i wanted to do a version that showed the whole shot

The Last Jedi Trailer Breakdown

* Please note that the following breakdown contains some potential spoilers for the movie - they’re mostly based on inferences and rumours, but you probably want to skip this post entirely if you’re spoiler-averse. *

I’m exhausted (I woke up way too early to watch that trailer!), but I knew I couldn’t rest until I had done this. There is so much to unpack here, so you’ll have to excuse me for omitting some things (mainly space battles) and skimming over others. 

I’m sure I’m wrong with a good chunk of this, but this is all meant in good fun.

I hope you enjoy my first stab at breaking this baby down - if you think it can be improved or spot anything that needs to be corrected, please let me know.

Keep reading

colossus-steppes  asked:

What was bad about Yooka-Laylee? I haven't played it myself, but from what I heard pre-release it seemed good. Did it turn out bad then?

yooka-laylee was a fucking ride

the game had this weird behind the scenes development first of all


the year was 2012, banjo nostalgia was at its peak, and had been for a couple years now. largely due to jontron

rare was a fucking mess, and still is, so there wasnt any hope for a new rare game that isnt some shovelware kinect bullshit (thanks microsoft)

just about everyone from the golden days of rare is is at different places. some at retro, some still at rare, some at gory detail, some just at random places. its a mess

but somehow, a few ex-rare devs got together, noticed how big banjo had gotten in recent years and decided to make a spiritual successor

iirc, jontron was actually a large reason why the game began development in the first place. he revived a lot of love for the bear and bird. he brought back a lot of love for rare in general actually.

i wanted to avoid bringing up jon, i really did, but that would be like not bringing up banjo. jon is too integral to the development of yooka, and banjo is the game yooka is ripping off

they were in regular contact with jon from what i remember. jon brought up the rare spiritual successor before anyone even knew it was a thing, before even the mingy jongo twitter was found. and of course grant kirkhope was on game grumps, and jon was offered a role on the game

the mingy jongo twitter is where things get odd. sometime in 2012, a twitter was found. it was all cryptic and shit, and named after a forgettable enemy from banjo-tooie. it was hyping up something, but no one knew what

it stopped updating for like a year, made a tweet about crashing, and was confirmed to be cancelled.

and then even later, mingy jongo made a tweet about rebooting, and changed the name to playtonic. the dumb arg bullshit was over, and we got a look at what the games visual style would be like

the kickstarter launched, it was super successful and spawned many imitators, but none nearly as successful as yooka

a hat in time was not one of those imitators, it was in development long before yooka

the game had promise to it. the game looked like a real return to the golden age of 3d platformers it looked fun, it looked like it had interesting and seemingly focused level design, it knew its roots and embraced it, but it still had its own identity, it had a team of industry veterans, now off their leash so they’re free to make a game how they want to make it. 

there was no doubt in our minds, this was going to be great. 

it was a really shitty time for 3d platformers. games were either AAA or indie. AAA were too focused on big action movie set-piece games aimed at people in their mid-20s, and indies didnt have the budget or experience to do 3d. so the genre was almost dead aside from the odd ratchet, sonic or mario game. but it wasnt enough, the genre was slowly dying. yooka needed to happen

we got some more gameplay, and it seemed good, but not great. it had its flaws but it was still early in development, things can only get better, right?

yooka-laylee was then revealed to be using the unity engine. a notably awful engine with an ungodly amount of problems that is only used by people because its cheap, so they can make meme games with it like whos your daddy or some donald trump game. but those are games that embrace the problems of unity

then we got the toybox demo.

we got to test out the controls around a very plain environment. it was essentially a playtest area. the controls were very off, and there was little tech. but the controls werent that bad.as long as they dont make the controls worse in any way, and the game has some tight level design, this can still be a great game.

also there was a little secret for getting everything in the demo and going somewhere specific, a secret that tells you to go somewhere and look for something in the final game. i’ll get back to that.

playtonic soon found a publisher for yooka-laylee to help with yooka. team17 of worms fame

the wii version of yooka-laylee was cancelled and playtonic said there wont be a switch version

we got some more proper gameplay of yooka showing off the capital cashino level

and my god

it

was

bad

really really really

bad

but it was just one level, it doesnt represent the whole game does it?

either way, some people were getting skeptical of the game by this point.


and then, the catalyst


community manager of team17, playtonics publisher was going on neogaf one day and saw the general consensus of jontron there was rather negative there. well jonno wasnt having any of that and demanded playtonic to remove jontron from the game

jonno zuckerberg’d jontron

and out of such a minor voice role too

what followed was a shitshow

because jon was such a major part to yooka’s history, naturally some people thought removing jon was an extremely backstabby move to make.

to many, this was the straw that broke the camels back. there were many red flags before, but this was a big one.

there were 3000 known refunds that followed. 

and thats just the refunds that went through, because playtonic or team17, most likely team17, actually denied most of the refunds, banned people asking how to refund it on steam, and called anyone refunding the game racist

playtonic also blocked a dude that offered a reasonable solution to the jontron solution on twitter

they were not handling this with grace

jon just kind of accepted that he wouldnt be in the game, if you’re wondering how he was taking his removal

around this time, i was thankful that i didnt kickstart it


so the game finally comes out and the reviews are divided. some people call it a masterpiece and everything bad about the game is supposed to be bad because n64 games didnt age well so this should play like an n64 game that didnt age well and they got everything promised to them

others called the game a rushed sloppy poorly designed mess with an insane amount of problems that cannot be overlooked

after the dust settled, the game has pretty much settled on a lukewarm 6/10 or 7/10 from most sites.

so how was the game really

horrible.

for a game made by developers with decades of experience under their belts, they learned nothing from any of the games they made, or others have made. every flaw that banjo had is not only in yooka, but a thousand times worse

everything we knew about the game pre-release was also worse

the tight level design? non-existent

the decent controls? ruined

the unique identity? gone

nothing of value remained. yooka-laylee is a husk of what was meant to be

the controls were made slipperier, and a stamina meter was added, so you cant go slightly fast for more than a couple seconds, and due to the massive empty levels, going fast is required if you dont want to go insane

the level design does not exist. things are just placed in areas without thought. the focus was on making the levels super big and placing the collectables in really obscure places. not even just the jiggy equivalents, but also the note-equivalents

but the bad controls and bad level design apparently werent enough. levels we had gimmicks that just complimented the absolute worst of the levels and controls. slippery dank caves full of pits, slippery ice levels

the world is barren and empty. there is nothing to do in it

the bosses are, well…
they’re walls. every last one of them is a wall that you fight. honest to god walls.

the camera is an abomination. i dont think i need to say anything that hasnt been said a thousand times already, its one of the worst things about the game, and that is a fucking low bar

the audio mixing is horrible, the chopper transformation grates on the ears, the grunting is far too loud and goes on for much longer than the grunting in banjo, making it extremely obnoxious and annoying

the game had a fucking quiz section that expects you to know every weird minor detail about the game, like really weird and obscure details no one playing the game casually would know, you would have to be obsessed with the game from the moment it was announced and pay close attention to everything no matter how minor to know any of the quiz’s answers. you need to answer 10 questions correctly in a row or else you’re sent to the beginning. and they throw this at you in the first world. i think they do it every world, actually but i could be wrong. they somehow took an interesting but a bit obnoxious part from banjo tooie and i think kazooie as well, and turned it into one of the biggest sins in any game i have ever seen

the loading times, while not bad, are INSANELY frequent, it breaks the flow of the game far too often

there were tons of glitches

enemies were sponges

the fucking mine cart sections were unbearable

frequent framerate issues (thanks unity)

all the minigames were complete trash

the fridge character is one of the worst things i have ever seen

there were seemingly nonsensical puzzles that dont give you any indication if you’re missing something required to beat it

the game stops introducing characters early on, and just recycles all the previous characters


so thats the bad of yooka, heres the good


the visuals look nice half the time, although the other half is unity fucking up the lighting because its a shit engine

the music is sometimes good

some of the character designs are nice


and thats about all i can really compliment the game on honestly

it’s a mess and one of the biggest disappointments i have ever played. it wasnt even worth pirating


you wanna know what jontrons role would have even been? making farting sounds for a toilet character. they shot themselves in the foot over a youtuber voicing a toilet


oh and do you remember that little secret from the toybox i mentioned

well if you go to where you were told, you’ll find a little scene with a robot

it’ll basically say something is 50% complete

and thats it

no secret alternate costume, no unlockable power, no item that lets you find collectables, no nothing. just some dumb secret teasing a potential sequel

that was somehow the most infuriating part about the game, and perfectly sums up yooka-laylee


its a bad fucking game


sorry for any spelling mistakes, but its 3am and this is a massive wall of text

Reasons to watch the New Russian Holmes series (2013)

I’ve blogged a lot about this show over the last month or so, but I’ve been meaning to make a big post about it all in one place, so here we go!

Originally posted by spiritcc

A brief intro for those who care:

Sherlock Holmes (2013), or, as it seems to be popularly called, New Russian Holmes (as opposed to the old Soviet Holmes), is an eight-episode Russian-language Sherlock Holmes adaptation directed by Andrei Kavun, starring Igor Petrenko as Holmes and Andrei Panin as Watson. It first aired in Russia in November 2013, but has had no official English release.

So where can I watch it?

Despite the limited release, all eight episodes are available on Youtube, with English subtitles, translated thanks to the excellent @spiritcc​.

Yeah but why should I watch it?

Because it is excellent. I don’t want to spoil people too much because discovering things yourself is really the best, but let’s be a bit more specific:

The opening credits:

Even before the first scene, we get treated to a beautiful opening sequence with really great music, but this isn’t just a sequence to shove credits in your face, it’s not even just an aesthetically pleasing series of shots of Watson’s notebook, the opening sequence forms part of the episode and part of the series as a whole.

Every opening is unique, from the images to the voiceover, and is as much a part of the story as the substantive scenes themselves. 

The refreshing take on canon:

If you’re going to watch this, you need to know that the fundamental premise of the show is that the ACD canon lies. Watson’s “stories” are just that: stories. Holmes in real life is different, Watson is different, Mrs Hudson is different, the cases went differently, hell, even Gregson is different. So if you’re looking for a faithful replication of canon, this isn’t the show for you, but once you take on board this fundamental premise, it’s fantastic because it forces you to think about canon in a new light, and to consider the implications of Watson as an unreliable narrator.

You’ll get to see how and why Watson came to write “canon” the way he did, and you’ll get to see how everyone reacts to it. Every other adaptation (with the exception of Bert Coules’ radio series perhaps, but even that adheres to canon quite strictly) treats canon as more or less the “truth” and bases their version off that to create an output; this show treats canon as the output, and works backwards to imagine the “true” series of events behind it. This aspect (at least for me) was one of the most delightful themes to watch develop throughout the episodes, and it really shows how much original thought and passion went into the conception and creation of the show.

Watson as the true protagonist:

This sort of follows on from the fundamental premise of the canon stories being mere stories. Watson is the person through whom we get to know Holmes; everything we read is Watson’s doing, so it’s natural that the protagonist should also be Watson. We see the world from Watson’s perspective.

It’s not a story about this genius Holmes and his sidekick Watson, it’s a story about Watson and his adventures with this intriguing man, Holmes, and in that way it makes the show very grounded and very real.

Holmes the nerd:

For some reason, Igor Petrenko’s Holmes has been likened to Robert Downey Jr.’s Holmes, but I don’t think that’s accurate at all. Whereas RDJ’s Holmes veers more towards grubby cocky action hero who happens to be good at reasoning (and I don’t say that with any scorn), Petrenko’s Holmes is very much grounded in the same sheer intellect that defines canon Holmes, only this version is a more flawed, nervous character, which I think makes him more interesting. Petrenko does an excellent job with the quirks and mannerisms of the character. He also keeps insects in jars in his room.

nerd.

Watson the military man:

A lot of adaptations emphasise Watson’s role as a doctor, but few seem to remember that he was also a soldier, so it’s refreshing once again to see this series not only acknowledge that military background, but to explicitly keep it front and centre the entire time.

Watson the surgeon:

For all its joviality, the show doesn’t shy away from graphic realities either. Watson is more than just a doctor, he’s a surgeon. We see him handle the scalpel more than he does the stethoscope.

