i wish there were more scenes with dragons

Crooked Chapter 5

Summary:Big Bang Mafia AU-

Chapter 1   Chapter 2  Chapter 3  Chapter 4 Chapter 5  Chapter 6  Chapter 7 Chapter 8

When the members of Kwon Ji Yong’s men take up a deal with the Italian mob, they think kidnapping one young woman will be a piece of cake. But all isn’t as it seems, and soon Ji Yong is realizing that maybe he’s bitten off more than he can chew…..

Disclaimer : Rated M for violence, and eventual smut.

A/N: Thank you to everyone who wished me well and who were understanding while I was getting over my sickness. I know that there was a long break between this and the last chapter and I’m sorry about that, I’ll work harder now that I’m feeling better <3 lots of love <3

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Aboard a Shakarian Ship

Kasumi’s the first to notice it, though that’s hardly a surprise. People see the thief and think all she’s interested in is their credit chits and bank accounts, but Kasumi’s been in this business long enough to know that 10 out of 10 times it’s the secrets that are the most valuable thing, worth far more than any painting or pretty bauble. “Word on the ship is Garrus really likes you,” she whispers to Shepard one day. She never says she’s the one who put it there.

Miranda ferrets it out next. The ship’s business is her business, after all, and so when the ship’s captain begins fraternizing with one of the crew members it’s not long before Miranda’s got every single side-long glance or late night ‘strategy session’ between the two catalogued and compiled into one neat report – a report she deletes soon after the Omega Relay, along with whatever loyalty to Cerberus she had left.

Turians are goddamn hard to read, but Zaeed’s killed enough of them to know the basics by now. Love’s not all that different from terror, really, and seeing the way that kid stares at Shepard makes him miss Jessie all over again. Goddamn fine girl, that gun, he thinks as he watches the two of them trade looks more loaded than any rifle.

Thane recognizes it through the barrel of a sniper rifle, unsure at first if the siha between the target and the gun is real or memory. But no, this is a new warrior-angel standing tall in the eye of the scope, and a new disconnected soul being awoken from his battlesleep by the fire in her eyes. Thane smiles, watching as history replays itself before him in an all new way.

The unit referred to as “Legion” acknowledges but does not fully comprehend the development between Shepard-Commander and Garrus Vakarian. Data available on such behavior between opposing species is limited, and a consensus regarding approval or disapproval cannot be attained. However, knowledge of historical organic mating inclinations in general suggests that relationships with similar parameters have high probabilities of resulting in emotional and physical well-being for both participants. 

Grunt may be fresh out of the tank, but he’s not stupid. He doesn’t know what his Battlemaster sees in the turian – a damn turian of all things– but he doesn’t really care either. Vakarian’s a part of her clan, and Grunt knows that the turian can carry his weight in battle. That’s all that matters as far as the krogan’s concerned.

Samara has had many lovers, and though centuries have passed since the last she still remembers the words of passion almost as well as she does those of the Code. They are subtle, heard in the corner of a shy smile or in the movements of nervous hands, and so easily missed, but they are there, and Samara smiles for the two who have found joy amidst so much darkness.

Mordin, of course, deduces it almost before it happens. Intense physical attraction always a logical explanation for such symptoms: mutually elevated heart-rates when in close proximity, increased blood flow to facial regions, resulting in a flush-like tinting for humans and sporadic mandible twitches for turians – all basic chemical reactions, really. Still, nice to see. Helps remind him what they’re fighting for, that there’s more to life than the big pictures.

Jack doesn’t give two fucks about who Shepard fucks, so when that person turns out to be some spikey ass alien all Jack does is roll her eyes. Figures someone as weird as the commander would have a fucking kink like that. Probably into biting and shit too.

Tali’s seen Fleet & Flotilla more times than anyone she knows, and that’s at least twenty more times than what she’d have needed to in order to see what’s going on right in front of her helmet. The two of them are as giddy as a quarian child with a new suit when they’re around one another, though she admits that the analogy isn’t completely fair – after all, even the youngest quarian could come up with better pick-up lines than the ones Shepard and Garrus are throwing around. In the end, all Tali can do is shake her head and mutter bosht’ets under her breath and be glad her helmet’s dark enough to hide her smile.

Jacob’s one of the last to know, never guessing that there’s more between the two old friends than just their kill counts and inside jokes. But then he catches the way their hands brush close when they think no one’s looking, and Jacob grins. It figures, he thinks to himself. Only the Commander would go for an alien on Cerberus ship.

