i'm sure there was a reason for me to do this

Okay listen up losers I'm about to prove a fucking point.

So my presentation will be about proving season 3 Shiro is a clone and why DreamWorks made it too easy. I rewatched a crapton on episodes to make this, I need to sleep. 

If you guys didn’t notice the first thing Clone Shiro, umm wait imma call him Kuro Kuro looks at is his hand and a Galra symbol.

And that in and of itself is a big clue because there’s already a lot of meaning behind that since season 2. In which, Hunk and that team discussed how the arm can be used against them.

Memory is key! How could Galra have Shiro’s memories? The arm! Like Hunk said, if it could create memories than it’s pretty safe to say it can record them too.

Linking that with the shot of the Galra emblem is a huge deal in symbolism. Trust me I’m an English major, I deal with this shit all the time.

(I’m writing this on my laptop and phone at the same time, godspeed)


Speaking of symbolism, Ulaz made an appearance when Kuro was dazed



(Is that even Ulaz? I can’t tell I’m bad with faces)

This does two things. Reaffirm Kuro’s undying trust with his arm, and make a connection with Galra as a comrade. Lemme explain;

During Shiro’s ‘I can suddenly remember shit’ scene in season 2? He die-hard believes the memories are his and not a [insert dream here] from Galra, by showing him Ulaz they are trying to recreate that same feeling.

By showing him a Galra (regardless of being evil or not) you’re connecting the dots with trust.

That could be a good reason why the Galra decided to give Shiro a weaponized arm in the first place. Why would they power him up for shits and giggles? Haggard herself even said this:

(Bitch, no thanks.) They wouldn’t have given him a cool fighting arm just so he could be cooler in the arena. That’s fucking idiotic to arm a prisoner. (sorry)

This wouldn’t even be the first time Haggard had some evil version of Shiro

Remember this scene from season 1? Cuz I sure fucking do.

Speaking of that arm, why would they take it in the first place? Listen, it’s already pretty fishy they gave him a super arm but why would they take it at all? Dare I say, D N A ?

This leads me back to this scene here:

Why would Kuro hurt himself? A French term can explain this, ‘L’appel du vide’ translation: The call of the void. Basically, your brain is telling you to self-destruct in order to take control of a situation.  Now we already discussed how the Galra controls his brain sort of so that’s that.

Now I know what you’re saying: Oh! But that’s so he could close the wound!!

Listen, man, I did training with an Army doctor on quick fixes for medical emergencies. Now I’m not saying I’m an expert cuz I’m not, but if Kuro did that do it to heal himself up it wasn’t done correctly. Or at least done accurately…. Especially with an unknown power. This might be wrong, it was a brief training,  so don’t take this part too seriously.

Adding to this point:

If you’ve ever seen anyone wake up from a long coma, and I mean  l o n g  coma, they don’t have full feeling in their muscles and tend to fall because they do not have full control of their limbs. I’m assuming by the hair this hasn’t been up and about for enough time to get that effect.

Speaking of hair, yes guys, Kuro’s hair is WAY too long to be Shiro.

(Lmao, Shiro/Kuro w/ long hair; hit or miss??)


Kuro’s hair shows that he hasn’t cut it in at least 1 ½ years. There might not be much context of how long he was missing but I’m sure as hell it’s couldn’t be more than a few months since Keith was searching through the Glara rubble.

<Man, all these analytical essays are finally paying off>

This scene here:

Is a big clue. For real why would the Black Lion do that? Send him into more danger? That’s not right.

Well, guess what, she didn’t.

Remeber this gem? I sure fucking do.

She sent him with someone he trusts, Matt. This really makes sense cuz mATT JUST HASN’T SHOWED UP BUT IS OBVIOUSLY REALLY IMPORTANT *cough* sorry, I don’t know what came over me….

Not only does Shiro trust him but so does Pidge, and I know those two never really had a connection but they kinda all share a state of thought while forming Voltron…

So the Black Lion theoretically has seen Pidge’s thoughts and stuff. Theoretically Black has two reasons why to trust Matt.

The Black Lion has so many reasons to send Shiro to Matt and not some Galra base.

This can also help understand why the Black Lion didn’t trust Kuro.

From what I’ve seen (or remember seeing at 4 AM, I haven’t slept in 45ish hours guys, help) all of you guys think that Black knows that’s not Shiro from the Connection they have but that might not be it!

Kuro thinks he’s Shiro, he has the same memories, the same body, the same scar on the face! So the Connection can still be there, what he doesn’t have is Matt with him.

Which wouldn’t make sense because Black sent him there, so it’s ridiculous cuz “hey I sent you to be with your buddy? Why didn’t you bring him along to see his sister who has been searching for him like crazy???”

That could be why the Black Lion found Kuro and trusted that was the OG but then changed its mind and was like ‘no thanks’ when she saw Matt wasnt with him.

I mean look how….happy?? She looks when they find him!

Why would that change after the fact? The Connection had to be there in order to sense him in the first place. It just makes sense.

Also look at the symbolism here again:


Kuro is in a Galra ship, it’s so subtle you might not even catch it (unless you’re used to over analyzing everything in order to fit 3 more pages into a term paper like me)

Instead of animating Kuro getting physically off the fighter they show them apart, separated from Black. They show him in enemy weaponry.  

As an enemy kinda…


(I’m getting too into this…)


This is Kuro while he’s being cloned

This is Kuro after he’s ‘escaping’

Sounds like the plan was a success, but all that happened was Kuro getting away? I don’t know about you but prisoners stay locked up, unless they aren’t.

They even say Kuro’s is approved for Operation Kuron!