Watson the badass:

Yeeeeeeaaaaaaaaaaaaaahhhhhhhhh

Watson’s facials:

I know I’ve posted a lot about this but seriously Panin’s acting is really one of the highlights of this show, he was such an excellent actor, absolutely convincing in his role.

Brand new revised subtitles by yours truly!

Over the last two months I’ve gone through and edited all the English subs for the series, so hopefully everything will read a lot smoother! Any remaining mistakes are entirely my responsibility.

The humour:

Sort of reminiscent of the tone of the Soviet series, this series shares that light-heartedness, but it sure as hell isn’t a joke either. It’s not dark and edgy for the sake of being dark and edgy. It doesn’t pull the cheap trick of taking advantage of your feels. The series sets out to tell a story and it tells a beautiful story and you will genuinely love the characters for who they are. And you will feel good about it. Yes, you will even love Lestrade.

Watson taking a bath:

The hilariously bad English (I laugh in good faith):

The creepy autopsy  man:

This weird ass scene:

Originally posted by nitefise-art

Kilts!

Moriarty hiding in the first fucking episode no less

not showing you, you have to spot him yourself

And finally, their timeless friendship:

Originally posted by random-nrh-gifs

Originally posted by idlesuperstar

Originally posted by random-nrh-gifs

Never has a show felt more genuine or more satisfying to watch when the final credits roll. This is a Sherlock Holmes that has had thought, love, and appreciation poured into its making, and it shows. 

So, llamas, go forth! You can watch the entire series here. I hope you have as much fun as I did :)

KURO WEEK - DAY 6: Mind Control

So… this turned out to be quite long again, but I don’t care. I had so much fun doing this :3


Kuro

Pressure. There had been pressure at the back of his head lately. It felt like something was pushing against his mind, trying to coax Kuro into letting it in.

At first he’d thought this was another terrible experiment, another sick joke the Druids were pulling to make him break and give up what little humanity he’d regained since Shiro was there with him. Their mind-tricks and brainwashing methods were the worst ones. But that idea was discarded quickly…  Because it didn’t feel cruel or malicious. It didn’t feel as cold and intrusive as Druid magic would. It was just… there. Warm and constant, but never demanding.

Shiro felt it to. If his searching gaze and withdrawn behaviour was anything to go by. Sometimes Kuro swore he saw something like recognition flit over those painfully familiar features. But as fast as it came, it faded again. Weighed down by the pure awareness of just where they were.

Kuro never asked about it.

Until that one day… the day the Druids let them see their newest creation.

___

 Keith

There was nothing he could do but wait. And that’s exactly what he did. Everyday, every single minute he didn’t spend on saving planet after planet - saving lives. Every. Fucking. Second.

He’d sit and wait. Sit and wait.

Some days he went mad with impatience. He had a feeling that time was running out for both of them, him and Shiro. And all he could do was sit in Black’s cockpit and concentrate. On what? He had no idea. It hadn’t been his idea in the first place. But Black had insisted on trying to get a hold of Shiro through their bond.

But sitting in his place, in his lion, playing his role as the leader of Voltron didn’t help Keith concentrate at all. It just made him more restless.

Still, Black insisted. Because she loved Shiro… And she knew Keith did, too. She had known it all along.

So they both sat in the Black Lion’s hangar and listened; reached out into the endless nothingness of space, trying to feel the familiar warmth of the Black Paladin’s soul. Keith had no idea how this was supposed to work - but he guessed it had something to do with Lion magic. Black had tried to explain it to him once… she had tried to explain that she, because of her own bond with Shiro, worked like an amplifier to the connection Keith and Shiro shared. She even tried to tell him something about two beings made from the same quintessence and fate and all that stuff, but Keith hadn’t even been listening at that point. All he knew was, that he wanted Shiro back. And he would do anything to find him.

The moment it had worked, the moment he felt the other Paladin’s presence emerge from the darkest depth of the universe, had him almost fainting with relief and joy. Shiro was alive. Above all the white noise and static of space, Keith could still feel him, like a signature his soul had left behind, and hold onto that. He was alive. And Keith would find him.

All he had to do was work with Black to establish a proper connection to Shiro, to get a grasp on him, and then find out where he was.

Well… easier said than done.

For there was something else. Something that distracted Keith time and time again. There was a presence, another signature the Black Lion could follow - could connect to in a way. It looked - or rather felt - like a faded, almost washed-out version of Shiro’s soul. If he’d have to describe it, he’d say it felt like looking at two different hues of the same color.

Keith didn’t pay much attention to it…

Until the day Shiro’s signature went silent. Still there, but unresponsive and still. Shutting them out. The only thing Keith could definitely feel was dread

That’s when he knew their time was up.

___

Kuro

They’d let them see. Because they knew how much it would affect Shiro. They knew it would break him. Make him give up all hope.

The Druids had showed them their newest monster. A giant made of steel and wires. Just for Shiro. This would be his final transformation. He’d become machinery - heart and soul. A robeast.

It had been his very first time witnessing a panic attack from up close… and it almost choked Kuro himself. There was just so much a human being could take. And Shiro had reached a point where he could take no more. All Kuro could see in the other man’s face was fear. Pure, all-consuming fear.

He’d die. He’d die. He’d die. HE’D DIE. Shiro would die. He knew it.

All Kuro could do was sit and watch with growing concern for his new-found friend. What should he do? How could he help Shiro? How could they get out of this alive?

He needed to save Shiro from this kind of fate. Because Shiro deserved it. He deserved to live.

During their shared time in captivity, the Galra-hybrid had grown quite fond of the not-so-monstrous Champion. Shiro was… well. Shiro was the closest thing Kuro had to family. There HAD to be a way for them to get out of this.

Shiro sat, huddled up into the far corner of their cell, shivering and breathing way too fast for Kuro’s liking. No words had been spoken since they’d seen the robeast in its hangar. Shiro had been eerily silent the whole trip back to their cell.

Come on, come ON!, he thought, wracking his brain for a solution. For a way out. There has to be something. Just SOMETHING!

Kuro didn’t notice the pressure in the back of his head growing… until it was too late.

Something pulled at the seams of his mind, something big and dark - but not evil. If he concentrated enough, he could feel the presence embrace him, encircle him with warm darkness.

Let me in.

… what?

Let me in, a deep voice repeated. He’d never heard it before… But still it sounded… familiar. Warm and thick like honey. He couldn’t tell whether it was a woman or a man speaking. It sounded…beyond physical manifestation; beyond the universe itself.

We will help you.

Alright, Kuro thought, now wasn’t the time to talk to voices inside your head. He had to find a way out of here. It was only a tad bit alarming, that voices, no one else seemed to hear, didn’t really faze him anymore. There had been worse, he told himself.

Who was “we” anyway?

Me and Keith, the voice provided.

Wait a second…. Keith? THE Keith? As in “Red Paladin Keith”? Keith from Earth? The Keith Shiro wouldn’t stop talking about?

The presence gave an affirming nudge, because yes, they were talking about the same person. Holy shit.

But why? How? He had so many questions. But for now only one was important:

Can you get us out of here?

A heartbeat.

Then another.

… Yes.

Relief flooded his very being. Good. This was- good. But they didn’t have much time. They had no idea when the guards would come to take Shiro. It could be any moment now.

You’ll need to hurry, Kuro thought, trying to dig everything he’d seen in that hangar up from his mind. You need to-

We know. We’re already on our way.

We’ll try to get your way, then.

Can you do us a favor, first?

Kuro hesitated. The soft pressure at the back of his head had spread over the past few minutes. Whatever they were, whatever kind of magical shit their saviors-to-be were pulling… It had spread over his body. Like something tried to squeeze into his body, beside his own mind.

What kind of favor?

Let him talk to Shiro.

Him? Keith?

Yes.

How?

You’ll see.

I don’t think I-

Please.

… This was crazy. This was so, so crazy. But was there anything left for him to lose? If this was a trap, would it really matter? Taking a look at Shiro, who still sat on the ground, shaking like a leaf and staring absently ahead without really seeing, Kuro decided it was worth a shot. Or his mind, to be more precise.

Fine.

He hadn’t finished that thought, when it already hit him. Red hot and blazing like a dying star; like a burning arrow shot right through his very core. Melting him, burning him… filling up the frayed ends of his mind, where the arena and the labs had taken pieces of him. Until he was whole again. Better than whole. He was more.

He could feel the blazing presence, the very soul of the Red Paladin melt into him and take control of what was his. His thoughts, his feelings, his body. And Kuro let him.

For he could feel everything the Paladin poured into his being. Desperation, sorrow, longing, love. A love that burned brighter than a supernova. Kuro could feel it sear his chest, his throat, his mouth on its way up. He could feel it pressing against his jaws, forcing them to open; his mind already giving the order to speak - without him realizing it. His mind wasn’t his anymore. But he didn’t care.

“S-Shiro?”, even his voice sounded off. A bit high-pitched, less guttural. “Shiro? Are you there?”

The former Champion froze. Wide eyes darted towards him, disbelieve written all over his face. It took him a few seconds to realize what - or better who- he’d just heard. Kuro could tell the exact moment it hit him.

“…. Keith?”

“Yeah”, the strange voice spoke again. The words felt fuzzy and alien on his tongue. “We’re on our way. Just hang on.”

___

Yay I finall made it :D @kuroweek sorry for the delay!

Harry Styles Vocal Health on SNL

Hello!  So first and foremost I wan to put out there how much I love Harry and his voice.  Dear god it’s SO COOL and unique.  I love how when he’s in good vocal health he has all these different textures to it- the gruffness of his chest voice, the purity of his falsetto, the power of his belt.  When the studio version of SOTT came out I couldn’t sing his praises enough.  His voice sounded SO HEALTHY.  He was making such good choices!!!  Everything was relaxed and well supported.  He let the song build naturally.  He MUST have gotten some solid vocal training over his break because that isn’t something that can just happen over night.  I was very impressed and very proud.  I was also a bit nervous to see if these changes would hold when he started performing live….and…..it looks like I had good reason to be nervous.  

Here’s the thing. There are a few reasons I’m so hard on Harry in particular when it comes to poor technique. First, compared to the other guys, his technique is the only one that’s actually physically DAMAGING.  Could the other guys benefit from proper training?  Sure.  Of course.  Every singer can.  Even those who have been singing for years still should train on a regular basis.  But the other boys’ bad habits are just that- bad habits.  They aren’t going to do long term damage, not the way Harry’s are.    The second reason is BECAUSE I know he can do (AND HAS DONE!!!!!) so much better!!   I know he’s CAPABLE of so much more and so yeah, I’m hard on him because of that. And finally, I know exactly what he’s doing physically and exactly what’s going through his mind because I have the same exact bad habits and I can see him using the same exact thought process as to why he slips into these again.

Harry is the Ultimate Performer. He wants nothing more than to put on a good show for everyone, even if that means sacrificing his own vocal health.  Now, that’s isn’t a HUGE problem…until it KEEPS happening.  Which is what happened with OTRA.  And possibly might be happening now, although that remains to be seen.  One performance of one song slips into an entire show of this slips into two shows of this slips into the entire tour and wham, you’ve got nodes.  I think the biggest problem with Harry’s performance last night is he doesn’t trust the material or HIMSELF to sell it the way it is.  He feels he needs to overcompensate and big Big and Bold right from the start and that song is not built to be sung that way.  He started at a level that he couldn’t sustain throughout the entire thing and had nowhere to go.  That’s when he ran into trouble.  

As soon as he opened his mouth, I knew it wasn’t going to go well.  Don’t get me wrong, he sounds fantastic in the beginning…but like I said, there was nothing for him to build upon because he already started it at too high a height. His voice sounded raspy to me too, raspier than usual.  That can be caused by a few things- he could have been dehydrated (you can’t sing right if you don’t pee white!), he could have been tired (we know he’s a morning person and that show is pretty late for him), he could have strained his voice at the concert the night before, he could have over rehearsed, he could have smoked a bit.  I don’t know what the cause was, but he didn’t start off the evening in the best vocal health, especially for a song that’s very difficult to sing.  I also think he KNEW that so again, he tried to overcompensate for that by pushing.  