7

higher res in pdf file [x]
based on the one shot fic written for me by my friend rihouston

i don’t know how i should feel about this project of mine. on one hand i’m proud i was able to pull off some perspective, “camera” angles, and poses right. also first 4 pages were drawn few months ago, and the next 3 finished this week. there’s a slight, noticeable change in the style, at least i see it. tho on the other hand, this short, “real” comic challenge has taught me a lot of things about posing, perspective, and storytelling. and to be honest, seeing how your idea and screenplay come to life, give you this amazing feeling inside ;u; i wish i was a better comic artist, because drawing comics is real fun.

forgive me the shitty quality of the bookshelves, but they were a huge pain in the ass >_< (because of them, i took a few months break from drawing this) gah! no more library scenes! x]

edit: oops, seems like i linked the wrong fic. the one i based this comic on is saved on my hdd (and i thought you posted it too, riri ;p)

Anime Orihime/Manga Orihime part 1/?

We all know that the Anime has altered and/or removed canon Ichihime moments and though that is something that has and still upsets me, it isn’t my biggest problem with this particular studio.

My biggest ‘pet peeve’ is how they managed to destroy and fully butcher Orihime’s character, while I can understand being biased to a particular pairing, I can’t understand this need to fully ruin the opposing character.

Orihime in the Manga is kind, compassionate, humorous, sometimes a little out of it but she has shown to be both intelligent and highly perceptive. She is a hard worker and doesn’t like giving up, Orihime tries her best and when it doesn’t work she sets herself to try even harder.

The Orihime in the Anime (most particular the Orihime in the first Arc) was someone I did not recognize and I almost wondered whether it was me that had read her character wrong or the anime studio. (We all know the answer to that question.)

The fact that they reduced her to this little ditzy girl that doesn’t know or understand anything pisses me off. Knowing that there is nothing I can do about that, I decided to re-watch the first season and go through the first arc of the Manga.

I am sure that I haven’t covered everything and that I am probably missing a few more panels/scenes, but the ones I have added are the biggest ones I can think, off. Scenes that establish Orihime’s character. 

I am going to skip the first chapters, the ones where Orihime was introduced as they were covered by Ichinoue in this wonderful post. And I am also going to skip the Acidwire chapters, though they did change a few things they were more Ichihime related as opposed to just Orihime. (I think, am not sure)

Instead I will be jumping into the Princess and Dragon chapters, and finish up the first Arc. 

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highlyfunctioningfan-girl  asked:

I was so emotionally shaken by your words about Hiccup shoving off Toothless and I was wondering if you could continue by explaining how Toothless got rid of the Alpha's control and what made Toothless challenge the Alpha. The way the story went wasn't that convincing. Thank you.

It means a lot to me that you found my analysis about “Stoick Saves Hiccup” so impacting to you, and I would love to talk about the moment Toothless rids himself of the alpha’s control. For me, that moment is just as powerful and incredible as the moment Hiccup shoves Toothless aside. The moment Toothless finally becomes free of the alpha and then chooses to fight that Bewilderbeast demonstrates to us the amazing bond between Night Fury and Hiccup. It’s full of drama, emotion, and a near-death experience. Hardly a dull moment! The moment might pass by to audience members because it comes in such close conjunction with the end of “Battle of the Bewilderbeast,” but the more one looks into “Toothless Found,” the more that scene stands out as something jaw-droppingly special, too.

How Toothless got rid of the alpha’s control and choose to fight the Bewilderbeast… was his dedication to Hiccup, and Hiccup’s devout actions in turn. I’ll talk a lot about the significance of this scene, how it ties into Toothless’ ability to fight off the alpha’s hive mind control, and then what happens when he challenges the alpha.

Other analyses on this topic:

Setting the Scene for “Toothless Found”

At the start of all things, Toothless is hovering mindlessly over the village.

This in itself speaks volumes. Toothless is an extraordinarily empathetic dragon, one who is able to synthesize how others feel and emote for their sorrow. Toothless, were he not under the Bewilderbeast’s mind spell, would be gazing down on Berk with enormous worry and concern. He’d be crooning painfully for what has befallen his home, staring worriedly over the people and hoping that the Vikings are safe. Yet Toothless is so possessed and so trapped within the Bewilderbeast’s control that he doesn’t even look down. The dragon stares straight ahead, unfeeling, unmoving, just robotically flapping his wings to hover aloft. Nothing could be more unfeeling, more impersonal, and more unnatural than this.

This is no reaction when Hiccup approaches on the Scuttleclaw baby. Toothless doesn’t recognize Hiccup, and it’s almost like the dragon doesn’t even notice other living beings are approaching. Nothing changes about his movement; his mind is completely gone, completely controlled, and thus there are no thoughts to register, “Someone’s approaching,” let alone, “It’s my best friend.”