Also from that scene:

Kuro was given that codename ‘Subject Y0XT39′

But Shiro already had a codename, and it wasnt that.

Its ‘Prisoner 117-9875′

Subject and Prisoner are two different things and two different codes.


Kuron is already a huge fucking clue. I donno know if you seen this yet but,

Shiro’s name is literally White and the opposite is Black or Kuro which sounds a lot like Kuron


If you think that’s just a coincidence then try this:

Just try telling me this isn’t legit?


To add just a bit more, Kuro and Keith clashed a lot while both trying to lead Voltron.

He also made it so Keith looked like a weak leader, which he was not once he got more use to the role.


Appearance wise, Kuro is different from Shiro in a low key way. First off both haircuts he has where different from Shiro’s. They’re all horrible but that’s a different story.

His cloths is different too, it shows more skin. The sleeve shows his arm and he took off his glove. Symbolically this means he trying to be more open, more free, more approachable.

This would make it easier to give the wrong feeling of trust to the team, which is the plan Kuro was given


*searching through my notes* okay did I miss anything…? Ah Yes!!


When Shiro first meets those two freedom fighters the transmission radio picks of two things; something less important about Lotor and Voltron.

Which one was ignored and which one was heard?

Yes guys, Kuro didn’t even pay attention to Lotor cuz that’s not what he was told to do. He was told to find out about Voltron which, he did.

Also with those freedom fighters, we learn this:


It wouldn’t have been easy to escape injured and tired. When he escaped the first time it was with the help of Ulaz. They didn’t even try keeping him there, he wasn’t restrained and didn’t have any guards. The only thing trying to stop him were those androids they know Kuro/Shiro could easily defeat.

And last thing.


And I think this is the most important thing.







He didn’t finish that sentence.


He didn’t say he wasn’t a traitor.


He didn’t have too.



This concludes my presentation on ‘Proving That’s not Shiro but Kuro the Clone’

Thank you for your time.

For my next presentation, I will talk about why we should save Kuro and love him indefinitely

Reasons why I love Static

A good hero works well with others

Look at how the other heroes smile at him, they are genuinely happy to meet him. When Superman saves him, he isn’t upset. He’s happy. He asked to be saved and he was

And it’s not the last time either. You see it here

and here

he works well with the justice league members even though his interactions with them are rare and in between.

He’s literally never afraid to ask them for help

I mean, look at that. He made the bat signal, he was outright asking for help as publicly as he ever could.

and in “Fallen hero” when he thought Green Lantern really had become evil…

Just look at his face. He is shocked. He can’t believe one of his heroes would do this, he tried to figure out why, tried to come up with a reason to explain it, so it would make sense.

And the moment Sinestro, disguised as Green Lantern, hurt Gear. He knew it was true, and he’s horrified that the person he looked up to did this and he’s angry, angry that he didn’t see this.

Static knows when to fight

but he also knows when someone just needs a helping hand

and sure, he jokes around

but he also knows how important the work he does is

Originally posted by zoo-monkey

and he also knows what happens if he messes up

His family knows what it is he does and they all support him in whatever way they can.

and that’s why I love Static shock. Yes, they touched upon some serious issues

they didn’t dumb it down for the audience, or treat the issues with kiddie gloves, they addressed the issues and those were also the same episodes that they broke the fourth wall. Dyslexia, gun control, gang violence, racism. They didn’t pull their punches on this show.

They showed us a still very much grieving teenager who almost joins a gang in the first episode, who gets powers that he uses to protect other people without a moment of hesitation, not even thinking of getting revenge on his bullies. Even as a superhero, he still volunteers at the community center his dad runs.

Yes, Virgil makes mistakes, he’s still a kid after all, but he’s so genuinely kind and sincere that we can’t help but love him.

Originally posted by staticshockyoursystem

I don’t know if it actually is Static shock appreciation week officially, but it is for me

Originally posted by staticshockyoursystem

and, because I can’t help myself

Originally posted by staticshockyoursystem

  • me standing outside my apartment in the rain w/ my arms spread as the thunder rolls: this is for cathartic reasons. i'm doing a personal cleanse
  • my neighbors on their porches who've politely grown used to this shit by this point out of necessity/due to how frequently it occurs unfortunately: sure
3

One day i’m going to be able to purge myself from the itch to fanart for shows that I love/hate. today, unfortunately, is not that day.

anonymous asked:

pride and prejudice wasn't written as a resistance to the patriarchy djdjfhdhsj what

i mean i’ve been staring at this message for a solid minute now pondering how to reply, trying to figure out how ro reply, but honestly it boils down to one question: have you read it?

because literally the prevalent theme of pride & prejudice as well as other works of Austen—perhaps most visibly, sense & sensibility—is the ironic social commentary on the degraded role of women, as subjected and dependent on the way of whether they would marry well as they used to be?

like, honestly, what did you think it was about? sure it has a romance in it, but it’s probably one of the the most politically designed and carried out romantical arcs in literature, as it relies not so much on mutual affection, but rather darcy aknowledging his fault of diminishing elizabeth as an intelligent human being. at first, we see him as quite obviously set upon taking her for granted and applying stereotypes; startled with her outspoken attitude and clueless as to why she would reject him. because it IS surprising, that’s the point, given the context of Austen’s novel, the commonly praised choice would be to accept not only darcy, but mr collins without another thought. what do you think is the reason mrs bennet was so distraught all the time? there was no way of securing the future of her daughters other than marriage, we hear it being repeated over and over again—they cannot inherit their father’s fortune.