There is so much tension throughout his whole body, particular his shoulders on up.  I’m sure a lot of that is due to nerves.  I’ve said it many times before and I’ll say it again: the SNL stage is one of the hardest venues for artists to play.  There’s something particularly rough about it.  He’s also always had problems tensing up his face when he sings, but it what was particularly striking to me was that he did it during the falsetto parts.  That should have been EASY for him to sing.  That’s something light and relaxed.  Almost a break from the tension of the rest of the song…and yet he looks like he was in pain.  Which makes me wonder if he WAS in pain.  it’s hard to tell, but it almost seems like the second time he does it he pushes it more to a mix than a pure falsetto. 

It’s notable to me how relaxed the second syllable of  “bullets” around 2:44-2:48 is compared to the rest.  THAT is what the whole thing should have sounded like.  it’s relaxed and he’s got a great vibratto on it that comes straight from the diaphragm there- compare that to how tight “bullets” are the second time he sings it in that phrase at 2:58ish-3:04.  Why did you change what you were doing, sir??? In fact, to me it seemed like he KNEW it sounded good the first time and did his cute li’l dance and then came back to it feeling like “yeah I got this…” and then tightened right back up again.  because he didn’t trust himself.  

Thennnnnn the bridge happens.  And this is what i mean by he had nowhere to go.  THIS should have been his first belt it out moment.  but he pushed too hard too quickly and his voice just…wasn’t there.  It was tired.  The first scoop up to the first “we” was off key because of it and I think he knew it which made it even worse and MORE tense to the point where he just didn’t have the vocal agility to flip into his fasletto again for “learn”.  And then we’ve got the “it’s just what we know” which was just a poor choice.  I have a feeling he nailed that MULTIPLE times in rehearsals and mannnnn if he was in good vocal health how killer would that have sounded!??!!?  But instead, we got what’s called harmonic distortion which is SUPER VERY YIKESY AND A BIG SIGN OF HOLYSHITYOU’REDOINGDAMAGE (i sincerely hope he has an appointment with an ENT this week and gets scoped to check that out).   This was another instance of him trying to put on a great show and overcompensate for what he probably felt was lackluster vocals (which for the record WERE NOT THAT BAD.  I’m picking it apart because…well, it’s what I do.  and i don’t think I would have had too much of a problem if it weren’t for the super damaging choices he ended up making).  

From there he’s thinking “Oh shit that was bad…I REALLY fucked up…better step up my game and make the end better!” and once again tries to overcompensate and push a voice that’s already been pushed to the brink.  there just wasn’t more in there for it to give.  He couldn’t sustain it.  He had already given everything that there was go to give.  

When it comes to ESNY, it was a much better performance.  I think it’s partially due to the fact that it’s an easier song to sing and partially due to the fact that he was playing guitar so he wasn’t as much in his head (Side note: CAN YOU BELIEVE HE FINALLY BLESSED US WITH HIS GUITAR SKILLS?????).  His belty part towards the end wasn’t as good as it could have been, but I think that’s just due to the fact that his voice was kinda shot and that’s the best it was going to be.  It wasn’t TERRIBLE and obviously it could have been better, but I am curious to hear the studio version to see if there’s more belting that he just wasn’t comfortable with last night.  I could have done without the facial affectations because it just adds more tension and tension is bad, kiddos  But I think it’s a stylistic choice and I’m trying to pick my battles here.  Additionally, as we’ve seen in gif form his li’l neck vein was popping out so yeah he was tensing up pretty good there…but again, it wasn’t as terrible as it could have been since the song itself isn’t as taxing vocally.  

All in all, the performances were great, especially if you’re not as picky as I am. I know this was his first time singing live in well over a year and SNL is high stress and it’s his first time out there ALONE.  I’m curious to see what happens on Graham Norton and if he improves his technique. I’m also really curious to see how he’ll be on tour as well. I do wonder if he’ll lower the key of SOTT so it’s not as taxing.  No one would really notice and it would make things a little easier on him. It’s just frustrating because I know he has it in him to do it well.  We’ve HEARD him do it well.  But he just doesn’t trust himself enough to do that and that kind of breaks my heart a little.  Thankfully, he’s young and has time to learn.  He can still break these habits and make new, healthier ones and learn to trust himself more.

BUDDY.  YOU GOT THIS.  YOU HAVE AN AMAZING VOICE.  YOU ARE A FANTASTIC SONGWRITER.  YOU HAVE GREAT TECHNIQUE WHEN YOU PUT YOUR MIND TO IT.  YOU ARE A KILLER SHOWMAN WITH A TON OF CHARISMA.  PLEASE TRUST THESE THINGS AND STOP PUSHING YOURSELF BECAUSE I DON’T WANT TO SEE YOU DAMAGE ANYTHING.  

Love,

B <3 

for you pt. 7 [m]

Pairing: Taehyung x Reader

Genre: Badboy!Taehyung, angst

Word Count: 5.3k

Originally posted by vminv


Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9 Part 10 Final

Six Months Later

You walked down the hallway of the academic building slowly, the weight of the paper in your bag causing you to drag your feet. Each footstep bringing more and more uncertainty about the next chapter of your life. You noticed that the door to your professor’s office was locked, and a small sigh of relief escaped your lips.

You didn’t want to have to explain to him how all your interviews had turned to dead ends. You didn’t want to have to explain how you were still going to be stuck in this town. Stuck in the memories of the past year when all you wanted to do was move forward. There was nothing that you wanted more than leaving. If he could leave, so could you. But instead you had gotten hired at the coffee shop in which you first met him. Left to repeat the same memories over and over again.

And as you left the building for the last time, you didn’t feel any different. The emptiness that had filled your chest the day he left was still there. You held your phone up to your ear, the familiar number having been dialed like clockwork. “We are sorry, but the number you are trying to reach is no longer in service.” seared through your ears after the first dial tone.

You kicked at a rock while waiting to cross the street. There was no reason for you to continue to call that number. But there was still a large part of you that hoped he would come back. That when you called his voice would saying hello on the other end. But no one had heard from him. Not you. Not the boys. It was like he had erased himself from your universe.

Taehyung crept into your mind during your most vulnerable moments. Like when the sun hit your skin in the middle of the afternoon, reminding you of the hours you would spend sitting next to him in the front seat of his car. Driving the two of you around while blasting old music and singing along so out of tune that everyone else would stare at you from their cars.

You missed him when you couldn’t get a jar open, not because he was strong enough to open them. But because you would hunch over in fits of laughter as you watched him turn red in the face while trying to open it. He wasn’t much of a muscle pig, but you thought his effort was the cutest.

He was in the worn out t-shirt hidden in the back of your closet. A piece of clothing you didn’t know you had until your nose caught the smell of his cologne the first time Mina came over to your apartment to do your laundry since you hadn’t left your bed in weeks. You had her put it down, worried that if she held it for too long you would forget what he smelled like when he held you.

Keep reading

Marvey and romantic tropes

Inspired by these awesome posts: x, x, here’s a list of ten (of many tbh) romance tropes played with in Mike and Harvey’s narrative, starting with ones that actually are on TVTropes, followed by ones that are just general narrative things (All gif credits at bottom of post):

1. Meet Cute (+Rescue Introduction)

Do I even need to explain this one? A sick grandmother, running from the cops, mistaken identity…Literally the first 20 minutes of this series is about these two and how they’re going to meet thanks to some crazy circumstances, and how a malfunctioning briefcase full of pot is going to change their lives (and they don’t even know it yet):

2. Forgotten First Meeting (Or Connected All Along if you want to be finicky):

Harvey passed Mike and Trevor on the street ‘five years ago’ when Mike was working as a bike messenger and Mike said ‘If I ever look like that shoot me’ which is ironic because he will work so hard to look like that in five years but also not that ironic because Mike probably said that to deflect Trevor’s attention from the fact that he is 100% checking Harvey out and very interested in what he sees (And it is what he sees, since the camera is Mike’s gaze and it does a full elevator scan. Interesting choice there, editors):

3. Disposable Fiancé, and the Break-Up/Make-Up Scenario:

I’d have to post the entirety of 3x02 to illustrate it all tbh? From the ‘We’re done but I’m still going to be pissy about your new relationship nvm that the trigger for you falling into the relationship was that you were upset from our “break-up”’:

to the ‘I’m going to get right in your face for maximum UST and heartbreak for when I tell you we’re done’:

to poor Louis becoming the disposable fiancé who sees an opportunity:

and woos Mike:

while Harvey denies to himself how much he loves misses him (while looking that heartbroken jesus gabriel):

And of course it doesn’t work because right as Mike and Louis are about to ‘make it official’:

Along comes Harvey like everyone knew he would with these faces and ‘You’re not going back on your word [to Louis], you’re going back where you belong [with me]’:

And then you get the Big Damn…High Five:

(with Louis looking on which is bittersweet because unlike the usual disposable fiancé scenario he is sympathetic).

4. Race for your Love:

Okay, literally, this is even more romantic here than in its usual use?? “Most commonly found in Romantic Comedies, Race For Your Love usually occurs five minutes or so before the credits roll.” “Someone is about to leave the city/state/country forever, but their lover runs to the train station/airport to convince them to stay.” 

Except Mike is not about to leave the city he’s about to turn himself in to make sure Harvey doesn’t do the same, to protect Harvey, and Harvey’s running to stop him?? And we get shots of Harvey running this long fucking run in slow mo (and it continues into the next episode lmao):

5. Odd couple:

“A friendly (sometimes romantic) relationship between completely different people, usually the main characters.”

Good lawyer, bad lawyer. Winning vs caring, etc., their contrasts would need a whole separate post:

6. [Saving the] Damsel in Distress:

Mike is literally Harvey’s damsel in distress lmao?? It’s always because of something happening with Mike that Harvey ends up doing his angry “I’m going to save my bb” power walk:

7. Act of True Love [Fight]:

“An act of sacrifice or high risk, motivated by love, which proves beyond a doubt that you put your loved one’s needs before your own.”

Not only do they both pull these, they fight about who gets to put the other’s safety above his own, multiple times:

This happens again for a whole half fucking season I’m not going to post gifs of all of it because it would be too many but it culminates in a downright physical fight because Harvey’s pissed Mike’s pulling the Act of True Love and has locked him out of doing it and so he throws a fucking glass and then goads him into hitting him because he’s in that much pain over what Mike’s doing for him what the fuck:

And then Mike goes to prison and Harvey gets him out because of course, and you’d think it’d be over now right? But nope.

Narrative things that aren’t really on tvtropes:

8. Protectiveness/Possessiveness:

They’re just very, very protective and territorial of each other. Not hard to interpret as a romance trope at all. Again, to illustrate, I’d have to post gifs from the whole show so just have two at random:

9. “Staring at the empty space you should fill”:

I mean, I guess there’s a platonic interpretation for standing outside someone’s empty office with your morning coffee, broodingly staring at the chair they used to sit in. I usually only see behavior like this in romantic contexts in other media though:

10. “At Your Door” parallels

Doorstep parallels are just an otp staple and they have the most in the show. Like, someone still has to make an updated version with the most recent examples lmao, so here’s another two at random:

Gif credits: x, x, x, x, x, x, x, x, x, x, x, x, x, x, x, x, x, x, x, x, x

anonymous asked:

That shot is incredible ! Would you perhaps consider showing us part of your process ? I just assumed you used 3D for the camera movement, it's amazing.

I shall present thou my process, but consider that it ‘ll be the exact same process as any other animation, it’s basicly like “i did a rough and a tie down, and i cleaned it”.

I assume that by asking this, thou wanted to know some “ways” of doing this kind of thing, but sadly i didn’t use any tricks, and i could have of course, but i just felt that if i was trying to find a way to avoid doing it, i would just not be doing it, and the rsult would have not been the one i wanted.

So in order to make this process as interesting as it could possibly be, i’ll try to explain my thought during each steps as much as i can.

So here is the rough, basicly if i recall correctly this was like my third version (i didn’t find the other one) i tried to have here “key moments” and not exactly “key movements”, i tried to define the most importants parts of the curve my camera’s describing. The thing is, i wanted to be sure where to slow down the pacing of my camera, and when to speed it up, and at the same time i wanted to know what the crowd would looks like.

Here’s my kind of tie down, it’s the thing i used in order to do the cleaning later, here, i juste came back to re-define a little better the last part, the fast parts are easier to read and i know where my characters are.
Something i also did (and lost by now so i can’t show it) is like a top view map of the crowd, with each character to always help me remember where each one is.