Hiccup’s emotions, by contrast, could not be more apparent. As he rises to meet Drago and Toothless in the sky, his fear manifests itself. Hiccup nervously puffs his cheeks and exhales heavily; the young man knows how daunting of a task he has before him, and how dangerous. Hiccup needs extraordinary courage to approach Drago and Toothless and has to steel himself before flying forward. The last time Hiccup and Toothless interacted, Toothless almost shot him with a plasma blast - a blast that is so powerful it can destroy entire siege towers with a single hit. He did kill Stoick. Toothless can aim and fire in a frightfully short notice. And Toothless is still under the control of a man and dragon who can make him shoot again. Drago threatened Hiccup last time; he’ll make true his word this time.

Hiccup is voluntarily flying toward someone who threatened his life. He’s flying toward the very person who murdered his father with a point-blank shot, and the person who threatened to kill him were they to reunite.

Hiccup knows he could be flying to his death. 

One little plasma blast, and it’s over. Hiccup wouldn’t be able to react. He’d be dead before he could blink.

How completely frightening would it be to fly toward your nearly certain death - death at the cause of your best friend, a friend who now frightens you so much your heart is pumping and your palms are sweating? What Hiccup is doing isn’t just courageous… it’s insane, and borderline suicidal. He’s willing to risk everything - even his own life - for the chance to reunite with Toothless.

I absolutely love that facial expression we see in the gif: that combination of poorly-buried fear, hints of pain, and forthright dogged determination.

Hiccup’s Words

Luckily for Hiccup, Drago chooses not to end his life then and there. Drago is a villain who is more than a mere brute: he is a man who controls people through psychological intimidation and breaking, too. While this is his strength in many aspects, it also opens up Drago’s main weakness: he flaunts. Drago does not jump up and execute a death as quickly as he should, but rather lingers, mocking someone to demonstrate his strength before enacting that strength. Therefore, Drago engages Hiccup in conversation to mock him rather than cutting his enemy from the sky and decisively winning the confrontation.

The first thing Drago says is, “You certainly are hard to get rid of, I’ll say that.” It’s meant to be a conversation started between Hiccup and Drago, picking up on the last conversation they had. That conversation was about Drago demonstrating his power and putting Hiccup “in his place.” Now that Hiccup has returned, Drago obviously sees the need to do that again.

But Hiccup doesn’t respond to Drago. He doesn’t even look at him. In fact, throughout this entire exchange, Hiccup doesn’t communicate with Drago even once, doesn’t look at him, doesn’t respond to him. The only way we know that Hiccup registers Drago is there is by the fact he doesn’t talk over Drago. 

The very first word Hiccup says when he gets close enough is… “Toothless.” For Hiccup, this moment is all about reuniting with his best friend. While we know this was planned, part of the strategy, as he outlines in “Riding the Hatchlings,” now that Hiccup is in the moment, it’s all emotion. He says the word “Toothless” with quietness, a bit of a crack, and clear nervousness. There’s some hesitance and fear addressing his own dragon. He needs to be gentle; if Toothless becomes aggravated in any way, he’ll shoot him.

Yet even while Hiccup is terrified that Toothless might kill him, he still flies closer… and reaches out his hand for his dragon before the hive mind control leaves the Night Fury.

It’s the exact opposite of what happened when Hiccup rejected Toothless. In the previous scene, Hiccup shoved Toothless aside when the dragon initiated an approach. Now, Hiccup is the one initiating the approach, and he is hoping to use his hands to reestablish a bond rather than shove one aside.

The words that Hiccup say are incredibly important and powerful:

Toothless? Hey, it’s me, bud. It’s me, it’s me, I’m right here, bud. Come back to me. It wasn’t your fault, bud. They made you do it. You’d never hurt him, you’d never hurt me! Please, you are my best friend, bud. My best friend.

Although Hiccup is nervously rambling, there’s a good sense of progression in those words. First, Hiccup identifies himself. He tries to reach the possessed dragon by verbally identifying himself. Toothless has appeared not to see Hiccup when possessed, but perhaps… if Hiccup is gentle enough… Toothless can hear him. So he identifies himself to get some aid, and to help provide the context by which he can plead for them to reunite.

Next, he asks Toothless to “come back to me.” Note that this is the exact opposite of the last thing Hiccup said: “Go on, get out of here! Get away!” Before Hiccup said “get away” …and now it’s “come back.” He’s showing Toothless right from the start that he’s not going to chase the dragon off again, but rather wants to extend the invitation for him to return.

