it’s wonderful. We need more Juliets like this—Juliets who express themselves so freely and fearlessly.

lapidottrash2001  asked:

Hi I'm the anon that requested that holiday one. How about the RFA+v+Saeran and their favorite way to spend time with mc.

A/N: Sorry I took so long on this! I’ve been busy (I was supposed to work on this a few nights ago and I ended up falling asleep cause I felt sick ;~;) Itold404thatI’dsendhersomethinginfiveminutesandIfellasleepinthattimeframesomehow but hERE IT IS!!! Love you guys lots <3 –Admin 626


  • Most people think it’s playing video games with mc
    • bUT YOU’RE WRONG fightme
  • he actually really loves cooking and baking with you!
  • You usally cook dinner while he bakes a dessert!
    • So many giggles and kisses, omg my heart, stop being so cute you two
  • Youtwolooksocuteinapronshonestlygetawayfromme
    • Yoosunng’sfavoriteiswhenyoucookwithjustanapronon*lennyface*
  • YoufeedhimanutritiousdietsohecangofightoffthoseLOLOLmonstersallnight
  • B A K E O F F (of course there is did u expect any less)
    • You two will DESTROY each other
    • heusuallyletsyouwinbecauseyousmilesomuchandohmygodyourehisentireworld
  • Yoosung’s decorating skills are amazing though and you can never beat them
  • One day he actually bakes you cupcakes and decorates them with pokemon faces!!! (Admin626here,Admin404didthisonmybirthdayafewyearsago,shesthebest)
  • There are a few cupcakes that have pokeballs on them but he also put letters on them??
  • Thiswasntmeanttoturnintoaproposalitjusthappened 


  • This boy’s favorite time with you isn’t the frick frack or snuggling??? Omg who knew
  • Obviously he loves acting and you so one day he decideD TO COMBINE IT WOW HE’S A GENIUS exceptnotreally
  • He asks you to read lines from his script for his next role!!!
  • He loves it so much because you’resobadatacting because you’re so cute trying to act!
    • “MC this character is supposed to be sad, that doesn’t mean you roll around the ground sobbing”
    • “I’m trying to sell the role, Zen! You should learn more about acting” smhactorsdontevenknowhowtoact*eyeroll*
    • “MC being angry doesn’t mean you smash things, you’re not Hulk”
  • listen,,,, if ur telling me u wouldn’t use ur role as the romantic love interest to steal KISSES, UR WRONG
  • You never do it by the script though so you can catch him off guard
  • MCplsdontreleasethebeastyoucouldntwalkforliketwodayslasttime


  • Listen,,, surprisingly this little hoe’s favorite thing to do isn’t watching Zen movies?
  • wowbaeheewhatihaveidonetoyOURCHARACTERSOMEONESTOPME
  • She actually loves watching short horror films with you!!!
  • She loves the suspense, it always keeps her on edge
    • AlsotherewasonetimewhereyougotsoscaredyougotuponthesofaandrANACROSSTHECOFFEETABLETOTURNONTHELIGHTS
    • thisactuallyhappenedwithmycousinlastnightLMAO
  • your reactions are what make the entire thing for her tbh
    • you’re so jumpy and your squeals are the funniest thing omg
    • ithasnothingtodowiththefactthatyoucuddleuptoherwhenyou’rescared
  • honestly tho, she points out every plot hole or when someone does something stupid bc that’s Baehee for ya
    • “She just dropped her keys and didn’t go back for them??? She’s gonna get killed, good riddance”
    • baeheeno
  • afterwards she’s not scared at all because she’s this totally rational person and nothing like this fazes her
  • u on the other hand….
    • Well u can’t really sleep for the next few days suckstosuck
  • Unleeessss you crawl into Jaehee’s bed and she spoons you
    • Sleep comes so much more easily when you can feel her warmth pressed against her back
  • andthisiswhyJaeheeshowsyoutheshorthorrorfilmstobeginwith