Note that i cleaned and colored the “ghost” first here, as he’s hiding characters, i wanted to know exactly where he would be to avoid unecessary drawings.

And here whe have the final cleaning, here is the part i’ll need to explain the most, because sadly there’s no real “inbetween” before this part and the tie down.


The first thing i did was to clean all the images i already had during the tie down, then i got all the models checked with the character designers Lady Hagdahl Sörebo and Lady Zhang to be absolutly sure that the things i would be inbeetwining would be the exact models  (i thought lady Hagdahl Sörebo was going to die during that part).
The thing i did at the same time was to define the size of the brush during each “key moments”, you may notice on the gif above that the further away the characters are, the thinner their line is.This is one of the thing that helps achieving this “3D like” aspect, it helps feeling depht in each frames and makes your eyes’s understanding of each characters easier.

Once i had my key movements perfectly lined, i started beaking it down, i inbetweened all the images i had, BUT i started to think about each characters’s movement, you may notice it , but the characters are not all totally still, some of them are moving, doing something, for exemple, the xingtiang (the ball-like things with arms who carrys bowl of food) wave their arms and bowl a little as they can’t exactly sustain their weight perfectly.
It’s that part that helped creating life in that shot, if the characters had been just standing still, the shot would have felt flat, and a bit life-less.

Once i had all my characters on models, my lines’s size defined, and my characters animation set in stone, i just had to inbetween everything to reach a ratio of 25 frames/1 second, it’s what we call a 1′s exposition in french, i don’t know how to say it in english, but the important part is that it helps your eyes understanding the movement, and in a shot with so many characters, and a movement as fast as this one, it was absolutly necessary to have everything at one, it’s also one of the thing that helps achieving this 3D effect, as we tend to see most of our 2D animation at 2 or 3 and our 3D animation at 1 (or 0.5)

And we’re nearly finished! after that i just colorised the characters, once they were, i was sure of the negative space around them, and were to put the confettis you see on the ground, it’s an other thing that helps defining depth in the shot, a solid ground under the feets of the characters.

And of course once i had everything in place i just had to add the flying confettis! I animated them straight ahead, as i already had my camera movement and my characters it was child’s play to guess the size, the orientation and everything else; it’s like animating in 2D on a 3D scene, thou know exactly where thou are, but it doesn’t have the cons 3D scene have, the space isn’t so big you get lost in it, thou know exactly what’s on screen, and it doesn’t feel dead.

I wanted them to flow through in order to lead the eyes of the audience and to make the whole movement flow more fluently, this way thou don’t look too much at all the characters and thou don’t get lost in the details, because thy eyes are attracted by the colored and bright moving dots through the image.

And that’s it! 
An other intersting thing about this shot is that i cuted it in 3 parts in order to simplify the tvpaint file.
It means this process only cover this part, which is the second one, the others weren’t exactly done the same way, but the process was more interesting for this part, that’s why i didn’t added the others.

Hope it’ll help thou in thy journey. 

Your Sam

Summary: The reader and Sam have a much different sex life once Sam returns from Hell. Pure porn.

Warning: smut, soulless!Sam, dom/sub dynamics, use of a flogger, restraints, dirty talk

Word Count: 1500ish

A/N: It was fun to write Soulless!Sam again. Hope y’all enjoy! XOXO


The ropes cut into your wrists and ankles just enough for you to feel them, for them to remind you that you’re totally helpless, naked and spread out on an unfamiliar motel bed in an unfamiliar town.

The man standing at the foot of the bed is unfamiliar too, though he shouldn’t be. You know every inch of that body, have kissed and touched it a million times, have stared at that face until you knew it better than your own.

But it isn’t Sam’s smirk on that face. It’s a little harder. Darker. And it isn’t Sam’s hands wielding the flogger. They aren’t gentle or playful enough.

Hell has turned your Sam into some unrecognizable version of himself.

And honestly, you love it.

Keep reading

jyonzu  asked:

I can't believe keith is so emo he writes emo notes to his missing bf and puts them on his wall so he can look at them and feel more emo!!!

the end phrase of both notes are DEFINITELY repeated. 

like…. okay. maybe the animators just copy and pasted the text twice onto multiple notes but ….. there are things that have been torn off that wall too. and there are things that just kind of make me think it isn’t and keith has written this out multiple times. it’s just really interesting tbh….. 

also a few things worth consideration to build on this whole discussion and it’s all to do with the speech inflection + phrasing of words: 

  • “where -…were you”. the inflection there is so damn significant you can hear his voice cracks it’s like the words are pouring out and he has to stop himself like if you listen a few times you can hear he kind of stops it’s v short and quick like after saying “where” then there’s a slight pause and he continues. paired with his troubled expression it really does highlight something vulnerable in his face here.
  • “i was kinda… lost, and found myself drawn out to this place” 

well that’s a pretty deep frown. nOW THIS IS SOMETHING I REALLY WANT TO TALK ABOUT THOUGH. bc keith does hesitate for a slight second and it’s really damn significant when he does this with his speech even if it’s slight bc keith is so direct and pretty imperative when he speaks like sometimes he even chops out words from sentences to keep momentum and get to the point faster, and he doesn’t often falter (im not talking about the stuttering he does sometimes which is often paired with lying or averting the truth - that’s a different Zone of his speech). 

i mean times where he hesitates in a context that is painted quite emotional and keith is the focus of the scene for the audience. there are a few key times this has happened and it’s like !!!!!! WOAH!!!! bc it says so much and this is more of Mini Version of these which is really exciting to me bc keith breaking his usual speech patterns and deviating even for a second says a lot imo. also we should take into account what his expression looked like before he started talking about Himself and his personal situation following the loss of shiro: 

once he mentions garrison: 

you can see a few things happening most notably his eyebrows creasing, and eyes no longer look up but casting down. you can’t really see it with the shots but if you play the frames back his head does actually tilt down too. 

easiest to kind of see here. he goes from looking up to looking down both with his head and eyes. 

also look at that collar jfc keith ily 

  • “then you showed up” 

there’s a bit of a pause here where they look at each other and silence falls. shiro breaks eye contact very deliberately with keith whilst keith keeps his eyes fixed on shiro: 

idk about anyone else here but to me at least it looks like shiro is considering for a second the impact of his absence on keith. like the way his eyes shift and his expression changes it looks like he’s piecing something together himself here. 

then shiro kind of flounders, turning to the others to introduce himself if you hear how he’s speaking he doesn’t actually sound that confident until the end of his sentence “i should-… thank you all” . 

he also mirrors exactly what keith does with “where-..were you” / which is slowing down and pausing at the start of the sentence before putting it back together. so it’s plausible to suggest that what he’s seen here/ what he’s thinking about has clearly made some sort of impression on him enough to throw him off for a second. 

yes granted we have to take into account everything the day has had in store for him, but it’s the Considering Look + everything about these frames that makes sense for it to be linked to keith’s words. 

so yeah. i think the notes are repeated intentionally and keith wrote it out twice. it’s clear that whilst he really endured and kept going, whilst he did some incredible work out in the desert and tried to realign his focus and channel his chaotic energy and direction into something (this is something i really wanna meta on hardcore hhHHHh) he was obviously shaken and affected deeply by the loss of shiro from his life. 

basically we see a pattern here for these scenes and a few more at the start of S1E1, and that’s the fact that every time the conversation turns to shiro’s return keith’s voice changes and his expression softens you can hear it. you can see it. all im saying is that it shows sincere open emotions and care. 

Talks Machina (Episode 88 spoilers!)

Highlights from this week’s episode:

  • This week’s pre-show message from Denise: “Brian is a puppet and I’m pulling the strings.”
  • Overwatch mention! Brian shout-outs D.Va, Marisha’s all about Symmetra, Matt breaks out the McCree voice.
  • 1PM Saturday, much of CR will be playing Mansions of Madness on the stream, and Matt will be guesting on a show at 11AM as well.
  • Brian: Our special guest, Gil Ramirez. Marisha: (whispers) Don’t fuck us, Gil.
  • Gil was helping out in the twitch chat from episode one. He’s also been smithing for sixteen years!
  • Gil uses liquid mercury to balance his steel dice. Travis: …you just have liquid mercury hanging around?
  • Gil and Taliesin both have a periodic table collection.
  • Gil takes off his button-down to reveal a t-shirt that just reads “Don’t fuck me, Gil.” with “Dammit Gil!” on the back.
  • Gil pulls out cards that read “Malks Tachina” that are all sick burns on Brian.
  • 4:46:50 total gameplay time last week. VM had 936 total HP at the start of the kraken battle, ended with 70 total HP.
  • A fan points out the similarities between the kraken fight and the Kobayashi Maru in Star Trek–an unwinnable fight to see how you do under great pressure. Marisha points out that nobody is expected to do the Aramente alone, but they’re never told that explicitly, so Keyleth’s been figuring that out, and that was one of the big lessons here. When she decided to planeshift out, she had to trust that Grog was going to finish it without her. She’s been moving beyond her previous urge to be self-sacrificial.
  • Matt points out that if Keyleth had stayed, Grog probably would’ve stayed until the end, too, and things would’ve gone a lot worse.
  • Matt wasn’t playing the kraken to full intelligence (his argument being that the rules-as-written version is better suited to being a full-arc villain kind of deal), but if they’d decided to talk to it, it probably would’ve stalled long enough to get everyone exactly where it wanted them.
  • Travis on Tary not using Luck to reroll: Either he is the most genius, maniacal character in a long-running arc… or he just rolled shitty dice because Gil fucked him.
  • Keyleth would’ve rather failed the Aramente than kill the kraken or lose her party.
  • A question on screen flashes twice. Laura (who isn’t even on the show this week) immediately tweets “Two flashes!! Free Denise.”
  • Grog was trying to abide by Keyleth’s rules of not killing the thing, but his whole priority was getting Vax out, because he realized that not getting him out while he was unconscious might’ve meant losing his body for good. Matt points out that it worked out well that it was always Grog getting eaten, because he was more likely than most of the other party members to deal enough damage to get out.
  • Why didn’t the water ashari let Korren and Keyleth know Vilya was suspected dead? Matt starts to answer, then admits it’s mostly just to maintain narrative drama, because that’s how storytelling works.
  • Gil wonders whether one of the lodestones could be Keyleth’s mom. Marisha: …my mom is octopoo?
  • Grog’s decision on leaving Tary mostly boiled down to “…eh.” Grog didn’t mind too much that Percy made him go back for Tary, because he didn’t feel too strongly about leaving him behind, but there might be consequences once Friends wears off.
  • Keyleth would’ve definitely still planeshifted out if Grog and Vax’s positions had been reversed. She trusted that Vax would’ve managed to get out, too.
  • Travis’ wise words on the Raven Queen: “Didn’t she need the blood jacuzzi to get the thing going?”
  • Travis thinks Grog would be interested in participating in Vax’s ritual.
  • Travis was stoked for Vax to join the Dead Club, but he has no idea how it’s going to go because of the Raven Queen.
  • Matt re: people yelling about revivify/resurrection no matter the outcome: “I… mostly don’t care. I’m still a sensitive boy.”
  • Brian brings back the intro to the first episode, in which Matt points out that this is the continuation of a home-game and number-crunching shouldn’t be the priority. Of course, Critrolestats is an exception: “They keep track of the numbers we like.”
  • Brian: “Discussions are great, and we love talking about the show even if we disagree… but when it gets to be this weird thing where people are… it’s like, guys, you’re kind of embarrassing yourself. Like, give me a break, dad. Maybe intense scrutiny of a D&D game that’s on the internet isn’t the best way to live your life.”
  • Travis: “I’ll never go on [reddit]. It requires reading, right?”
  • Matt thinks the kraken was probably watching the party for a while, and then Tary’s natural one was a focus point. If they hadn’t failed that challenge, they might’ve had to fight it as they were escaping.
  • The one spell Marisha forgot to write down on her spell sheet was Freedom of Movement, which would’ve been incredibly clutch in the fight. Matt forgot about it, too.
  • Matt points out that everyone had an extremely stressful week leading up to that episode. Brian mentions that he’s known everyone for a while, now, and they all generally act the same on-screen as they do off-screen, so they’re not gonna be putting on an act. Sometimes you just get a bit of a slog playing D&D when everyone’s exhausted, but it can still be fun as long as people aren’t going over every decision with a magnifying glass.
  • SURPRISE ASHLEY WITH AMAZING HAT ON AFTER-DARK

After dark:

  • The first shot after the break is just a close-up of Trinket.
  • Matt to Travis, in one of the best out-of-context quotes thus far: “So what you’re saying is that your deviantart is full of vore?”
  • If Grog had an intelligence of 20 for 24 hours, he’d probably go down to Percy’s workshop and build something.
  • Matt ran a session pre-stream that was just Pike and Vax, in which the two of them had to fight a chimera. There was also one that was just Vax, Scanlan, and Pike.
  • If Grog had been left behind and died, Ashley thinks Pike would’ve pulled a Scanlan and left the party, then would’ve gone to go live under the sea until she found him, and would’ve kept his body until she got True Resurrection, “even if it took a hundred years”, so she could bring him back.
  • Matt re: Keyleth being the only one who hasn’t died: “No, there’s a reason for that. Because she’s my fiancee and I give her special treatment.” Marisha: “Don’t say that even in jest!” Matt: “No, if that were true, I wouldn’t sleep on the couch as often.” Marisha: “They’ll believe that, too! They’ll actually think that’s true!”
  • Ten or higher on that saving throw and Grog would’ve died in the kraken. Matt rolled a nine (which is why he tweeted the picture).
  • Marisha’s biggest fear re: ways for her character to die was tripping and falling in lava, which just about happened, so almost anything else would’ve been okay in comparison. Brian: “Keyleth died doing what she loved: a series of errors.” Marisha: “Failing.”
  • Travis’s Xbox gamertag is MeatyAlbatross.
EXCLUSIVE: The 7 Biggest Secrets From Hook & Emma's 'Once Upon a Time' Wedding: Vows, Honeymoon & Much More!