and—good grief. that’s the romantic ‘main plot’ concerning darcy and elizabeth alone, because the whole point is that he changes his beliefs and acknowledges elizabeth as an equal in the end. darcy isn’t exceptional for being surly and broody, he’s exceptional because he listens and learns.

but all the rest? the whole arc of charlotte, and her unhappy and dull marriage to mr collins, and the stark contrast with elizabeth. charlotte is not WRONG, she does the only thing she knows for certain will allow her to live in a respectful way without becoming ‘a burden to her parents’. the arc of lydia, basing off her portrayal against wickham? even with all his debt, infamy and faults, wickham’s opinion is at no point more blemished than lydia’s. that’s the point, that’s reiteraring the original notion of the disparity between men and women in regency England. the radiating, stinging paternalistic attitude of mr collins towards elizabeth when he marries charlotte and TELLS her that she would probably get no better chance. his absolute belief—corresponding with darcy’s, and contrasted with the latter’s rehabilitation later on—that elizabeth has no choice but accept him.

and elizabeth herself—for all the composition and impeccable manners, she IS a controversial figure in the novel. take the scene when she’s bashed by lady catherine de bourgh, the ongoing commentary on her being too forward with her opinions, the continuous bashing coming from her mother—the lingering threat that lizzy’s ‘stubbornness’ will cause her much trouble and, above all, prevent her from securing both her and the other sisters from absolute poverty when their father dies.

and, just … of course it’s written subtly, it’s conveyed in elizabeth’s wit, in austen’s slightly ironic narrative. the problem with the situation of women is not EXPLICITLY named and stated. it’s not modern times where we’re accustomed to forward addressing of feminist issues. no: it’s shown. it is not only the consistent theme in her works, it’s the prevalent theme of them. i mean, come on, there’s tonnes and tonnes of books that were NOT written with a purpose of targeting partiarchy. fuck, there are much MORE of such books than there is of the latter kind. But to choose Pride & Prejudice specifically, a novel which became one of the most famous books in the world, renowned for e x a c t l y t h i s … i cannot comprehend. please, at least consider this: do you really think the purpose of austen writing p&p was writing a romance? really? why would it become so much of a literature landmark, then?

i don’t mean to be nasty and honestly, go and have your opinion, you’re perfectly entitled to it, but it does make me sad that a novel that is a witty, outsanding and one of a kind social commentary on the plight of women in a specific time period written by a woman IN the time period is turned into something as common as a novel with a romantic plot. that’s all.

Reasons to be happy today:

  • Y’all know how every single Wayne child is the maximum amount of dramatic? A truly impressive and extra amount? It’s because they interact almost solely with superheroes and super villains, both of whom speak in full monologues by design. It’s a pretty obvious cause to effect relationship, right?
  • The less obvious part is the true cause of every single bit of it: superheroes, super villains, Wayne children, even the overwhelmingly dramatic aesthetic of Gotham itself. One man is responsible, and his name is Bruce Wayne.
  • Listen, Gotham City is Like That because it’s 100% impossible to live a normal life when there’s a dude in a bat suit posing dramatically on your rooftop. You can’t do it. It’s also impossible to fight said man in a bat suit without monologuing back at him when he starts yelling about Justice and Morality and whatever the hell else he’s on about this week. Furthermore, it is absolutely impossible to be friends with that dude without absorbing the drama, and it’s even more impossible to peacefully be his child.
  • Honestly? The marketing team is just trying to have a normal quarter meeting, but nooooo, Tim and Damian can’t make it through thirty minutes without “YOU SHOULD HAVE KILLED ME WHEN YOU HAD THE CHANCE,” and frankly this is not what they signed up for. Why do they all talk like that?
  • Yeah, it’s Bruce’s fault. 
  • But why does Bruce talk like that? That one comes down to two factors: the obvious death of his parents and the man that ended up raising him. You see Alfred Pennyworth is a classically trained Shakespearean actor, and that was bound to bleed over.
  • After his parents’ deaths, when Bruce was at his lowest, he remembered all his favorite books. All those heroes suffered, right? Most of them lost everything, but they did the right thing anyway. It helped them, and it helped other people. 
  • And when Bruce decided that he wanted to be a hero, the voice in his head that told him how a hero sounds was Alfred’s. Adventure sounds like Alfred reading The Count of Monte Cristo by flashlight on a stormy night when Bruce couldn’t sleep in the thunder. Heroism sounds like Alfred reciting the legend of Arthur over breakfast on a winter morning while the fog rolls past the windows. Destiny looks like Alfred in a blanket cape, brandishing a stick like a sword– “Let the angel whom thou still has served tell thee, Macduff was from his mother’s womb untimely ripped!”
  • So yeah, Bruce is a little over the top, but who can blame him? He learned from the best.
post-emoji movie Trauma

WARNING: the following text contains spoilers and can be considered disturbing to some readers. especially my brain, because it’s leaking out my ears after typing this.

This is the first movie ever I’ve gone to see on opening night. And let me just say that, for the record, I’m glad I went to watch with friends. Without them, I would have most likely calmly exited the room, climbed up to the roof, and dived straight off.

Keep reading

Draco is definitely not gay, part six.  (Except that he really, really is.)
  • Draco, sneering: Heard about your breakup, Potter. I guess the she-Weasel wasn't quite *man* enough for you.
  • Harry: ...Not really, no.
  • Draco: ...
  • Draco: ...
  • Draco: ...So what are you doing tomorrow night?
Say That Again

Summary: Soulmate AU. Everyone hears a key word or phrase in their head from their soulmate, something only heard in person when the moment is right.