  • okay this technically isn’t with just MC but bear with me,,,
  • Saturday nights, jaehee closes her shop early and the entire RFA gang hangs out and watches movies projected on the wall <3
    • Imeanyouguysusuallyneveractuallyendupwatchingbutstill
  • The room is dimly lit, super warm atmosphere!
    • Seven is forcibly cuddling up to Saeran
    • Zen is helping Jaehee pour drinks for everyone
    • V’s just sitting there, blind and all
    • Jumin is sitting in the usual armchair, and you’re on his lap snuggled up to him <3
  • There’s so many jokes and laughs and his heart is just so warm
  • He’ll never say it but you guys are his family and he absolutely treasures this time together 


  • Snuggle
  • S N U G G L E
  • S N U G G L E
  • Considering the amount of work he usually has to do, this boy loves nothing more than unwinding down with you and snuggling
    • You’re so warm and you smell like vanilla because you always bake stuff for him <3
  • He’s a switch but after working on a project, he loves being the little spoon
    • Ingeneralhelovesbeingbabiedbyyou
  • Helovesthatyou’realwaystherewhenhe’sdonewithworkbecausehecanjustpickyouupandcarryyoutobed
  • Every time you hug him from behind, he remembers that you’re home and oh my god it feels good to be home
  • Cansomeonejustprotecthislilboyhejustneedslove


  • Omg this little emo cutie right here, lemme tell y’all a little something about him
  • Any time he spends with you is his favorite way to spend time with you!
  • Movies? Definitely
    • Snuggles galore!!!
    • Heloveslisteningtoyousingalongtodisneysongsevenifyoureterrible
    • Hemouthsthewordstothesongscausehestoocooltosing
  • Walks? Oh boy oh boy
    • Hand holding omg, ur hand is so warm
    • And you always talk about your day!!!
    • You’re voice is 12/10 and he could listen to you all day
  • Snuggling? He wont admit to it but ur so soft omg what he is gonna do with himself
    • He loves when your legs are wrapped around him and you’re nuzzling his neck
    • He’s an absolute mess when you play with his hair, you’re going to kill him!
    • He’s a total big spoon and will just roll you over so he can wrap his arms around u and bury his face in ur hair
  • This boy is a cinnamon roll and needs to be protected at all costs


  • You guessed it
  • His favorite activity with u is taking pictures
  • Buuut! He’s not the one taking pictures, you are! (pLOT TWIST BET YOU DIDN’T SEE THAT COMING)
  • He gave you a polaroid camera for your birthday because you think polaroids are so cute!!!
    • You’recuterMC
  • You always take them at big events cause film is so expensive but that doesn’t ruin the fun for you!
    • V’s heart can’t take the smile you get on your face when you see a freshly printed out picture
    • Honestly ur so cute, how are u real
  • The cutest thing is when you write on the polaroids! You take so much to think about something that really captures the moment
  • Youalsostickyourtongueoutwhenyourethinkingandyoulookalildumbbutdamnyou’readorable
  • But he is absolute putty when you hand him a scrapbook album and it’s all about him
    • Hecriesbecausenoonehaseverbeensosweetohim
    • Andyoucrytoobecausethat’ssosad
    • Theresalotofcryingokay
  • Usually though he keeps all the pictures you’ve taken and puts them up on his living room wall <3

anonymous asked:

I'm a fan of yours seriously haha! Can you please recommend me a good book to read ? I see that you quote alot of good stuff :D

Aww, thank you so much! :D

Since this is about books, I shall endeavour to make this an extra pretty post! 

(Ante scriptum.: Some of my personal recommendations are in this post (x), the rest will be below. Oh, and by the bye, the quotes on my blog are a wild mixture of books I’ve actually read, quotes that simply caught my eye and some of my own poems, texts, etc

I don’t really know what genre you’re into, so I tried to make it as widely interesting as possible. If I had to recommend just one book, though, I’d say go for “Red Rising”, unless violence doesn’t work out for you)



Agatha Christie: And Then There Were None, Crooked House, The A.B.C. Murders, Murder on the Orient Express, Sad Cypress, The Pale Horse, Cat Among Pigeons, The Thirteen Problems
(ah, the Queen of Crime. If you can, just read all of her books. They’re worth it.)