Source

Wedding bells are officially ringing in Storybrooke!

Once Upon a Time’s highly anticipated musical episode is almost here, which means that we’re just a few days away from witnessing Emma Swan and Killian Jones say “I do” in a breathtaking wedding ceremony. (Trust us. It’s perfect.)

ET had the pleasure of visiting Once Upon a Time’s set in Vancouver, Canada, last month during filming of the musical matrimony, and we sat down with stars Jennifer Morrison and Colin O'Donoghue for an intimate and in-depth interview that focused on each and every aspect of their on-screen wedding.

From their “honest” vows, to Emma’s “timeless” wedding gown, and their dream honeymoon – only ET has all the inside scoop straight from the stars of the series! Plus, we’ve got additional details from executive producers Adam Horowitz and Edward Kitsis, as well as Once Upon a Time’s head costume designer Eduardo Castro.

So, shall we get started? Or, as O'Donoghue cleverly put it: who’s ready for some “music and dance and some mighty fine romance” at Captain Swan’s wedding?

Just a warning that this is the biggest Once Upon a Time article we’ve ever written, so grab a comfy seat, put your cellphone on silent and get ready to go on an emotional roller coaster of feels. And, as always, please remember to breathe!

1. The Venue: The Once showrunners confessed that they had considered a number of “other places” for Emma and Killian to tie the knot – yes, even Granny’s! – but in the end, they settled on a brand new Storybrooke location for the ceremony. “Without wanting to spoil the episode, there’s a story reason for why it’s on the roof,” Horowitz revealed. “But there’s also something to us that was super romantic about having Storybrooke as the backdrop.”

Emma and Killian will tie the knot in front of a dream-worthy sunset and surrounded by their closest friends and family. “It’s the place where they’ve kind of come together,” Horowitz continued. “Where their love has grown and where both of them as characters have grown, so seeing the whole town kind of beneath and surrounding them felt like a really cool way to do it.”

“I thought it was perfect,” Morrison dished. “We just felt, like, what better way to make it feel extra special than to have [the wedding] also be the musical episode?”

Keep reading

TST is so goddamn blue: a meta

TST is just all kinds of weird. Everything feels off, and even the first third, which is supposed to be light-hearted and funny, is unsettling in many ways (for instance, why was John, a doctor, driving the car when his wife, Mary, was going into labor instead of having Sherlock drive? We know Sherlock can drive very well from THoBV, so wtf? And why would Sherlock ever say that Mary is better than John when it clearly hurt John that he’d say that? And what was the narrative point of the dog being there, apart from the fact that Sherlock likes dogs? Anyway, I digress.)

One theory that I’ve seen going around is that Sherlock is narrating this episode, and therefore, we’re dealing with an unreliable narrator. If Sherlock is in fact telling this story to his therapist, Ella, at the end of the episode, and is lying about some parts of his story, then what is he lying about? Well, one option is that he’s lying about how Mary died in order to protect someone. But he’s Sherlock… who would he bother protecting?

“It’s always you, John Watson.” Of course. It probably has to do with John. With saving and protecting John, as is Sherlock’s MO.

One theory by @the-7-percent-solution that I’m extremely fond of at the moment is that John killed Mary, and Sherlock is lying to his therapist in order to protect John (just like Watson may have lied in the original ACD story Charles Augustus Milverton to protect Holmes after Holmes presumably killed Milverton, which is what Mofftiss believe happened), and to give John an alias. Which would mean that quite a lot of the episode is either a fabrication, or changed slightly in order to make the story more convincing.

And, since I noticed that there is a LOT of blue in this episode, I decided to go through and examine the most blue-lit and blue-colored scenes, and see if I anything popped out at me. Something did. It might be nothing, but I’m gonna roll with it and see where it goes.

This is the scene where Sherlock discovers the A.G.R.A. memory stick in the Thatcher bust, and fights with Ajay. Everything in this scene is blue, or lit up with blue: the pool, the pool lights, the waves painted on the walls (real subtle with the Water Thing there, Mark), the police lights. It’s overwhelmingly blue. Which means that, if blue coloring or lighting means that Sherlock is lying (and I will explain why I think that might be the case in just a second) then Ajay’s story about why he’s actually hunting down Mary - or even the way/reason that Sherlock discovers the memory stick - might be either a lie, or a half-lie on Sherlock’s part (assuming he’s telling Ella all this after it’s happened.)

These screenshots are taken from the montage of Rosamund Mary’s escape trip. Again, there is quite a bit of blue, especially in the transitions and maps. And the dice. Again, just like the scene where Sherlock finds the A.G.R.A. memory stick, this part of the narrative has been twisted or is unreliable. We’re not seeing the full truth here. Maybe Rosamund Mary had a much more sinister reason to leave London than just escaping another assassin. (I’m not sure this part holds up as well as some of the other blue-colored scenes, but still. I thought it was very interesting how they stuck with this one-color scheme across so many scenes in this episode.)

This is the scene where Rosie begins crying, and John texts the girl from the bus stop. Again, everything in this scene is pretty damn blue; at least it stood out as being strangely blue to me. I mean, c’mon, even the bathroom tiling and towels are blue:

So maybe that means that this scene isn’t entirely true, either. The unreliable narrator - Sherlock, possibly - has embellished or left out something critical to understanding (in context) this scene. I’m not entirely sure what to make of this one, but maybe someone can help me out with figuring out how/why this scene might possibly have been a lie or a half-lie.

So I think this one is pretty self-explanatory. This whole scene is so strange and off, as many people who are much better at this whole meta thing than I am have already pointed out (I.E., John, an army doctor, not doing anything other than talk to his dying wife when he could clearly do so much more to help save her… jfc?)

Maybe Rosamund Mary didn’t really die in this sccene. Maybe, after finding out something about Mary’s past or present while confronting her about the A.G.R.A. memory stick or Morocco (again, assuming that both those scenes weren’t shown to the audience exactly how they happened) John killed her, and Sherlock’s protecting John by not telling the story how it really happened. Or maybe it’s something else… but there is an incredible amount of blue in this scene, which very clearly connects it (for me) to the previous scenes I’ve mentioned.

After Rosamund Mary’s death scene, the camera pans up and we get this shot:

A blue shark. And since sharks have repeatedly been associated with villains already on this show, that’s pretty damn suggestive. The shark is still swimming - it hasn’t stopped, and therefore it hasn’t died.

After the blue shark, we immediately get this shot a box (coffin? Ashes?) burning with blue flames:

Again, this is sticking to a common color scheme present in many other scenes that could easily have been changed or fabricated to hide a much more sinister side of Rosamund Mary, and a very different version of that aquarium scene. So maybe Rosamund Mary isn’t actually dead, or the how/why of her death is a lie, or, or, or…

And that brings me to why I think that blue might be important.  In one of the last scenes in the episode, we see that Sherlock is in therapy, and trying to figure out what to “do about John.”

Strangely, the therapist, Ella, has an office that’s painted blue: walls, ceiling, everything. (It is also shaped similarly to the tube in the aquarium, and lit in a very similar way to the room where Rosamund Mary died, but I’m not entirely sure that has any significance?) Oftentimes, when pressured to make something up or lie about something, people will look to what’s around them to help them come up with material for their lies. So if Sherlock is recounting this story from his memory, isn’t it possible that his surrounding are leaking into how he sees those memories, especially the ones that aren’t coming from his memory because they’re partially or fully falsehoods?

And then the episode ends on this shot:

More blue, with Sherlock framed in front of water, on his way to “save John Watson.” Real subtle, Mark.


((If anyone recognizes a reference to one of their metas in this post, please, please, please tell me and I’ll tag you and give credit! I really don’t want to seem like I’m stealing anyone’s theories, I just got excited by all the metas I was seeing and decided to make one, too!))

Lie to me - Dean Winchester x Reader - Chapter 11 (French Mistake AU)

Title: Lie to me

Pairing: Dean/Jensen x Reader x Sam

Word Count: … nope

Warnings: None

Imagine: Imagine Dean and Sam getting transported to the French Mistake universe. Only for Dean to realize he is married to you, his best friend, love of his life and… Sam’s girlfriend.

Great thank you to @gaveherhearttotheliontattoo for being an amazing beta!

Read Part 1 here! l Read Part 2 here! l Read Part 3 here! l Read Part 4 here!l Read Part 5 here! l Read Deleted Scene here! l Read Part 6 here! l Read Part 7 here! l Read Part 8 here! l Read Part 9 here! l Read Part 10 here!

~In the Supernatural Universe~

“You won’t…” you choked out, feeling a fresh wave of tears well up in your eyes. You weren’t just scared, you knew this feeling, you were hopeless and you felt terrified.

“(Y/n)” Jensen’s voice rough somehow sounded distant as you struggled to breathe. A shake of your shoulders made you blink and focus back on him “Are you alright?”

“I’m- I’m-” you opened and closed your mouth like a fish out of water, looking from Jensen to the other actor and your angel friend standing a few feet away “I can’t do this.” your voice cracked and you felt Jensen squeeze your hand.

“I can’t do this, I’m sorry. I’m so sorry, I just-” you felt like choking on your own tears as your head swam with a thousand thoughts.

“(Y/n), I- I know this is hard but we need to kill the witch and out of all of us you are the most skilled hunter. We- we can’t really do this without you.” Jared’s voice was desperate as he looked at you with puppy eyes, pleading for you to help them.

And it broke your heart in a million pieces to see him like this because there was a part in you that didn’t operate with logic and it only understood what was happening this very moment. And for that part this man was Sam, your Sam, needing your help and as always your body just wanted to wrap your arms around his shoulders and let him cry it out in your chest like most scary nights when the bad dreams he didn’t tell anybody about were too much to take. And now there was a nightmare coming true, the possibility of them being stuck here and your heart couldn’t take to see him like this.

But then there was another part of you, this one you had tucked away a long time ago, that in a way didn’t want them to go. Or more like, didn’t want him to go. Chuck, this was messed up.

“I- I can’t. I really just- I’m sorry, I’m so sorry.” you croaked, placing a hand over your mouth to hold back the sobs as you proceeded to bury your face in your hands.

Keep reading

Love Interests.

The Narrative Necessity and Purpose of Jon and Sansa Being Confronted by Them.

Alright I have questions. So many questions, on Sansa and Littlefinger’s scene in which they discuss Jon bending the knee to and possibly marrying Daenerys.

*Note: A previous, much shorter edition of this was written on @tiny-little-bird​ ‘s gifset. I’ve added a lot more to this. If you read my earlier version follow the ~’s for the added commentary.