Pairing: Bucky Barnes x reader

Word Count: 2,543

Warnings: language, self-consciousness, fluff, that’s basically it

A/N: This is my submission for the lovely wonderful talented @bladebarnes’ 2k Celebration Challenge. My prompt was 35. quote: “Say that again.” I saw Baby Driver recently and couldn’t get the diner thing out of my head.

Originally posted by coporolight

Keep reading

Reasons to be happy today:

  • Although it often seems like Bruce, who is unwilling to talk to his children about personal matters, doesn’t care very much, we’re all aware that he does. It’s just that his care is expressed à la Batman, which is to say that  Bruce… has a file for that. 
  • Bruce tends to treat his children like research projects, especially when they’re new to his household. Part of it is Bruce’s own preference– he doesn’t like to ask for information because he’s more comfortable finding it himself. Sure, it takes a lot of effort sometimes, but isn’t that how everyone operates? No? Well they should.
  • So he doesn’t talk to them directly, and that can be hard for the kids to deal with. Luckily, Bruce is also the World’s Greatest Detective: nosy, motivated, overprotective, and really, really observant. When he pays attention, he can extrapolate that personal information from their actions. The goal is to modify his own behavior to make them comfortable. It’s entirely passive, which suits Bruce (no vulnerability), and it allows him to appropriately parent his children. 
  • He stores his observations and notes in individual files on his kids. 
  • “Cassandra’s relationship with David Cain will undoubtably affect our dynamic, since he is the only model of fatherhood she has– a poor one. The results of his abuse are obvious. Cassandra becomes uneasy when she feels she has defied me; she shifts into defensive stances, clearly expecting pain. I will refrain from raising my voice around her in the future.”
  • “Jason saves portions of his meals and hides them in his room. Today I took a french fry off of his plate without permission, and he reacted badly. Make sure he always has access to food. Ask Alfred to buy imperishables. Ask Jason before sharing.”  
  • “Note: In the past, Tim complained about his parents’ trips abroad. He was always disappointed when they extended them, as it made him feel unwanted. I should take him with me while I travel whenever possible. I should also strive for consistency. He needs to know when I’m coming home.”
  • When they finally found out about those files, the kids were both surprised and touched. Only Bruce could be that endearing and that exasperating at the same time. Truly, this could only come from their father, who continues to update the files as events unfold. Turns out he does know what all of them get up to in their spare time, even if he never actually asks. What do you know

what i learned from my high school experience and other bits of advice from me to you (doesn’t even have to be just for school)

content: always keep in mind, items, classmates, in class, more things

always keep in mind

  • cut yourself from those people and things that don’t have a positive influence on you 
  • don’t run away from problems, be blunt, confront them
  • being alone doesn’t mean you’re lonely, don’t isolate yourself
  • don’t you settle for less than what you deserve
  • if it’s just there without you trying, it is best to add more effort (your average grade without effort < a grade that you actually worked your ass off for)
  • do not starve yourself and think that it would be ok to use that time on finishing another task
  • if you find someone who is an acquaintance / is alone, sit on the same table as them. say hi or give a kind smile, it’ll brighten them up even if they don’t show it 
  • fake it ‘till you make it. works like a charm! literally keep your head up. pretend that you got strings holding your shoulders up and roll them back 
  • take solid, confident steps as you are walking down the hallways and pavement. make an upbeat playlist to help you achieve the last two steps (wink wink) unconsciously
  • no! one! is! more! important! then! your! education! and! yourself! they come and go, your gpa is forever on transcripts.

items

  • carry extra pads or tampons. you’ll be a life saver for a classmate in need of them!
  • always bring an extra granola bar for when you are starving in class 
  • never leave your house without lip balm/sunscreen/body lotion on and in your bag
  • always have a grocery bag that you can store in your bag

classmates

  • compliment on someone’s hair, outfit, or nails during breaks or at the restroom. i loved receiving them and it’s sure to make their day brighter 
  • do you know about the 5 rule? if there is something that they can fix in 5 minutes, let them know. (hey! you got a smudge of lipstick on your teeth - rather than - you overdid your eyebrows) 
  • get some of your classmate’s phone numbers, but not immediately you know what I mean? this is for missed notes, absences, …

in class

  • during lessons, make note of questions you have about the lecture, etc. and jot them down on a sticky note (this is an alternative to asking the questions out loud to the class)
  • make it a habit to once in a while stay after your classmates exit out to ask your teacher questions, that way they’re less distracted
  • for presentations, right before them i drink from an ice cold bottle of water to wake myself up and prevent my mouth from dryness. also take deep breathes (no kidding) and repeat to yourself “I totally got this" 
  • talk to your counselor!!! they know what they are talking about from classes, college, scholarship opportunities and even talk to them if you have personal problems! they are trained and are there for a reason. take advantage of that! 
  • check on your high school’s daily bulletin, you may of missed or misheard the announcements. there are club meets, scholarship and volunteering opportunities, job openings, etc. 

more things

  • don’t ever be late to class oh my God! some teachers may say that they don’t care or they might not acknowledge it, but it will affect you
  • do not take a lot of days off or skip school in a row of days for mental health. i know that education isn’t as important as your well being, but getting used to being absent will not help you at all
  • while studying or trying to actually focused put on your earphones/headphones even if you don’t have music playing. keeps people from bothering you, but don’t do this when lecture is in session or if the library doesn’t permit it
  • when school ends and if you still have the drive to do work like in the classroom, i recommend you to go to the library to continue working on your homework or study (don’t overwork yourself, though)

i felt like i was left at the altar

anonymous asked:

hello my friend believes someone put a curse on him & I want to help out but I'm not sure what I can do. Can you give me any ideas or perhaps an unbinding spell I can use?