Sir Arthur Conan Doyle: The Sign of the Four, The Hound of the Baskervilles, Short Stories: The Five Orange Pips, The Blue Carbuncle, The Yellow Face, The Musgrave Ritual, The Crooked Man, The Greek Interpreter, The Final Problem, The Dancing Men
(no comment needed)

Dorothy L. Sayers: Gaudy Night, Murder Must Advertise, Strong Poison, Have His Carcase 
(very artistic writing style on top of intricate plots)

Raymond Chandler: The Big Sleep, Farewell, my Lovely
(all the hardboiled, all the grimness, all the melancholy)

Edgar Allan Poe: The Fall of the House of Usher, The Murders in the Rue Morgue
(mysterious, dark and unsettling)

Fyodor Dostoyevski: Crime and Punishment
(so good! Not at all dusty and boring like people keep claiming. I loved it)

Alexander McCall-Smith: The No. 1 Ladies’ Detective Agency 
(a lady detective in Botswana. She’s awesome)

Emma Donoghue: Room
(told from the perspective of a 5 year-old, who’s spent his whole life in just one room. Want to find out why?)

(Bonus: Ohba/Obata: Death Note 
(basically a visual novel. Very intricate, psychological mindgames and an epic rivalry))

Science Fiction

Philip Kerr: A Philosophical Investigation 
(literary and philosophical references and quotes left and right and they’re actually vital to the plot)

Orson Scott Card: Ender’s Game
(How to Use Your Brain and Rise to Fame 101. Also: How to Defeat an Alien Invasion. Brilliant. My second favourite book

Pierce Brown: Red Rising, Golden Son 
(amazing, current favourite book, soon to be a film, can’t recommend it enough. Imagine Ender’s Game meets Harry Potter meets Hunger Games meets Game of Thrones) 

George Orwell: 1984 
(2+2 = 5)

Ray Bradbury: Fahrenheit 451
(so you like reading? Read this book, then learn it by heart and burn it)

Edwin A. Abbott: Flatland
(sexism aside, this flat book is brilliant - do you want to visit two dimensions? One dimension even?)

Jules Verne: Around the World in 80 Days, Twenty Thousand Leagues Under the Sea
(old-school goodness)

Douglas Adams: The Hitchhiker’s Guide to the Galaxy
(don’t forget your towel!)

(Bonus:  Randall Munroe What if?
(scientific answers to all the random questions you ever had))


Markus Zusak: The Book Thief 
(told from the perspective of Death, it describes the life of an unusual girl growing up in Nazi Germany)

Kurt Vonnegut: Slaughterhouse-Five
(the main character slips in and out of time as he’s trying to come to terms with his war experiences. Absurd, symbolic and ingenious. So it goes.)

Daniel Kehlmann: Measuring the World
(a beautiful, fictional retelling of the lives of two geniuses: Alexander von Humboldt, who explores the world to understand it and Carl Friedrich Gauss, who scarcely leaves his room and thinks in numbers)

Jane Austen: Pride and Prejudice
(It is a truth universally acknowledged that a person in posession of a tumblr blog already knows this book) 

Joseph Conrad: The Heart of Darkness
(stylistically beautiful, with a crushing atmosphere, the main character travels into the heart of the jungle and observes the cruelties of slavery in African colonies, while trying to fulfill his own quest)

Jonas Jonasson: The 100 Year Old Man who Climbed Out the Window and Disappeared
(the fictional life of a man who, for some reason or other, was involved in every single important world affair of the last 100 years and now escapes from his nursing home. Bizarre, funny and with educational value)

Julian Barnes: Flaubert’s Parrot
(the oddest biography you will ever read)

F. Scott Fitzgerald: The Great Gatsby
(I officially greenlight this book)

Charlotte Brontë: Jane Eyre
(independent heroine who uses her brain? Voilà!)