Next, Hiccup addresses the reason why he chased Toothless, and why that’s not going to affect their relationship now: “It wasn’t your fault, bud. They made you do it.” Hiccup chasing Toothless off was caused even though, as Valka pointed out, “It’s not his fault.” Now Hiccup is acknowledging it right to his best friend: Stoick’s death is not your fault. I don’t blame you. Now that the blame has been revoked, there is no reason for Hiccup to reject Toothless anymore.

It ends with Hiccup appealing to the relationship they had before the death. What happened before Toothless “got away” from Hiccup? Hiccup blamed him. What happened before Hiccup blamed him? They were best friends. Hiccup is going from the worst and most recent problems they’ve had, to the further past - the more stable past - the past that matters. Hiccup reminds Toothless, “You’re my best friend.” It’s in the present tense. And he’s pleading with Toothless. It’s no command.

Hiccup has learned how to confront a dragon controlled by the hive mind. The first time he does so back in “Hiccup Confronts Drago,” Hiccup just frantically shouts at Toothless for stop, he stares at the Bewilderbeast as much as Toothless, and there’s no sense of reminding them of familiarity. But now, Hiccup is doing the opposite: he’s pleading rather than commanding, speaking intimately rather than shouting, and appealing directly to Toothless rather than paying heed to the Bewilderbeast and war lord around him.

Now that I’ve gone through Hiccup’s words themselves, I want to talk a little bit about them in the broader context of the scene, because how it plays out is amazing.

This scene is actually a direct opposite of “Hiccup Confronts Drago.” The events play out in opposite manners and come to the opposite result. This is on top of the visual symbolism which I talk about extensively in other posts… as well as a really telling series of reactions from Drago. “Toothless Found” is flawless.

Approaching Toothless

Hiccup begins the conversation by nervously addressing Toothless. He’s flying toward Toothless very slowly, the exact opposite of Battle of the Bewilderbeast where he was backing away from Toothless and holding out his hands in self-defense. Now, however, Hiccup holding out his hand isn’t for self-preservation. It’s to reach Toothless. He’s exposing himself, making himself vulnerable, in order to reach his friend.

At this point I highly, highly encourage you to read this analysis about Toothless’ face and this analysis about the camera angles. Since I’ve already analyzed those moments in depth and this is a lengthy analysis already, I should probably not repeat myself. In those analyses I mainly point out:

  • The camera angles go from far away to closing in on Toothless’ eyes. It allows audience members to feel they’re approaching Toothless just like Hiccup is. Also, as the conversation becomes more intimate and Toothless struggles more with what Hiccup is saying, his eyes flicker more and become a greater visual focus in the scene.
  • As Hiccup flies closer to Toothless, it’s him physically closing the gap between himself and his best friend. It correlates to his words: his actions are trying to emotionally close the gap between himself and the dragon, too. Toothless’ body language throughout the entire scene as he struggles to fight from the alpha is amazing, detailed, and very telling of the situation.
  • Toothless’ eyes are initially slits but grow into wider pupils. This is part of an ongoing animation choice that dragons with slit eyes are distanced, unapproachable, hostile, or in negative emotions, while dragons with widened pupils are approachable, understandable, relatable, and friendly. Furthermore, when Toothless’ pupils are mere slits, you can’t see Hiccup; they’re closed off like shutters to the young man. When Toothless’ pupils get sufficiently open, you can see Hiccup’s reflection in Toothless’ eyes, symbolizing their friendship and the fact that Toothless’ eyes - and his soul - are all for Hiccup (the eyes are the window to the soul, as the saying goes).
  • Camera angles originally show Toothless’ view, shots on Hiccup, shots on Toothless, shots on Drago, and shots of the Bewilderbeast looming in the background. However, soon everything fades into the background and only shots on Hiccup and Toothless remain. As their friendship bonds, that is the only thing audiences see on screen.

I’m sorry I rushed all that, but there’s no possible way to actually write everything within this scene. It’s just too intense, detail-oriented, and incredible to include everything without writing a novel.

Drago’s interactions are also very telling. Drago speaks up several times as Hiccup speaks to Toothless. When Drago first talks to Hiccup, it’s addressing Hiccup directly. The next time, he is still trying to talk to Hiccup, but this time, he’s switched the focus to be about Toothless. Drago reacts by directly countering what Hiccup says. Hiccup pleads, “Come back to me,” and Drago juts in, “He’s not yours anymore.” Drago is still trying to make this conversation about his power over Toothless, Hiccup, and everyone around him. He mockingly tells Hiccup to try, expecting the young man to fail, become depressed… and through that acknowledge that Drago is the stronger.

But the final thing Drago says is not about Hiccup. It’s not about his control over Toothless. His conversation has slowly been sliding away from demonstrating his control, to being dragged into what Hiccup and Toothless are doing. The interaction is no longer about him. In the end, all he can say, in absolute bafflement is, “How are you doing that?”