Sometimes just believing you’ve been cursed, even if you haven’t, can be enough to bring about some gross junk into your life. However, sometimes bad things just happen with no explanation or reason. 

I believe it is important that your friend really think out why he believes someone cursed him - has he pissed off a witch recently? Has someone hinted at that prospect? If not, I am sure he is fine.

Otherwise…

Protection from Curses

Decoys

(a decoy acts as a “substitute” for you, where the curse will be redirected to instead of harming you; the decoy can then be cleansed or destroyed to remove the curse from it)

To Break a Curse

To Send a Curse Back

There are many options, lol.

anonymous asked:

It seems Tyler Hoechlin is your favorite live-action Superman, but can you rank the actors from worst to best as you see it (of the current actors, I'm not sold on Hoechlin yet, but I think it has more to do with my dislike of his costume—particularly how the cape attaches—that it distracts me from the character, while Cavill seems to physically look perfect for the part and certainly is capable of the acting and charm, but the script he has to work with is lacking)?

Leaving out Kirk Alyn, John Haymes Newton and Gerard Christopher, since I’m not familiar with their performances:

7. Tom Welling

I feel kind of bad about this one. I grew up watching Smallville, y’know? And in terms of sheer man-hours devoted to the role, Welling has more of a claim to being Superman than anyone other than Bud Collyer. But he…wasn’t great, in retrospect. I suspect it was largely a matter of the material he was given; he did well whenever he actually had something to do, whether as dorky reporter Clark Kent intermittently throughout the final season, or various cases of amnesia/mind control/body-swapping/Red Kryptonite exposure. But outside maybe a sweet spot after he’d grown into the role and before he visibly started to get tired of it, and occasionally when getting to spar with (better) actors like Durance, Rosenbaum, and Glover, he had a weird stiffness when playing regular Clark Kent that for the most part didn’t translate into charm once he couldn’t bank on teen awkwardness anymore, and while that frankly made him a pretty honest depiction of the increasingly dicey version of the character he was written as, it didn’t make for a great take on Superman.

6. Henry Cavill

Cavill’s been more let down by the material than anything else - the unfortunate unifying factor of the bottom three here. When the movies let him be great, he really is great, whether promising Martha that he isn’t going anywhere even after learning the truth about Krypton or fighting for the stories he believes in against Perry White. For the most part though he just seems to be called on to look varying degrees of sad and solemn, asked to call on none of the charm he showed in, say, The Man From U.N.C.L.E. Granted his Superman has a lot to be down about, but there’s no range on display here; I don’t doubt he’s got a great take on the character in him, but for now it’s being kept under wraps.

5. Brandon Routh

Of all the reasons Superman Returns was such a damn shame, maybe the biggest was that it buried any chance of seeing the performance out of Brandon Routh that he so clearly had to offer. He’s a great dorky Clark, a charming Superman, and when the stars line up just right, he really manages to capture the idea of Superman as a melancholy figure - his take doesn’t just seem to be bearing the weight of the world in the philosophical abstract, but much more palpably feels an entire planet crying out for him, knowing he can never save them all but always trying anyway out of unconditional love, very much in line with Garth Ennis and John McCrea’s take on him in Hitman. Unfortunately all that takes up maybe 10-15 minutes of runtime, spending the rest of the movie stalking his ex with a neutral expression until he gets shived by Kevin Spacey and regurgitates Brando at his secret kid. Superman Returns was weird, ya’ll.

4. Dean Cain

I was honestly surprised with myself when I decided Cain won out as the best of the rest outside the big three - I thought for sure it’d be Routh. But the more I thought about it, the more I realized that while Routh’s take is definitely closer to the version of Superman I had in my head, it’s compromised in a way the Superman of Lois & Clark never was: like the take or not, this is a perfect realization of the Superman the creators of the show clearly had in mind. His Clark’s funny, clever, warm, and vulnerable, and while it feels weird for him to be acting that way in the glasses these were the Byrne years, so as an expression of his ‘real’ self it’s pretty on-point. His Superman’s the weaker end, stilted even given it’s supposed to be him putting on a performance in-universe, but there’s such an unironic earnestness there that it typically slid back into charming.

3. George Reeves

I thought for awhile about 2 and 3, ultimately concluding that what was asked of George Reeves was a fair deal simpler. He didn’t much differentiate between Superman and Clark, and his booming radio announcer voice made clear we weren’t supposed to be measuring his performance in terms of whether or not he seemed like a real person. What he was called on to show though, and what he had out the wazoo, was raw charisma. When Jimmy asks him why he burst through a wall rather than using a door and Superman replies with a grin “Well, this seemed a little more spectacular,” you’re 100% willing to buy into that explanation, because yeah, it was spectacular, because Superman’s fantastic. And he could more than hold his own with the best of them when asked to work with more serious material, whether wandering through an amnesic fog in Panic In The Sky with only his instinctive decency to guide him, or here, in the final scene of The Dog Who Knew Superman, where Clark has to deal with a dog not only adoring him, but recognizing him in both identities:

2. Christopher Reeve

I gave Tom Welling his well-earned due earlier, but if you really want to talk about a guy with a solid claim to being Superman, Christopher Reeve didn’t just embed himself on the psyche of a generation, but is still held up today as the unequivocal standard by which the role is set. In all likelihood he’ll always be ‘the’ Superman, in the same way as Sean Connery will always be James Bond, and Bela Lugosi will always be Dracula. He shone like the sun in the costume, he was believably such a wimpy klutz out of it that no one would guess they were the same even when it was staring them in the face, and if anyone has any lingering suspicions that he just had the easy task of playing two extremely arch roles to the hilt, they might be forgetting this bit:

Was it perfect? I don’t know about that - if nothing else there were one or two awkward line readings, and the identity division is so sharp that it’s hard to tell when you’re getting a glimpse of the real guy underneath all the identities. But while I definitely question how much of a positive impact on Superman those movies themselves really had in the long run, Reeve’s performance on its own was an undeniable revelation, everything he did reverberating with such a sincere and powerful sense of decency and love for his fellow man that it not only brought Superman to the life, but frankly changed him forever for the better.