E. M. Forster: Maurice, A Room with a View
(1) is a refreshingly grounded coming of age story of a gay man, 2) is a proxy recommendation by a friend who’s enchanted by it)

Evelyn Waugh: Brideshead Revisited
(tragic, decadent, aesthatical, philosophical, doomed. Includes a teddy bear)

Ovid: Metamorpheses
(I translated some of these in school - they’re delightfully weird)

Homer: The Illiad/The Odyssey
(according to one of my professors the very reason we have an educational system. Long story. Anyway, pays off)

The Brothers Grimm: Folk and Fairy Tales
(witches, wolves and princesses. The full package)

(Bonus: Apostolos Doxiadis: Logicomix
(a biography of Bertrand Russel on the outside, an introduction to logic and set theory on the inside))

Literary Fiction/Philosophical

Antoine de Saint-Exupéry: The Little Prince

Hermann Hesse: Narcissus and Goldmund, Steppenwolf
(1) follows the lives of two very different men (one led by thinking, the other by feeling), who grow up together, walk different paths and never forget one another, 2) is the quintessential story of the tortured soul within an artist, which is half wolf, half man and torn between its desires. Discusses suicide)

Franz Kafka: The Metamorphosis 
(one day, Gregor wakes up and is literally vermin. If that doesn’t hook you, I don’t know what will) 

Voltaire: Candide
(how does one live a good life? Very cynical satire)

Albert Einstein/Sigmund Freud: Why War?
(letters between Einstein and Freud in which they discuss why man has or doesn’t have to wage war)

Alan Bennett: The Uncommon Reader
(the Queen, yes, THE Queen, discovers the joys of reading. Delightful and teaches a lot about literature)

Margaret Atwood: A Handmaid’s Tale
(the protagonist lives in a world where most women have been reduced to breeding machines. Discover why and how she deals with it)

James Joye: A Portrait of the Artist as a Young Man, Ulysses
(1) semi-autobiographical, a young man with a curious mind grows up and gets to know himself, 2) I don’t even know, but I’m in the middle and enjoying it so far. Prepare for weirdness)

Oscar Wilde: The Picture of Dorian Grey
(what if you didn’t age, but a painting of you did? Welcome to Dorian’s crib! Lavish and beautiful)

Terry Pratchett: The Carpet People
(read this forever ago, still in love with the concept)

Michael Ende: Momo, The Neverending Story
(quintessential “children’s books” (I’m not very fond of that term), filled with imagination, empathy and philosophy)

William Golding: Lord of the Flies
(unleash a horde of young boys on an island and leave them hungry and scared. Welcome to the original Hunger Games. Disturbing, meant to show corruption of society)

E.T.A. Hoffmann: The Best Tales of Hoffmann
(basically: what did I just read? I don’t know, but I’m scared)

(Bonus 1: Alan Moore: Watchmen
(just, just do it, okay?)

Bonus 2: Isayama Hajime: Shingeki no Kyojin
(a plotting tighter than most books, with a gripping story and some really dark things to say (and graphically show) about humanity))


Karl Popper: All Life is Problem Solving
(changed the way I think, thus, changed my life. Amazing)

Edward Frenkel: Love & Math
(you’ll never love maths as much as Edward Frenkel)

John Lloyd: The Book of General Ignorance
(everything you think is wrong)

James Gleick: Chaos
(nifty science! Great introduction)

Alistair Moffat: Before Scotland
(WILL get you interested in anthropology. Would you bury your dead under your bed?)

Apt/Helfert/Wilkinson: Orbit
(gorgeous, full-spread pictures of Earth taken by astronauts)


Oscar Wilde: The Importance of Being Earnest
(spoiler: Being Earnest is very important)

Shakespeare: Hamlet, Richard II, Henry IV, Henry V
(don’t let the anyone fool you: Shakespeare’s history plays are great fun and filled with eccentric characters who majestically talk about their own self-importance. Pro-Tip: Compare with The Hollow Crown, a TV series filled with everyone on British TV. Yes, that means Tom Hiddlestone)

Sophocles: Antigone
(A literal classic)

Johann Wolfgang von Goethe: Faust
(tl;dr: Don’t make a deal with the devil, k?)

Samuel Beckett: Waiting for Godot
(cross my heart: the weirdest and somehow most relatable play you’ll ever see. Well? Shall we go?)