Again, it’s the exact opposite of the last Hiccup-Drago-Toothless interaction, by which the conversation became more and more about Drago. Now it’s becoming less and less like him… as Hiccup and Toothless come to reunite.

Note that physical touch plays an enormous role in Toothless breaking free of the Bewilderbeast’s control. When Hiccup first touches Toothless on the snout, the dragon’s eyes widen significantly. I talked before in the previous analysis about how physical touch between human palm and dragon snout is critical in the relationship between Hiccup and Toothless; for Hiccup to reestablish that touch is to evoke back every good thing their friendship has been.

The Bewilderbeast, however, is still trying to gain control. But the way Toothless is interacting with the Bewilderbeast has changed. He’s now trying to fight the Bewilderbeast off; he has enough sense of mind that he can start to shake his head, trying to throw off the hive mind control and think independently. It’s the exact same sort of thing as in the Battle of the Bewilderbeast. Toothless scrunched his eyes and tried to fight off the Bewilderbeast in that scene, too… this time, though, it’s with Hiccup right before him. With Hiccup in front of Toothless, the dragon can concentrate on what is important… and pull through.

What is happening is that Hiccup and Toothless are focusing on what they have in common. They’re completely shutting out Drago. They’re reversing what Drago did in the last battle - to the point they’re step-by-step reversing what went wrong before, and doing the opposite to ascertain they can come together. This scene is the exact opposite of “Hiccup Confronts Drago.” Hiccup lost Toothless - now he gains him; Hiccup saw Toothless fight and lose battle for the Bewilderbeast’s control - now he sees Toothless shake the control off; Hiccup shouted for Toothless to snap out of it - now Hiccup pleads for Toothless to come out of it; Hiccup chased Toothless off - but now Hiccup asks for Toothless to come back.

Even the colors are opposites: whereas in the Battle of the Bewilderbeast, colors go from bright to dark… here colors go from dark to bright.

At last - after all this symbolism - after all these crazy camera angles - after all this reversal of the bad that happened in “Hiccup Confronts Drago” - Toothless shakes off the Bewilderbeast. It is through the power of their love for one another that this becomes possible. It’s not just Toothless alone who got to shake free from the alpha’s control. It’s not just Hiccup. It’s them together, fighting together, and concentrating on each other. And as soon as Toothless does that, he has the power to throw Drago off his back. Hiccup shouts in excitement - and for the first time since his father died - pulls up a genuine smile.

Challenging the Alpha

After this, Hiccup and Toothless realize the direct need to fight to save Berk. They have done this before, such as in the fight with the Red Death; Toothless, when he feels urgency, is willing to stand up and fight. Hiccup and Toothless fly together, fighting the Bewilderbeast. At this moment in time, though, they’re just trying to drive off the dragon; there’s no intent for Toothless to become the alpha. Together, Hiccup and Toothless believe they corner Drago, and that the battle is done.

But then Hiccup and Toothless become frozen in ice. The Bewilderbeast comes out of nowhere and attacks. Hiccup almost suffocates for the short time he is frozen. Toothless breaks them through. Because of the near-death circumstance, Toothless is able to unlock within him a previously latent ability: he glows bright blue, gains extra strength with his plasma blasts, and shatters the Bewilderbeast’s ice which encased them.

At this point in time, Toothless makes his decision to fight the alpha. The fact Hiccup almost died is what makes the decision for him. Notice this is a parallel to what Hiccup has just done for him: Hiccup risked his life to save his best friend, standing up before the human warlord and his dragon to rescue Toothless. Now Toothless is risking his own life to save his best friend, standing up before the Bewilderbeast. Hiccup breaks free Toothless from the Bewilderbeast; Toothless breaks the other dragons free in turn.

As Toothless recognizes, Hiccup and Toothless cannot just corner Drago and expect to succeed; as Toothless has deduced, they need to do something about the alpha. The most pragmatic thing to do is to challenge the alpha and take over the dragon’s power. It’s the way to prevent more hive mind control and mass possession from occurring. As Valka recognizes, Toothless is doing this for Hiccup; Toothless has no desire in and of himself to become the next alpha, but is doing that because there’s a need to save the dragons and people of Berk - and especially Hiccup - from the Bewilderbeast’s presence.

What is so cool about this is that Toothless has learned how to break free of the alpha’s control by focusing on his rider. Now, he uses his knowledge to challenge the alpha, and help all the other dragons break free from that control, too! Toothless is the dragon who leads the way to all the others rebelling. The Bewilderbeast becomes so distracted and so overwhelmed by Toothless’ plasma blasts that he cannot keep control of the other dragons; he quits “broadcasting” the ultrasonic hive mind, loses grip of the dragons, and they fly straight to Toothless. The dragons know Toothless is defending Berk and the humans; that is where the dragons belong, too.