1. Tyler Hoechlin

I expected nothing out of this guy. Not that I by any means thought he’d be bad, but when I heard some dude from Teen Wolf was gonna appear on an episode or two of Supergirl, my reaction was about as intense as…well, what you’d expect upon hearing that some dude from Teen Wolf was showing up on Supergirl, even given who he was playing (granted I’ve never seen Teen Wolf and don’t actually especially know what Teen Wolf is, beyond that it’s based on that werewolf-playing-basketball 80s movie written by…wait, Jeph Loeb?!). Looked fine - and it became clear he actually really did look the part once behind-the-scenes pictures started to come out, rather than that godawful original promo picture - and I figured he’d belt out his best Reeve/Animated Series/Cartoon-on-the-side-of-a-cereal-box brand Generic Superman Performance to cheer Kara on before vanishing into the sunset forever outside of the opening credits. I was plenty interested in the potential long-term ramifications of Superman being allowed on TV again in any capacity for the first time since the 90s, given the influence that suggested Geoff Johns had as the new DC President and what that could mean in terms of other characters showing up down the line, but I wasn’t inclined to think of this as anything other than a stepping stone, only notable in its own right because it meant someone would be wearing the s-shield.

Then we actually saw him.

Where the hell has this guy been all these years? Was he grown in a goddamn laboratory for the part? How did the best Superman ever end up in a minor recurring guest spot on the CW Supergirl show?

It would be so, so easy to leap to the idea that he simply works as a jack-of-all-trades: he’s almost as charming as Reeve, just about as confident as Reeves, nearly as vulnerable as Cain. But that would be selling what he’s doing short - especially given that he probably hasn’t had the opportunity to stretch as far as he could in any of those directions, as his role so far has very much been as Supergirl’s backup dancer. What it comes down to is his general demeanor and how he incorporates those aspects into a whole that feels more fully-realized than any portrayal before him. His Superman and Kent are not only distinctive to the point that within the heightened reality the show occupies you can buy that people think of them as different people, but you can see threads from both of them connecting back to the real Clark you see around Kara. He’s open and warm and authentic in a way none of his predecessors quite were, and he’s able to turn on a dime into steely determination or outright fury while remaining recognizable. He’s above everyone’s heads and vaguely alien at times without ever seeming detached or less than entirely loving of the people around him, able to admit his fears and failings while staying strong and capable of changing for the better, utterly and palpably good without ever sliding into naivete or cartoonishness. In short he has range and nuance, and thanks to that along with the air of laid-back friendliness he brings with him, he more than anyone else to put on the suit feels like a real person. And somehow, that real person feels as much as anyone ever has like Superman. And that’s a hell of an achievement. So someone give him his own goddamn show already.

BBS As Things I've Heard At School
  • Vanoss : I may be very popular but honestly I am so socially scared of people the only reason they like me os cause I smile and nod quietly while inwardly screaming in fear.
  • Delirious : Honestly if I'm voted most likely to be a killer I wouldn't evn be surprised. I think they even said that about me in pre-school.
  • Moo : I have unfortunately become the mom friend and it has made me afraid of ever becoming a mother.
  • " You're a guy. "
  • And? Women are strong to deal with this bullshit! I can't handle you all I would clearly never be a good mother.
  • Terroriser : You know how most people want all eyes on them when walking into a room? I figured it out. Walk in and start doing really loud impressions!
  • Ohm : I feel I'm the friend who you have around so at least someone is semi-innocent in this massive pile of devil spawns.
  • Wildcat : I have no choice but to hang out with you all - I don't know how to make friends anymore!
  • Mini : You want to know what sucks?! Emily got nominated for Prom King over me. One, she's a girl! Not that there's a problem with the fact she's female but in this case there are two seperate places! And a third if anyone were agender. AND TWO! SHE DOESN'T EVEN ATTEND THIS SCHOOL!
  • Nogla : I'm not actually as dumb as I come off as. *misspells their name on a test* O-Okay well you see...I have...no...okay.
  • Lui : Take me back to kindergarden. Snacks, recess and snacks. Away from bullshit and lies.
  • Basically : I had this group of friends before. They only hung out with me to show "diversity" so they didn't come off as racist. That comment madee realize they were. Ditched their asses.
  • Scotty : Only once in my life have I ever...I mean ever! Won at a game! Monopoly, Life, Mario Kart...life in general...
  • Smiity : *after someone accidently steps on the back of their shoe* Yeah okay bitch. Get ready for that fucking restraining order on your ass!
  • Cartoonz : I have been compared to a southern satan before. I'm not sure which was more true. The fact that I'm very Southern. Or that I'm satan. *hisses and chokes on spit*
#coffee #shop #fluff

Prompts: @imakeaesthetics
Authors: @queenofthyme

Sorry, I’m late,” Harry said as he hurriedly tied on his apron. “I swear it was the tube this - What? What’s wrong?”

Harry took in his boss’s expression and realised he wasn’t in trouble for being late. If anything, it was his boss that looked apologetic.

“I need you to train our new barista,” Tonks said, a weak smile not quite reaching her eyes.