I’ve seen a lot of shippers ask why have this scene? Why mention Daenerys’s appearance? Why mention Jon marrying Daenerys? Why, why, WHY???

Before I continue let me just be very frank and say that when I’m being analytical of the show, I try very hard to stray away from shipping goggles. I’m very particular in the way I read scenes. I never look for hints of my ship, because I know that if I do that the whole story and all dialogues will be distorted to me, and I’d risk the possibility of losing their essence. With that said, for the past two days I thought I had a clear understanding of this scene. Lord Baelish is pushing for what he’s been hoping for since he used the KotV to aid the North; for Sansa to take over the North as Queen, so that when he ‘marries her’ he’d have power over, not only the Vale, but all of the North as well. That much is clear, right?

“Who should the North rally behind? The trueborn daughter of Catelyn and Ned Stark born here at Winterfell, or a motherless bastard born in the South?”

“You’re the Lady of Winterfell. The King chose you to rule in his absence, and rule you have, wisely, ably. They say that they respect you, some may ever prefer you.”

We have seen him [ineffectively] planting these seeds into Sansa. We have seen him at her side, advising her, so that her rule in the North may be prosperous in the hopes the North will succumb to her rather than Jon.

So, okay, Littlefinger wants Sansa to rule the North and he uses the idea of Jon marrying a Targaryen Queen to nudge Sansa into action. The problem is that Jon has already bent the knee. Jon and Daenerys are already allies. And Sansa is already upset about that. That’s how the scene begins. We get a shot of Sansa reading a raven from Jon, she’s clearly annoyed and frustrated because; “[Jon’s] never asked for my opinion, why would he start now?” He’s “surrendered the northern crown without consulting [Sansa]” He’s already “pledged to fight for Daenerys Targaryen”

~SO, my question is not: Why does Littlefinger bring it up? because the answer to that is plain as day. My question is why do the writers have Littlefinger bring it up if Sansa is already upset and frustrated at Jon for bending the knee?

Keep reading

Stargazing and controlling mothers JugheadXCooper!Reader Oneshot

Originally posted by dailyriverdale

Fandom: Riverdale

Warnings: Does Alice Coopers existence count? 

notes: Lmao sorry for the long wait but I got hella busy and also sick. what can you do :/ anyways enjoy my PG fluff.



You stared at the ceiling, lost in thought. You were supposed to be doing math homework, but the glow in the dark star stickers that you had superglued to your ceiling in 4th grade were much more interesting. So you stared at your makeshift night sky and thought about everything.

You thought about your sister Polly, and how much you missed her.
You thought about Jason Blossom’s death, and how you didn’t miss him.
And you thought about your boyfriend, Jughead Jones, and how you really missed him. Your disapproving mother didn’t exactly know you were dating him, and you hadn’t been able to sneak off to see him in the past couple weeks. Everyone else knew, and you wished you could share that part of your life with your mom, but there was no way in hell she’d be okay with you dating the son of a Southside Serpent.

“(y/n)? Are you still awake?” Your sister Betty’s voice came from the other side of your door.

You tore your eyes away from the ceiling and ruffled a hand through your hair, “Yeah Betts, I’m still up. Come on in.” Your door creaked open and Betty walked in. She closed the door behind her and crossed the room to stand next to you.
You sat up and nodded, “So, what’s up?” you asked.

Betty smiled sadly before taking a deep breath, “I’ve just been thinking about Polly lately. I mean, I know Mom won’t let us see her. And even if she did, Polly might not even be herself. But I really wish we could, I really miss her.”


You flopped back on your bed, letting out a long sigh. “Yeah I know what you mean. Sometimes I feel like Mom’s trying to erase Polly, She won’t talk about her, won’t let us see her, and I hate it. I hate the whole thing. I miss her. I miss the way things used to be.”
Betty laid down next to you, the both of you staring at the star covered ceiling. You sat in silence for awhile. But after a few minutes Betty broke it with a complete subject change. “So, how’s Jughead?”

You grinned, “Good as far as I know. With your recent cheer-bellion Mom’s been cracking down on me with little errands for the newspaper. Trying to keep me busy, I think, so I don’t get any ideas about following in the scandalous footsteps of my sisters.”

Betty laughed lightly, “cheer-bellion?”
“Yeah. You know, Cheering-rebellion.”
Betty just laughed again.

_______

The next morning you woke up before your alarm and rolled out of bed, your (e/c) eyes still bleary from sleep.  
You got ready for school quickly and threw your stuff in your bag. You climbed down the stairs and wandered into the kitchen. Betty was eating an apple and studying her history textbook at the kitchen table when you walked in.

“Are you studying at seven am?”
“Yes.”
“Do you have a test today?”
“No.”
“You terrify me.”
You shuddered jokingly and went to steal a sip of Betty’s orange juice, but she slapped your hand away. “Get your own (y/n)." 

You huffed as you grabbed a muffin from the box on the counter. "Nah, gotta get to school. Meeting…people.” Just as you had bit into your muffin, your mom walked in, already dressed for the day and chatting on the phone.
“Bye mo

m, I’m heading to school.” You waved before turning to walk out of the room. But Your mother’s voice stopped you.

“Where are you going, Sweetie? School doesn’t start for another hour.”
“I’m going early to work in the library for a bit.” You lied easily. You were meeting Jughead early today because you hadn’t been able to see him (other than the short lunch period) for weeks.

You grabbed your bag, muffin in hand, and walked out the front door. You walked to the school with a dorky smile on your face. There was a definite lovestruck idiot vibe coming from you.
____

When you arrived at the school, Jughead was waiting for you at the front doors. There were very few people hanging around the building, most teenagers didn’t show up an hour early to school.

When he spotted you he smiled. “Hey–” Before he could get out a greeting, you gave him a chaste kiss. When you pulled back he had a faint blush on his face, bringing a grin to your face. “I know you have a no PDA rule, but there’s barely any people around so. I feel like it shouldn’t count.”
He smirked, “I’ll let it slide this time.”

“Hey, guess who doesnt have newspaper things to do tonight!” You switched the topic to your evening of freedom from your mother’s incessant errands.
“Is it some unattainable version of you?” Jughead asked jokingly, but you sensed a tiny hint of sadness behind the teasing tone.
“Sorry to disappoint, but it’s just regular me. Shocker, right?”
He grinned, “So does this mean I can actually see you tonight?”
You nodded while smiling broadly.

You and Jughead sat and chatted for about half an hour until the school was overrun with your classmates.
You stood up to head inside, “I’ll see you at lunch?” Jughead asked. You grinned and nodded in confirmation. Then you went inside and headed towards your locker.
____

Later that day you opened your front door, immediately heading for your room, But before you could get even to the stairs, your mom stopped you. And she did not look happy.

“(y/n), are you dating the Jones boy?”

You froze and internally cursed. “What?” you asked, blindsided by her question.
Your mother held up Betty’s Diary and fixed you with a stern glare. Dammit. You knew she had been reading that fucking thing.
“You are aren’t you? You know how I feel about him! (y/n), I don’t think you should see him anymore.“

"I am not going to stop seeing my boyfriend just because you can’t get past who his father is!” Your temper was flaring. You crossed your arms, giving her a defiant glare.
She rubbed her temples. “(y/n), I just want what’s best for you–”
You cut her off, “No, you want what’s best for you.” Your tone was cold and clipped. 

She could control everything else, you didn’t care. You would not let her control this. Alice Cooper was not going to stop you from seeing Jughead Jones.
You readjusted your bag on your shoulder and stormed back out the front door.
____

You showed up at the Twilight Drive, completely pissed and on the verge of tears. You knew Jughead was working that night and he was the only person you wanted to see right now.

You knocked on the door to the little projector building, tears threatening to spill from your (e/c) eyes. Jughead opened the door, looking somewhat annoyed. His face immediately softening when he saw it was you, and not some unhappy drive-in patron. You didn’t say anything and just wrapped your arms around him, burying your face into his shoulder. Your breathing was shaky and unsteady from the overwhelming wave of emotions you were experiencing. Jughead put his arms around your waist slowly.
“(y/n)? What are you doing here?” Jughead asked you, his voice laced with concern. You mumbled something into his shoulder, nearly impossible for him to understand.

You untangled yourself from Jughead’s arms and looked up at him. “She said she didn’t want me to see you anymore.”
Jughead sighed. “We both knew that was coming.”
“Yeah, well…it’s not like I ever had any intention of listening. She can control whatever else she likes, but not this. Not us.” You closed your eyes and exhaled heavily. You didnt want to fight with your mom, didn’t want to wish she was someone else, but that’s just how it was. “Can I hang out here for a bit? I don’t really want to go home right now.”


Jugheads lips quirked up a bit at the corners and he nodded. You smiled and climbed up the chain link fence before twisting and pulling yourself onto the roof of the pink projector building. Jughead’s eyebrows shot up in surprise. Even he had never thought of doing that.

He followed you up and sat next to you, the movie screen illuminating the whole lot. There were a few scattered cars around, but most people didn’t see movies on weekdays.
“So, where’d you learn to do that?” Jughead asked as you leaned back, staring at the stars overhead.
You grinned.

“When I was 9, I had no friends other than Betty and Polly. This was around the time Betty had a bit of a phase about her little sister hanging around. Although, I think that was ‘cuz she didnt want me tagging along with her and Archie. And Polly had her own friends. So I was alone most of the time. So I got bored a lot and used to sneak over the fence and onto the roof here so I could watch whatever was playing without being caught. Mom wouldn’t pay for me to come here whenever anything she deemed inappropriate was playing, which was pretty much everything. So I had to get creative.”

Jughead snorted, “I guess we were both pretty adept at getting in here without being caught.” There was a trace of bitterness in his words. He got that whenever he talked about anything even remotely relating to his family.
You put your hand on top of his in an attempt to comfort him.

Jughead shook his head slightly as the movie credits rolled in the distance. “I’m okay. I just need to go take the reel out of the projector.” He lowered himself of the roof as you watched the people in cars pack up and drive off.  You heard the chain link fence rattling as Jughead appeared back on the roof, laying down next to you.  You put your head on his chest and stared up at the night sky.
“Don’t you have to go home?” Jughead asked, his chest rising and falling steadily beneath you.

You closed your eyes and smiled, “Probably.” But you didn’t move. You didn’t want to go home, not yet anyways.
You couldn’t say how long you and Jughead stayed like that, just watching the stars in comfortable silence. And pretty soon you fell asleep, your hands intertwined and your head still on his chest.
___

The next morning you were woken up by someone calling your name. “(Y/N)!?” you sat bolt upright and glanced around, Betty was wandering around the drive in calling your name. You almost had a heart attack when you realized it was morning.
You stood up and waved your arms to get bettys attention. “Betty! hey!” Jughead stirred at the sound of your voice, While Betty headed towards the building.

“What’s happening?” Jughead asked groggily.
“I’m going to die. That’s what’s happening.” You ran a hand through your hair and laughed ruefully. Your mother may actually kill you.

You and Jughead climbed down the fence and Betty grabbed you in a bear hug. “No one knew where you were and no one could get ahold of you! We thought you were dead! There’s a murderer running around!” Betty scolded you angrily.
You checked your phone and the screen was black, signalling it was dead.
“Oops?” You offered sheepishly.

Jughead leaned against the building and watched Betty scold you.
“Oops?! Mom is ACTUALLY going to kill you this time!” Betty grabbed your hand and tried to drag you while texting with her other hand, letting everyone know you were okay. You tugged your hand out of her grasp and walked back to where Jughead was standing.

“If this is truly my end, I love you Jughead Jones the Third.” You grinned, an overly dramatic tone in your voice. You kissed his cheek and ran back to where Betty was standing. He was frozen with shock. That was the first time either of you had said I love you.

“What?” You asked innocently.
Betty laughed lightly, even though she was still beyond angry with you. Your mom’s car pulled up and Betty leaned over to you. “Any last words?”

You would’ve laughed if you weren’t so terrified.
Totally Worth it.”

Research:Large to Small Scale, Avoiding Homogenizing East Asian Cultures, & Paralleling Regions Appropriately

I’m currently working on a project set in a secondary world, but with nations that roughly correspond to major cultures in our world. 