What Hiccup proclaims in the end is telling: “This is what it is to earn a dragon’s loyalty.” Because of a dragon’s loyalty, Toothless could break free of ultrasonic broadcasts that are wired to force him into submission. Because of a dragon’s loyalty, Toothless could break Hiccup free from the ice. Because of a dragon’s loyalty, Toothless chose to fight and become a leader when he otherwise would have not taken the role. Because of a dragon’s loyalty, Toothless could gain the loyalty of other dragons so that they could turn against the Bewilderbeast, too. Because of a dragon’s loyalty, the battle of Berk is won.

Faybelle’s Mistreatment by the Writers (& other characters)

I’ll start with what happened in Way Too Wonderland. Faybelle tries to undo the Wonderland curse, but due to some kind of spell protection, Faybelle is instead turned into a sheep. Sure, it makes sense a Dark Fairy can’t undo Evil Queen magic (and Dragon Games confirmed vice versa to be true as well), but why should Faybelle be punished and humiliated for trying to help? We never even see her for the rest of the special. I just don’t like how in this instance she’s punished the moment she tries to help. I guess it’s supposed to be punishment for her ego, but personally I see no issue with her being confident in her magical abilities, and I’m tired of seeing confidence be punished in media. She may have been being punished for how she was treating Lizzie tho, but if that’s what they were going for, it was unclear, bc a lot happened between the time of her mocking Lizzie and being turned into a sheep.

Then we get to Dragon Games which punishes and humiliates Faybelle throughout the entire thing. I would like to discuss the scene that I found to be most disturbing. Raven comes looking for Nevermore, and the Evil Queen averts everyone’s attention to where Nevermore is, tied to a balcony, Faybelle fluttering next to her. Faybelle uses her magic to break the ropes securing Nevermore to the balcony, Nevermore starts flying, but then Fay is dragged along on the rope for what seems like forever to me. It may have only been a few seconds, but it was long enough to make me very uncomfortable. And the thing is, Faybelle can fly. She didn’t have to be hanging onto the rope for that long! There was no reason to drag her through the air and hurt her like that. And it’s played off as funny.

Practically every scene Faybelle is in in Dragon Games has her getting physically hurt. I think we’re supposed to see it as she’s deserving of this but… I mean there’s just a point where they take it too far, and this movie took it way too far. Interestingly, Apple too sided with the Evil Queen, and yet she’s not punished for it in the way Faybelle is continually punished for it. It’s all played off as funny, but if you ask me, it’s just bad writing. And the thing is, Faybelle’s dialogue is already very funny and entertaining. This is just so unnecessary and I find it to be very unsettling.

It’s also odd how we’re clearly supposed to feel sorry for Faybelle, but then they treat her like this. It’s made clear when the Evil Queen yells at her and she realizes the Evil Queen didn’t care about her and she starts crying. They wouldn’t have given her that scene if we weren’t supposed to feel sorry for her in some kind of way, but then in every other scene she’s in, we’re not supposed to feel sorry for her. We’re supposed to feel like she deserved being hurt like that. But that’s the thing is, if you’re gonna try for slapstick humor, then you cannot choose a character who people may feel sorry for. Bc then you’re going to make your audience uncomfortable.

Then there’s also how the other characters treat Faybelle in the special. I find it a very odd writing choice for Raven to be complicit in manipulating Faybelle. Her plan was literally for Faybelle to get hurt. I think it just makes Raven look bad. The Evil Queen even compliments Raven on how manipulative it was, and I think that says a lot about what Raven did in and of itself. I get that with the narrative they chose, Faybelle getting hurt was inevitable, but that doesn’t mean Raven had to be complicit in it. Maybe the time used for Fay getting physically hurt could have been used for Fay being more hesitant. Maybe Raven could have warned her. Maybe instead Raven could have tried to show Faybelle some care, and that would have made Fay realize the Evil Queen didn’t care about her. I don’t know the perfect answer, but I just think this is a really low point for Raven to manipulate Faybelle like that.

Then, there’s Apple, but this one is more like a missed opportunity. Faybelle and Apple were BOTH fooled by the Evil Queen. No one could have understood what either of them was going thru at that time besides each other, and I wish they would have taken the opportunity to acknowledge that. I think they could have rlly connected and I would have loved to see that. I’m also miffed abt the scene where they’re on dragons and the Evil Queen throws a fireball at Apple and Faybelle. Fay has to jump off just to avoid being hit while Apple just ducks. Now, I get this was the writers just getting Faybelle off the dragon so that we can have our Apple and Raven save the day scene, but c’mon. Apple shows zero concern for Faybelle who just had a fireball thrown at her. Honestly, a simple “Faybelle!” would have sufficed and showed she cared.