“Of course,” Harry answered automatically. He had trained new staff before. It wasn’t too hard as long as the cafe wasn’t overrun with customers. And it was only a Tuesday. “Are they here yet?”

Tonks jerked an arm behind her and stepped to the side so Harry could see. Leaning on the counter by the cafe’s coffee machine was a tall, blonde-haired man with pointy features and long limbs. He was wearing the standard cafe apron over a three piece suit and a crisp white shirt secured with silver cufflinks. Despite the cups piling up next to the machine left by the register staff, he didn’t appear interested in fulfilling any orders.

“He’s…a little difficult,” Tonks explained, “But he’s my cousin and I promised his mother I’d get him a job. I’ve been trying to teach him but he’s testing my patience. Can you please take him off my hands so I can do some accounting? Please?”

Harry looked the man up and down. The phrase ‘fish out of water’ came to mind…“He doesn’t look like he needs a job.”

“He didn’t. Until last week. His parents were just jailed for fraud and embezzlement. They lost everything.”

Harry supposed he should feel sorry for the man, losing his parents, losing his money all in one go. But when the man stood there, with a snotty, disinterested expression, dressed in the most inappropriate clothes, that a month of Harry’s shifts still wouldn’t cover, it was hard to feel anything but resentment.

He sighed and nodded at Tonks. “I’l teach him,” he agreed.

Tonks actually jumped with relief - making Harry immediately regret his decision - and clapped Harry on the shoulder appreciatively before wasting no time in rushing back into the office in the cafe kitchens.

Harry took a deep breath and rolled his shoulders back. He could handle a snotty rich kid. He headed over quickly, conscious of the mounting coffee orders.  

“Hey, I’m Harry,” he said on approach, holding out a hand. The man stared at it, his expression unchanging. “This is the part where you tell me your name and we shake hands,” Harry prompted.

The man’s lip curled. “Malfoy. Draco Malfoy,” he said, still making no move to shake.

Harry lowered his hand, already understanding why Tonks had taken the opportunity to run away when she did. “So, what do you know about coffee?” He asked.

That got a reaction. The man - Draco - pushed off the counter and stood up straight, staring down at Harry pointedly. “I’m not a moron. I know how to make coffee.”

Harry blinked back up at Draco for a moment. He hadn’t noticed from afar how impossibly grey the man’s eyes were.

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anonymous asked:

hello! do you remember drawing the kacchan with tattoos? could you upload the designs of the tattoos again? i remember seeing them somewhere but now i can't find them again. the reason why i'm asking is that i want to get the designs tattooed on me!

*Screeechhhhh SURE!!! /;o;)/ I’m so glad u like my design♥♥♥

I uploaded them on twitter for my friend long time ago but then… i started to dislike some shoulder part details orz💦

Anyway I fixed it!!! (ゝ∀・) Hope u like this King Kacchan’s tattoo!!

I’m not sure they are too rough for real tattoo or not, but feel free to redesign.

((Shirtless ver. here X’D >> Link))

anonymous asked:

hey there! thanks for answering all our questions on this blog + how possible would it for someone to crack ribs with a solid kick? there's a character i have in mind that's escaping captivity, but they're also young, so i'm not quite sure how easily they'd be able to hurt the (adult) antagonist in such a manner, especially lacking any fighting experience to begin with?

Well, you can break someone’s ribs with a kick. That’s the entire purpose of the roundhouse, especially the version where you strike with the ball of the foot rather than the top of the foot. (And… aren’t like me when I was seven or eight, when I was new to sparring and totally stubbed my toe in another kid’s side at a tournament after my brain/body got confused between the two. I didn’t break my toe, but I could’ve.)

That story above is important, by the way. If you’ve got a character who doesn’t know how to fight then they’re not even going to get that far. If you don’t know how to kick then that’s a great way to get your leg caught by someone who knows what they’re doing. They catch the foot by the ankle, and then drag you wherever they want. That’s assuming the character can get their leg up and out without falling over. Even if they do manage that, say because they’ve watched a lot of martial arts flicks, they won’t know how to generate power and will be very slow. A, B, and C occur anyway. Your protagonist is going to end up back wherever they were being kept, this time in a much less comfortable position.

Even for an experienced martial artist, kicks require fairly constant bodily upkeep in order to be able to do them cold (much less perform them at all). That’s not a combat scenario, that’s just in general. You’ve got a great chance of pulling all the leg muscles you need to get away, including ones you didn’t realize you had and that’s if you don’t break your toes. Board breaks with the roundhouse kick are the most terrifying of them all because you’ve got to remember to curl your toes just right in order to carry your foot through the board.

Kicks are off the table.

More importantly, this is an exact rendition of the “Feel Good Violence” trope: My Instincts Performed A Wheel Kick.

The protagonist is suddenly and randomly enough good at fighting to not only fight, but win when making their first attempt at a violent altercation. They use techniques which require a fairly high level of dedication and aptitude out of “natural ability” and “instinct”.

Unless you’ve got an ironclad reason for invoking the trope (past lives/ immortality/memory loss/the matrix) it will undercut your narrative credibility in ways the story cannot recover from.

When you’ve cracked your foundation, you’re done.

“The only difference between reality and fiction is that fiction needs to be credible,” - Mark Twain

Narrative integrity is based on the rules or limitations we’ve set for ourselves, those limitations are the ironclad rules by which the narrative functions. They exist on two levels: in behavior and actions of characters within the world, and on a secondary level the setting’s behavior around them. Everything in your story must be working to uphold the fiction. When it doesn’t the audience’s “suspension of disbelief” starts to crack. You are beholden to the rules and limitations set down by your setting. Without them, you have no story.