By that I mean I’m trying to create amalgamations of cultural groups. For example, one country corresponds to Germanic cultures, one to Celtic, one to Mediterranean. There are, so far, also countries that correspond to Eastern Asia - a mixture of Japanese, Chinese and Korean, mainly - South America, “Arab countries” and so on. My first question, in that regard, would be whether or not this concept - creating a “vibe” that reads Eastern Asian, for example, but is not one specific culture - is offensive and if it is, what I can do to solve it. 

The project I’m working on makes use of so called FaceClaims, which means that, for example, actors are used to represent fictional characters. If I based the country on China alone, then I could only use Chinese FCs and would thus greatly limit the representation. A solution I thought of was to have each country be inofficially split up in itself, so the “East Asian” country would have a “Chinese” region, a “Korean” region and so on.
Secondly, I have a desert region that I thought would be nice for an “African” (I am very much aware that there is no such thing as an “African culture”, so bear with me) cultural group. For this “country”, I thought of a loose union between different nations of people. There, I’m stuck - should I choose one region in Africa, let’s say West Africa, and base each nation on one specific peoples there? Or should I create my own “African-inspired” cultures? Or should I choose cultures from all around Africa and base a nation on each?

My third question goes along a similar line: The “cultures” I have chosen for the countries are by far not all there are in the world. There is no country for Native Americans, for example, none for South-Eastern Asians (unless I integrate them with my “India”), no Central Asian, etc. I know it is impossible to include all cultures there are in the world, but how do I choose which ones to represent in a concept like mine? I don’t want to exclude them, but I simply cannot create as many countries as there are cultural groups.

One possible solution I thought of specifically refers to Jewish people, since I feel it is important to represent them more in fantasy writing. My current idea was to have their story go similar to that of our world: Exile, long travels, and a split into groups, one of which would be the Ashkenazim, living somewhere near the Germanic country, and the other would be the Sephardim, which I imagined to live in between the “Arab” and “African” country, in a semi-autonomous city-state. But is it offensive to adapt what happened to the Jewish people in a secondary world or should I make it so that they have a more positive past and life, no exile like there was in our world? As far as I know, the exile is an important part of Jewish identity and cultural understanding, but I thought I’d ask anyway.

I’m going to preface this that some of this wording might sound very harsh, but I recognize you are genuinely asking out of a place of respect but you just aren’t sure what the best way to respect the world’s diversity is. The problem is it’s still not quite respectful enough, and shows sometimes glaring ignorance of nuances in the region.

I would also like to remind people that just because your exact question hasn’t been answered to the full scope you’re looking at, doesn’t mean you can’t get an answer as a whole. For example, we’ve discussed the concept of how and when to mix different cultures in the East Asian tag. Shira will cover your questions regarding Jewish representation below. 

However, I’m going to specifically tackle this from a research and worldbuilding perspective, primarily talking about a history of forced homogenization and how to avoid recreating colonialism/imperialism.

Notes on Language and False Equivalences

For starters, basically all of these groups are too broad. By a long shot. Either they flatten sometimes dozens to thousands of cultures (“Native American country” is in the thousands, “West Africa” is in the hundreds, “China, Japan, Korea” is in the dozens, if not hundreds, same deal with India). This language use makes people pretty uncomfortable, because it implies that the basis is stereotypes. It implies you haven’t done research, or, at least, haven’t done enough. When discussing nuance, it’s best to imply you understand there is nuance— like you did with Africa and Jewish culture, but neglected to do everywhere else.

You also go very broad with all non-European cultures, but narrow down a general homogeneous part for your European analogues, by picking Germanic and Celtic.

This double standard is something that is exactly what we try to draw attention to at WWC: to our ears, it sounds like “I’m taking Germanic peoples for Europe, but I’m going to mix three East Asian countries because those two regions have the equivalent amount of sameness that I can pass it off.”

While that sounds specific to just you, it’s not. We’ve received this type of question dozens of times in the past and it’s a general cultural attitude we’ve faced lots and lots and lots of times. Western society makes you think the equivalence is equal, because they’ve flattened all non-European countries with the single broadest brush, but it’s not.

I would also caution you on relying on media images for face claims, because media images only represent the idealized version of beauty. We’ve written multiple description guides that point out how much variety exists within all ethnic groups and how people seeing us as all the same is a microaggression.

You are right that you can’t tackle all of the world’s diversity into your worldbuilding, because, well, there is so much. The core of your question is basically how to narrow it down, which is what I’m going to tackle.

My suggestion is twofold: 

  1. Research big, top level things, over a few centuries— namely, keep track of empires that have tried to take over places and look at what groups Western society lumps together when it spreads multiple regions.
  2. Build small with a focus on a very specific place and group— namely, pick the smallest possible region you can and see what you have to build from there.

Researching Big

Researching big helps you catch what not to flatten, or at least, where flattening might be reinforcing situations that a government perpetuated. I’m going to focus on East Asia since that’s the bulk of your question, and it’s also where I’ve spent some time worldbuilding. The principles apply to all groups you’re trying to research.

East Asia— namely Japan, Korea, and China, although that is an oversimplification itself— is composed of two empires: China and Japan. This makes homogenization extremely risky because you’re touching two nerves of countries trying to take over in very recent history.

China has taken over a very large swath of land over centuries, and still has independence fights to this day from their recent history. As a result, they have both a roughly overreaching culture because the empire is so old, and a very fractured culture with over 50 recognized ethnic groups. When you think of “Chinese” you usually think of the dominant Han Chinese, but because of its old empire roots you can get a giant variety. In modern day, some provinces have kept their individual culture, while others have been part of China for so long there is a general “sameness” to them that can capture the flare you want.

Japan’s imperialism is similarly recent, only ending in 1947, and it left wounds across the Pacific (including Korea, China, Taiwan, the Philippines, and Malaysia). Many of their actions are classified as war crimes. They’ve also erased their own Indigenous population by insisting only one ethnicity lived in the country. Both of these factors make mixing Japan into an “East Asian” mix tricky. Japan’s culture, while heavily impacted by China and Korea, is pretty distinct because of its island status.

Big research also lets you see the neighbouring areas at a time borders might not have been the same. For example, in the 1600s, China was much smaller because the Manchu External Expansion hadn’t happened yet. As a result, places we now think of as “Chinese” actually weren’t, and you’ll have to account for these differences in your worldbuilding. You can determine this by looking up historical maps/empires, which might require book research (libraries are wonderful).

This does not mean you can ignore recent history, however. Because the story is set in modern day, people will be viewing it through a modern lens. You need to research both the modern and the historical context in order to understand how to go about crafting a respectful world.

So that’s stuff you would’ve discovered by big research. By tracking empire movements, you can see where old wounds are and what historical contexts exist within whatever region you’re pulling from. If you take North America, you can see how each individual tribe is cast aside in favour of settler stories; in Africa, you can see how multiple empires wanted to plunder the land and didn’t care who it was; in the Middle East, you can see both the recent military involvement, the historical Ottomans, and the historical Persians.

Build Small

You can also see what empires influenced their regions for long enough to create a similar-ish culture throughout multiple regions, which can help you extract the essence you’re looking for. I would add a very large caution to only do this for historical empires where those who suffered under the regime are not fighting in present day/ have living memory of it (such as incorporating too much of England, France, or Spain in the Americas, along with the two examples above).

Now you can build small. If you wanted to give a sense of, say, coastal China with a heavy amount of trade, you can pick a major port city in China and figure out the pluralism in relation to that city. What parts identify it as Chinese (architecture, governance, food, general religious practices— folklore changes by region, but the general gist of practices can remain similar enough to get a vibe), and what parts are borrowed from a distinct enough culture they’re noticeably different?

By going from a city level, you can imply pluralism by throwing in asides of differences “out there” that shows you’ve thought about it, without cramming your world full of cultures you can’t fit in the plot. You can then also narrow down what to include based on map proximity: if there’s an easy sea or land path to an Egyptian analogue, you’re probably going to at least hint at it. This is a known historical trade, btw. Egyptian blue and Han purple are made of similar substances, pointing to an ancient cultural link.

You can research this by simply googling the country and looking under its history in Wikipedia. If you look up “China”, you can see “Imperial Unification” as one of its history points. “Japan” similarly gets you the Meiji period. Turkey shows the Ottoman empire. You can also look up “empires in [region]” that will give you a similar overview. This even works for places you don’t think have historical empires, such as North America (the pre-colonization section notes several).

This also is a starting place for what the borders would’ve been during any given time period, and gives you places to potentially factor in military involvement and recent strife. This is where modern research comes in handy, because you can get an idea of what that strife looked like.

Hope this gives you an idea how to go about worldbuilding a diverse population, and how to avoid paralleling recent wounds. 

~ Mod Lesya

Regarding Your Jewish Characters

I think it’s valid to reflect our real history in fantasy although if you dwell too much on the suffering aspects and not the “richly varied cultural traditions” aspects you’ll probably lose some of us because suffering-porn written from the outside gets old fast (if you’re Jewish yourself you 200% have the right to write this, of course.) Human Jewish characters living in pockets in fake-northern-Europe and fake-Mediterranea and fake-North-Africa (or even Fake China and Fake India; we’re there, too) is actually injecting some well-needed historical accuracy back into a genre that’s been badly whitewashed, gentilewashed, etc by imagining a Europe where nobody but white gentiles existed until they conveniently popped into existence during whatever era the writer thinks is appropriate.

In other words, if your fake Germany has a Jewish neighborhood in its largest city, that’s a way of making pseudo-European fantasy more realistic and less -washy, and is overall a good move, despite the fact that the destruction of the temple is the reason we were in Germany in the first place. (I mean… it’s not like you’re planning on sitting there writing about Tisha b'Av itself, right? You don’t have to say “And the reason there are Jews here is because a bazillion years ago, we wound up getting scattered” just to have Jews.)

By the way, having myself written secondary-world fantasy where entire countries, plural, get to be majority-Jewish, and 100% free of on-screen antisemitism, I think both ways are valid.

–Shira

Gigi Hadid and Zayn Malik Are Part of a New Generation Who Don’t See Fashion as Gendered

Midway through Virginia Woolf’s novel Orlando, a startling transformation takes place: Our hero, Duke Orlando, awakens from a seven-day slumber to find that he has switched genders. “Orlando had become a woman,” Woolf writes, “but in every other respect, Orlando remained precisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity.”

He becomes they. The pronouns shift, but the person remains the same. Woolf’s words, written in 1928, could easily be mistaken for a manifesto posted yesterday on Tumblr, the preferred platform for the growing cohort of “fluid” young people who, like Orlando, breezily crisscross the XX/XY divide. Fashion, of course, has taken note of the movement, which is sufficiently evolved to boast its own pinups, including Jaden Smith, recently the star of a Louis Vuitton womenswear campaign, and androgynous Chinese pop star (and Riccardo Tisci muse) Chris Lee. But where, exactly, is someone neither entirely he nor she meant to shop? And how, exactly, is such a person to be defined?

“They don’t want to be defined,” says Olivier Rousteing, creative director of Balmain, one of the many designers taking inspiration from the trend. “You see boys wearing makeup, girls buying menswear—they are not afraid to be who they are. This category or that category—who cares? They want to define themselves.”

This gender-bending approach to fashion has begun to achieve critical mass in pop culture and on the catwalk, with Alessandro Michele dressing his Gucci girlsin dandyish suits and his Gucci boys in floral and brocade, actress Evan Rachel Wood wearing Altuzarra tuxedos on the red carpet, Pharrell Williams gallivanting down the Chanel runway in a tweed blazer and long strings of pearls, and rapper Young Thug posing on the cover of his mixtape in a long ruffled dress. More broadly, designers such as Miuccia Prada and Raf Simons at Calvin Klein are knitting their men’s and women’s collections together, showing them on the same catwalk and twinning certain looks—identical fabrics, identical embellishments, nearly identical silhouettes.

This new blasé attitude toward gender codes marks a radical break. Consider the scene one recent morning out in Montauk, New York, where the photos accompanying this story were shot: Gigi Hadid and Zayn Malik snuggle in interchangeable tracksuits as, nearby, Hadid’s younger brother, Anwar, rocks back and forth on a tire swing, his sheer lace top exposing scattered tattoos. For these millennials, at least, descriptives like boy or girl rank pretty low on the list of important qualities—and the way they dress reflects that.