The only character who I can think of who showed any kindness to Faybelle in this whole movie was Darling, and that was just a scene at the end that showed them talking together in the background. And I get Faybelle was an antagonist in this, but I think after she switched sides, someone (Apple) should have talked to her or at least showed they cared abt her.

Anyways, my point is I’m disappointed that EAH resorted to slapstick “humor” SO much in this movie. If Fay got hurt once, I mean I’d probably hardly think anything of it, but she got hurt over and over in this movie. A ridiculous & unsettling amount. & I hope that the writers will treat her better in the future.

Like I love seeing the lighthearted, fun discussions between Finn and Millie about how kissing sucks and filming the kissing scenes, but I wish the interviewers asked more questions about filming for them. Like what was it like to film the goodbye scene? How did Millie film the the scenes in the “Bath”? What were the screentests like? Do they actually know how to play Dungeons and Dragons? there are so many more interesting (and tbh less embarrassing) questions to ask in my opinion

The Second Mango by Shira Glassman 

[Goodreads]

Queen Shulamit never expected to inherit the throne of the tropical land of Perach so young. At twenty, grief-stricken and fatherless, she’s also coping with being the only lesbian she knows after her sweetheart ran off for an unknown reason. Not to mention, she’s the victim of severe digestive problems that everybody think she’s faking. When she meets Rivka, an athletic and assertive warrior from the north who wears a mask and pretends to be a man, she finds the source of strength she needs so desperately.

Unfortunately for her, Rivka is straight, but that’s okay – Shulamit needs a surrogate big sister just as much as she needs a girlfriend. Especially if the warrior’s willing to take her around the kingdom on the back of her dragon in search of other women who might be open to same-sex romance. The real world outside the palace is full of adventure, however, and the search for a royal girlfriend quickly turns into a rescue mission when they discover a temple full of women turned to stone by an evil sorcerer.

Thoughts: 

Keep reading

How long did it take [for the final battle] and how difficult a shoot was it?

Bryan Fuller: It was one of those things that was very rushed. We didn’t have enough time to shoot it, and we couldn’t afford to shoot it in the manner in which we wanted to shoot it. It took about 10 hours to shoot, and that’s shocking when you consider it took us maybe 22 hours of actual filming for the fight scene with Mads and Laurence [in Hannibal’s kitchen] at the beginning of Season 2 — plus, three additional days of second-unit shooting. The Hannibal-Will-Dolarhyde fight took 10 hours, plus six hours of second unit, so it was much smaller in scale, which is why we had to really build out the sequence with a lot of strategic inserts. We simply didn’t have the footage to pull it off. We didn’t have close-ups of Richard Armitage, for example, because he had to go do a movie. So I used footage from the scene of him burning down his ritual to give us an opportunity to see his face plainly. That was originally supposed to be shown during the fire sequence, but I pulled all of that stuff out and moved it to the end, so we could actually see the actor’s face. It was an episode that was rife with all sorts of production problems. It took the longest time of any episode in the history of the series to cut together.

Were you happy with how the finished scene turned out, or were you thinking, “Jeez, I wish I had another day to…”?

Bryan Fuller: I always, always wish I had more time, and always I wish I could do things better. Always, always, always, always. [Laughs] That’s the bane of my existence, but for me, really, what pulled it all together were the visual effects of Richard Armitage sprouting dragon wings and Will Graham seeing that in his delirious blood-loss state. All of that was added in post[-production] to try to spice up the sequence because we just weren’t able to pull it off, given the restrictions that we had during shooting.

And then, the Siouxsie Sioux song came in and was so majestic and felt so appropriate. I was like, “We have to use this in the finale — it’s just the right thing to buoy it above and beyond what we were able to produce, to give it a sweeping sense of poetry and finality and loss in that moment.” We were skin-of-our-teeth, trying to pull it off in post, and like I said, it’s the longest I’ve ever spent on any single episode, probably in my entire career. We had no money left, and they were not giving us any more money, and we were just, as Tim Gunn would say, “making it work.” [x]

Details of Hannibal

Since @vyownyou and @ashermajestywishes expressed interest in getting to the bottom (*cough* that was not intentional *cough*) of the issue, and simultaneously bring some clarity to the terminology, here’s a…

Comprehensive Deconstruction of the Great Regina Mills Debate 2015.

Lots of text below, not all of it fun, but all of it interesting. 