When you’re setting out to create a character, there are four questions you should ask yourself:

1) What can the character do?

2) What can’t the character do?

3) What is the character willing to do but can’t?

4) What can the character do, but is unwilling to?

Within these four circles you have your character, their ethics/morals, and their limitations. That is the box you’ve created for yourself. It is important to own it and abide by it. When dealing with a protagonist, those limitations are not just the foundations of a character but the entire narrative.

Your character cannot fight your antagonist in a one on one and come away with any victory because you have established they don’t know how to. That is a limitation you set for yourself. That the audience knows and understands, so they will expect this character to act in accordance with it. They may want to walk up to the antagonist and kick them in the ribs so hard those ribs break, but they can’t. That desire could be a driving force behind them learning to fight later. As of now, though, their powerlessness in active violent conflict serves to reinforce the antagonist’s position. Reinforcing the antagonist’s position is for the narrative good.

They should be making choices based on the Venn diagram’s center: when what they can do meets what they are willing to do.

If what they can’t do conflicts with what they’re willing to do and they go with it anyway then the result is a failed escape attempt. A captive’s survival is based on their value. If they’re valuable enough for the antagonist to go through the trouble of capturing them in the first place, then they’re probably not going to be killed. At least, not until their value runs through. They lose and wind up back in captivity under more scrutiny, more security, and with fewer exit options. This reminds us why they were captured in the first place, and reinforces our villain’s position.

A protagonist can fail and retain their legitimacy many more times than an antagonist can. While this is a perfectly legitimate narrative outcome, I don’t think its the one you’re looking for.

This is the second issue with your question:

A narrative’s antagonist is its backbone.

Your antagonist is one of the most important pieces of your story, if not the most. They are the lingering threat, the shadow hovering over the story, and the knife at your protagonist’s throat. They are seventy percent threat, and the last thirty relies on their ability to make good on it.

One of the biggest mistakes an author can make is assuming their antagonist’s position in their narrative and the threat they provide are impervious to harm.

Unlike your protagonist, your antagonist is always in a precarious position. They must constantly re-affirm themselves and the threat they represent through their actions. That threat is all consuming and when challenged, it must either be defeated or confirmed.

If defeated, then the threat is gone.

If confirmed, then the threat level is heightened because now we imagine what they might do next.

An antagonist can re-affirm themselves after a defeat, but they’ve got to double down on their effort and create a new threat rather than relying on their old one. You as the author must work harder to make up for what you lost, and even then you’ll never have the initial fear ever again.

The first rule of the antagonist is: your capital is limited, so spend it wisely.

When you undercut an antagonist in favor of the protagonist before its necessary, you damage the antagonist’s credibility and, subsequently, their position in the story. When you lose your antagonist, you lose most of your narrative tension.

A character who doesn’t know how to do something is applying a limitation to the character. You are applying a restriction to what they can and can’t do. If you’re character doesn’t know how to fight, then fighting will be off the table. More importantly, having your character succeed at a skill set they have no experience in doesn’t make them “awesome” or “cool”, it means instead that the other characters who put time and effort into honing these skills suck.

When those characters are your antagonists… that hurts.

If you’ve got a protagonist with no hacking experience who manages to overcome a supposedly great hacker on their first or second go round with no time spent learning how to hack, then who looks bad? The second hacker. They’re the ones who are supposed to be good at hacking. If the narrative hinges on them being a major antagonist, then the author just shot their narrative in the foot.

Combat skills are the same way. They’re a skill set, not an instinct. They don’t come naturally, and take a great deal of time and effort to hone.

If your goal is to show your dangerous antagonist is a bumbling moron when an untrained teenager gets a lucky shot so miraculous they manage to lay them up for the rest of the story, then that’s a job well done.

If your goal is for the antagonist to maintain their credibility within the narrative? Don’t use them for a punching bag.

Violent confrontation is based just as much on threat of force as it is on the follow through. The threat is usually more frightening than what follows, and your protagonist is already challenging the fear by trying to escape. From a narrative perspective, if they get over their fear enough to challenge their antagonist directly then it’s game over. You spent your all capital either at the beginning or midway through the story, and you’re not getting it back.

Remember, your antagonist has to do just as much work to earn their street cred as your protagonist. Their position is a delicate balance of power management and threat of force. They rely on show over tell. They need to live up to whatever it is you’ve been saying about them. They need to be as dangerous as they’ve been puffed up to be, unless their reputation itself is the real antagonist. Never forget, your antagonist (whoever they are/whatever it is) is the backbone of your story. They are often the driving force of action, the reason why the protagonist is struggling, and the focal point. In some ways, they are more important than your protagonist because without them the protagonist’s got a whole lot of nothing.

When you undercut your antagonist, you also hurt your protagonist’s development. You cheat them of their chance for growth, and deny them their ability to show off whatever it is that they’re actually good at i.e. using their bravery, intelligence, and cleverness to sneak out.

If your protagonist beats down their Goliath at the beginning of (or even the middle) of the story then there’s no reason for them to go to the mountain master and learn to throw rocks.

-Michi

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V HATE AND THE FACTS

📷 — receipts included!

So there’s been a lot of hate towards V lately for unfounded reasons that can’t be sourced. While it’s true that there are things we don’t know about Mint Eye or information we don’t have in full, there’s also some false accusations that I can invalidate with proof. People can dislike V, that’s fine, that’s their opinion, I can’t change that. I’m not here to argue about V’s likability. However, what I am here to do is find direct proof to rectify false information that’s used against V. Excuses and their receipts below, with several photos as proof. 

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