“I shop in your closet all the time, don’t I?” Hadid, 22, flicks a lock of dyed-green hair out of her boyfriend’s eyes as she poses the question.

“Yeah, but same,” replies Malik, 24. “What was that T-shirt I borrowed the other day?”

“The Anna Sui?” asks Hadid.

“Yeah,” Malik says. “I like that shirt. And if it’s tight on me, so what? It doesn’t matter if it was made for a girl.”

Hadid nods vigorously. “Totally. It’s not about gender. It’s about, like, shapes. And what feels good on you that day. And anyway, it’s fun to experiment… .”

Anwar, eavesdropping, pipes up. “We’re chill!” he calls out from a picnic table not far away. “People our age, we’re just chill. You can be whoever you want,” he adds, ambling over, “as long as you’re being yourself.”

This is how you can tell a paradigm shift has taken place: when a fresh way of seeing a thing seems like common sense. Once, the Earth was flat; then it was round—at which point, of course it was. Likewise, for eighteen-year-old Anwar Hadid and many of his peers, gender is a more or less arbitrary distinction, a boundary that can be traversed at will. Maybe that leads you to call yourself agender or bigender or demiboy or mostly girl—or maybe it just means that you and your significant other share a wardrobe. Either way, there’s a terrific opportunity for play.

It’s this space that fashion designers have rushed into. Alessandro Michele, whose recent Gucci shows have been at the epicenter of fashion’s genderquake, says that he treats traditional feminine and masculine wardrobe codes as if they were a language, a score, a dictionary.

“I use them to rewrite a story,” Michele explains. “I find it fascinating to break and mystify them in order to reinvent them in a different way. I create space for a personal interpretation.”

Jonathan Anderson, meanwhile, sees his blurring of gender lines in aesthetic terms. When he included dresses in his fall 2013 J.W.Anderson menswear collection, the aim, he says, was “to play with new moods and silhouettes; to find newness.” Hence his surprise when the U.K. tabloids responded with wrath. “Men in dresses! Shock! Horror!” Anderson says, laughing. “I’m not sure the world was ready for what we were doing.” But he stuck to his guns—and now there’s a whole wave of British menswear designers challenging traditional notions of masculinity, including Martine Rose, who claims fans such as A$AP Rocky and Rihanna, and Grace Wales Bonner, winner of the 2016 LVMH Prize for Young Fashion Designers.

“I’m playing with elements that might be considered feminine, but always in pursuit of an ideal of male beauty,” Wales Bonner says. “Are there versions of male beauty that incorporate flamboyance and vulnerability?”

Of course there are: Think Prince and David Bowie, both of whom scrambled male and female fashion codes in the name of liberation. For more current examples, think of James Charles, the eighteen-year-old makeup fanatic tapped last year as CoverGirl’s first-ever male campaign star—or the gender-blurring members of the art collective House of Ladosha featured in the upcoming New Museum exhibition “Trigger: Gender as a Tool and a Weapon.” Or check out the Instagram belonging to New York City man-about-town Richie Shazam.

“Fashion allows me to break the rules,” says Shazam, 27, who has earned a fervent following for his distinctive his/hers look. “I adorn and embellish myself, play with makeup and jewelry, and just put on clothes that are beautiful. Through fashion, I get to explore my own ideas about what’s manly.”

Women, of course, have been permitted to explore different iterations of femininity for some time—men are merely playing catch-up. But there is something new in the way women now buck social mores: Conventional notions of “sexiness” are being refused point-blank. When model and actor Ruby Rose uploaded “Break Free” in 2014, the video—which shows Rose transforming from a made-up, minidress-clad, long-locked Barbie into a cropped-cut and tattooed androgyne—went viral, with 28 million viewers and counting. Suddenly the notion that a person could dwell in a state of sexual flux was a trending topic.

“When I came out, I came out as trans,” says Tyler Ford, the agender poet and activist who first found fame as Miley Cyrus’s date to the amfAR gala in 2015. “I felt like you had to choose—that there were only two boxes you could tick, and if I had to pick one, maybe boy felt more right. But it never felt entirely right. Then I read about being non-binary online, and it was, like, Aahhhh… .

“I’m a college dropout,” Ford continues. “I’ve never taken a queer-theory course. But the ideas are trickling down via the Internet, and they make intuitive sense to me. I am who I am, and I just want to exist as myself.”

I just want to exist as myself. This is a generation’s cri de coeur, and if technology has enabled its elevation as a rallying cry, technology also accounts for the intensity of millennials’ drive to resist categorization. Social-media natives, they’ve been trained from childhood to maintain profiles on Instagram or Facebook that can reduce a person to a list of biographical data or a face among faces competing for “likes”—or function as platforms to transmit a complex, sui generis identity.

“I have a friend who identifies as ‘all boy, all girl, all male, all female,’” says Gypsy Sport designer Rio Uribe, who is known for his party-like fashion shows cast with pals from all along the gender spectrum. “It’s like—what is that? But it doesn’t matter what it is.” Eluding the labels, constructing an identity apart—for Uribe, that’s “a clapback to a society that wants to define you.”

For a demographic so keenly attuned to being looked at, style serves as a convenient means of liberation. And so it’s always been, as Marc Jacobs points out.

“These kids—I’m not sure they’re any different from the people I saw at Danceteria or Mudd Club in the eighties,” Jacobs says. “The difference is that back then, the expression—extreme looks, cross-dressing, what have you—was hidden away in a speakeasy or a club. Today, thanks to the Internet, that culture is widely exposed.”

Young New York–based brands such as Gypsy Sport, Eckhaus Latta, Vaquera, and Chromat are doing the same thing—striking out from the safe space of the club to bring their anything-goes ethos to the runway and the street.

Millennials like Gigi Hadid have taken this new freedom to heart. “One day you can be this,” she says, watching as Malik is buttoned into a bedazzled Gucci blazer, “and another day you can do that.”

Over the course of a few short years, that craving for latitude has manifested a trend that’s electrified fashion, transforming not only the look of clothes but the ways they are presented and sold. Chances are, there’s no going back—though a man in a dress or a woman who doesn’t shave her legs and prefers not to be called “she” is still an affront in many places. But if this month’s cover stars are anything to go by, the momentum is all in the direction of attitude, not gender, as the all-important marker of a human being.

“If Zayn’s wearing a tight shirt and tight jeans and a big, drapey coat,” Hadid says, “I mean—I’d wear that, too. It’s just about, Do the clothes feel right on you?”

Malik shoots Hadid a tender look and joins the conversation.

“With social media, the world’s gotten very small,” he says, “and it can seem like everyone’s doing the same thing. Gender, whatever—you want to make your own statement. You know? You want to feel distinct.”

Read the full article at Vogue.

Yellow Diamond in Wanted

I dont normally post a lot of stuff about the show/fandom aside from my initial reaction to it, but I actually feel like I have my thoughts on this together enough to do so in this case. This post is long and full of my opinions so I’ll put it under the cut for those of you who dont want it clogging your dash, or if you dont want spoilers.

Keep reading

MINJOON V LIVE

All the moments Namjoon Mentioned/Praised/Complimented Jimin in his V live* (Yes all this really happened, Yes we needed it.)  

[About Serendipity]

“Jimin’s song is so perfect and I guess you’ve listened to it a lot. I want you to check this out.” 

(Plays the guide he sang for the song, laughs)

“I worked hard to make a guide for Jimin, but it sounds so funny. Let’s play Jimin’s better version.” (Plays Jimin’s Intro)

“I worked hard on the lyrics for Jimin.. I’ve wanted to work with Jimin, though I didn’t make the whole song, it was fun to do something for Jimin”

“Serendipity came out really well as the intro. I think it’s the best in quality so far… I believe Jimin let us get off to a good start.”

“Jimin asked me when he sang the intro, ‘How should I sing the song?’. Jimin said he wanted to come out of himself. Jimin always sings in the high register, singing in falsetto or shouting in the chorus. That was kind of what he always did. He wanted to get out of that stuff. He wanted to step up his game as a vocalist. He asked me for advice, I didn’t have a lot to offer but I suggested something. He likes drake. He wanted me to recommend songs that are hot these days, though I did not stay all night. For about an hour I picked songs for Jimin, and I took screen shots of the lists of artists and sent it to him. The End” 

Originally posted by candyvkook

[A wild Jimin appears]

“Hello, Everyone. This is Jimin.” 

(JM covers face & says he’s not wearing makeup) 

“So handsome.” 

“Jimin, I just spoke about Serendipity. How you worked hard to come out of yourself when you recorded it. You heard all that? (JM: Not at all) I was talking about how hard you worked.”

“They can’t see your face, Jimin” (Pulls him in front of the camera) “Why are you covering your face? You look great. Don’t need to cover it. You’re handsome.” 

“Tell them how hard you worked on the song” (JM proceeds to talk about it) 

(Minjoon banter occurred, Jimin is about to leave)

“Make a heart before you go, Jimin.” (JM makes heart) 

“So cute. Bye. Good luck on your recording.” (JM Leaves)

“He’s working hard. Can’t wait to hear Jimin’s own song” 

Originally posted by sweaterpawsjimin

[Starts to talk about “Best of Me” but Jimin is seen making poses through the door]

“What? Is that a ghost? I guess he wants to be on Vlive but it’s been so long since Jimin did his solo Vlive. I’ll tell him to do a solo live after this.”

“Come in, Jimin. Jimin! You have to make a promise now.” (Proceeds to pull Jimin in the room, then keeps him from running out by holding on to him)

“You have to do your solo v live after me. Promise… I’ve done it a lot, it’s been a long time since you’ve done one. It doesn’t have to be a solo one, but make sure you do a live.” 

(More Minjoon banter, Jimin leaves)

Originally posted by pcyeolkenthusiast

[Continues talking about “Best of Me”]

“Anyways, still talking about ‘Best of Me’. The guy who wrote it…. I keep getting distracted. I’ll let it slide since it was for Jimin.”

“My favorite part in ‘Best of Me’ is.. I should have asked Jimin to sing that part. My favorite part of ‘Best of Me’ is the bridge part Jimin sang. How does it go?” 

(Tries to mimic Jimin’s voice lol)

“I’m sorry. Jimin used the voice he rarely shows us. The bridge part is.. I think it’s the killing part. I believe thats the best part of ‘Best of Me’ in my personal opinion. Personally my favorite part. He spiced up the lyrics I wrote with his angelic voice. He did a really good job.” (THIS WAS LITERALLY THE SWEETEST THING)

[While talking about “Pied Piper”, Jimin can be heard in the hallway]

“Jimin is outside. I guess Jimin got really bored. He’s on stand by. I guess there’s a long line (to record).” 

[While talking about “GO GO”, RM mentions he ran out of coffee. A few moments later Jimin appears with more coffee for him]

“Are you an angel without wings?” (JM: I’m a Fairy)

(Not too sure about this one, but I think Jimin sings the line “if there is music..” instead of “if there is hope..” & catches himself)

“Music? If there is music, there’s Jimin. I was talking about “Outro: Her” Jimin. (Jm: Were you?) Yes. Sorry, there’s no part of Jimin. (JM: I know that).”

(More Minjoon banter, Jimin heads out the door)

“Thanks! (for the coffee)” (JM makes a heart through the door)

“He’s so cute. We played Sohn Byeong Ho game before. If someone says ‘The cutest one folds your finger’, Jimin has to do it. You know, Jimin is like a fairy from a fairy tale.” (Laughs & thanks Jimin for the coffee again). 

Originally posted by kookmint

[Later on, Jimin appears again (Bless this boy) as RM is finishing the live]

(Minjoon talking about the last stage and Mcountdown, Jimin looks at himself in the camera)

“Jimin, It’s not a mirror”. (JM laughs in mochi, NAMJOON LET HIM LIVE)

“We’re sorry for not presenting a lot of encore performances. But Jimin did a great job with the mang-gae leaf. (JM: what’s that?) The leaf you carried over your head, I mean the one your were wearing over your head. Mang-gae leaf. It was cute. (JM: on M Countdown?) Yes.”

(In English) “Thank you for all the love guys, for everything” (JM:……… Yeah. lol) 

“Let’s put it to an end by saying, Army we love you” 

[Minjoon ends live saying “Army we love you”]

Originally posted by cloudjimin

**This is the rough translations from Vlive, we all know how that is lol so bare with me.