T.S. Eliot: Prufrock, The Waste Land

John Keats: Ode to a Nightingale, His Last Sonnet, Ode to Autumn

Oscar Wilde: Ave Imperatrix, Flower of Love

William Shakespeare: Sonnet 18, Sonnet 100

William Blake: The Tyger

William Wordsworth: The Daffodils

William Butler Yeats: The Second Coming

Happy reading, to all you (future) bibliophiles! :)

anonymous asked:

hello. i was wondering how fantastic beasts is whitewashed? I'm actually generally curious because i haven't seen it yet (although i was planning to) and i want to know if i should still go because now I'm not so sure. whats wrong with fantastic beasts? you don't have to answer this if you don't want, thats ok :)

reasons not to go see this shitty movie:

  • Fantastic Beasts is whitewashed in that it takes place in 1920′s New York (during the Jazz Age) and features a cast that is more than 80% white. It profits off of black culture and history by using it as a setting, but whitewashes it by casting white people as extras and leads. Many parts of the movie take place in Harlem, but look like this
  • The movie also cast Johnny Depp, a violent abuser, so paying to watch it is basically supporting him and the assholes who thought it was a good idea to cast a man who beat his wife in a Harry Potter movie and then not tell the fans about it, to make it a “surprise.”
  • This is made worse by the fact that the movie has a storyline where an abuse victim is turned into a monster and then killed (full trigger warning)
  • The major plot of the film is an allegory for racism with a white cast. The villains of the movie argue for wizard supremacy, saying that it is “for the greater good,” and that Muggles as well as goblins, elves, and other magical races are better off under the rule of wizards. Just like the original Harry Potter movies (which had poc speaking in 0.47% of it’s runtime) the major villains are meant to make the audience think of white supremacists, but racism allegories that only have white people are boring and lazy. Doing this is essentially locking POC out of our own stories.
  • Still no canon LGBT characters, with the (possible?) exception of Depp’s role as Grindelwald, which is worse than nothing.
  • The movie also has a character who is born with magical powers and a family who is extremely anti magic, represses them and then meets a man who he has an odd amount of sexual tension with who manipulates him by making him feel better about his powers. The storyline both draws parallels to LGBT experiences and perpetuates unnerving stereotypes.
  • It’s probably going to be boring shit anyway tbh 
  • It’s pretty obvious at this point that JKR wants ally points for things like casting Hermione as black woman in the Cursed Child and revealing that Dumbledore was gay, without actually having to bother with giving her stories real diversity. She described Newt Scamander as “swarthy” last year, only for him to be played by a man who is the exact opposite, and the story she wrote in preparation for this movie, History of Magic in North America, showed her lack of understanding of Native American culture, and North American history in general.

tl;dr: it whitewashed 1920′s New York, has Johnny Depp in it, and it capitalizes off of LGBT themes, black culture, and abuse as a storyline while treating POC, LGBT people, and abuse victims as invisible or worse.

tessysart  asked:

Hello! Could you give me some bokuaka fic recomendations? Would love if you brought some of your own in the list 😋 I know you are busy so don't sweat it, your school work takes priorety 🙌🏼 Have a really good day and hope you smile loads! *huggies* 💕

Thanks love <3

And sure! (Time to raid the ao3 tag lol) 

I’m warning you, almost every fic in the ao3 tag might be here (BECAUSE I LOVE THEM ALL SO MUCH)

I’m going to put this under the read more because it’ll be long. This is now my official bokuaka fic rec list because damn I’m not up for making a separate post after that XD

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Before I really begin, disclaimer: I am not coming at this from a shipping standpoint. This is a storytelling standpoint. I will at no point say “and then they kissed,” I will not try to say Bruce/Tony is canon. The best movie bromances are really romances: Nick and Danny from Hot Fuzz; Jack Aubrey and Stephen Maturin from Master and Commander; and Holmes and Watson from the Guy Ritchie Sherlock Holmes (SO WE ALREADY KNOW RDJ IS DOWN). Tony and Bruce could have been the bromance this movie desperately needed.

The first Avengers set up Science Bros. In Age of Ultron the writing insists that that exact relationship is not just as strong as it was, but that it has grown. Since we didn’t see any of that, it doesn’t make any sense and a lot of people complained that Bruce wouldn’t really just do the things he did, and neither would he do the same thing twice. 

But he absolutely would have if we saw this relationship begin to strengthen and become more meaningful from the beginning of the movie. We do that by replacing anything out of character that Natasha did in that romance with Tony doing the same thing.

Originally posted by imhfily

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