(Side note: whether or not we should have another poll is up to Swen, I just took the opportunity to apply some analysis here.)

First of all, we have to define exactly which version of Regina are we defining? Because, as we have had the pleasure of witnessing, Lana had played a great number of different iterations of Regina over the years. And as it happens often in real life, people tend to change their views and preferences with age and based on other internal and external factors. Thus, taking that into consideration, I propose these options: 

Regina Exhibit A: Young Regina / Pre-Evil Queen Regina 

I’m sure many would simply dismiss this out of the conversation, but it has to be mentioned. Yes, at the time of the Stable Queen Regina was very young and probably hadn’t developed any preferences yet. Her time with Daniel was too short-lived, and an argument can be made, though personally I am not in favor of it, that Regina and Daniel haven’t had sex. 

Second point, and it’s an ugly one, is that her marriage to Leopold has to be mentioned too. This time had without a doubt formed some of Regina’s early understanding and opinions towards sex. I lean away from saying ‘preferences’ since it’s more or less evident that her wishes and wants were not of any importance in that marriage. She might have, and as some scenes suggest, developed a view of sex as a very unhealthy mix of reward/control/ownership dynamic. Which can be seen, I assume, in her ‘relationship’ with Graham later on - both in FTL ans SB. 

Third point here would be Dragon Queen. If we go ahead and assume that it was what we all think it was - Regina’s first sexual relationship based on her consent and desires, here’s where it gets interesting. I’m sure Dragon Queen shippers have put together some interesting thoughts on the matter. I only want to submit that in that time Regina was on her way to becoming the EQ, her expressions of that dangerous sexuality was just forming. And Dragon Queen had to have played a great role in that process. 

Regina Exhibit B: The Evil Queen.

This time period is the easiest to define in my opinion. During that time Regina’s view of sex as a tool had been reinforced. We have seen how she uses her EQ persona to seduce and manipulate, appear bigger than live, captivate the weaker personalities. However, it is my belief that in that time it was all about control aspect to her. Real sex never even figured into the equation. That ‘sex as reward/punishment, expression of ownership and control’ mentality that had been fostered in her marriage to Leopold and wasn’t quite erased during the Dragon Queen times – this is when it comes to the forefront in full force. 

Regina Exhibit C: Madame Mayor.

That Regina was much more subtle. However her modus operandi had not changed. She still clung to her vision of control, as evidenced by what was going on with Graham, but! At that time Regina had all of our world’s progressive views on sexuality and expression of said sexuality, the importance of connect and choice, downloaded into her brain. I am sure that by that time she was - be it deep down or closer to the surface - adamant that what she was doing to Graham was wrong. Contrast this to the EQ was of thinking - in FTL that kind of behavior was normal for Kings and Queens. 

Regina Exhibit D: Redeeming(-ed) Regina.

And finally this is the version of Regina Mills on her path towards redemption. Open to love and not chained to the old beliefs of FTL. This Regina is softer, yes, yet not loosing her edge. This Regina is not as afraid of vulnerability, which is unavoidable during sex. This Regina is very different from those before her. 

Those are the major four stages / versions of the same character and I submit that very different labels would fit each of those incarnations. 

Okay, now to the labels themselves. Here’s the most comprehensive combination I have managed to come up with. I will not put explanations of each and every term since if this is what you’re reading, you should be at leas somewhat versed in them. 

The format is as follows: Basic Term (differences between variations). First two apply to BDSM categories in regards to application of stimuli be it penetration or any other form and the dominance/submission aspects. Second - to how often she assumes that role as in either she enjoys it any time or on a limited basis. Switch changes either one or all characteristics, the temporal nature is obvious. 

Category 1:

  • Top A (giving, dominant, constant)
  • Top B (giving, submissive, constant)
  • Top C (giving, dominant, temporary)
  • Top D (giving, submissive, temporary)

Category 2:

  • Bottom A (receiving, dominant, constant)
  • Bottom B (receiving, submissive, constant) 
  • Bottom C (receiving, dominant, temporary) 
  • Bottom D (receiving, submissive, temporary) 

Category 3:

  • Switch A (giving/receiving, dominant)
  • Switch B (giving/receiving, submissive) 
  • Switch C (giving, dominant/submissive) 
  • Switch D (receiving, dominant/submissive
  • Switch E (giving/receiving, dominant/submissive)

As you can see, I have avoided using specific terms like Service Top, Power Bottom or Topping from the Bottom as those can be more confusing in this soft of polling and/or debate. However, you can still find that those terms can be applied to one or more categories listed above. 

So this is the most comprehensive list of possible combinations I can come up with. Every combination and pro-mutation is covered. The question is, which one applies to which time period in Regina’s life?