i've wanted to make a contrast post for a long time so

my alternative titles for every eurovision song contest (up to 2017)
  • 1956: So Good They Did It Twice
  • 1957: Yes, Gimmicks Were A Thing In 1957
  • 1958: One Of The Most Covered Songs In The World Came In 3rd Place
  • 1959: The Official Soundtrack for Disney's 'Cinderella' (1950)
  • 1960: Camera Angles Are Extremely Important
  • 1961: Blimey, The 50s Is Taking A While To End
  • 1962: Contrast Overload
  • 1963: (Studio Version)
  • 1964: So Lit The Original Film Got Destroyed In A Fire
  • 1965: The Year Eurovision Starts To POP
  • 1966: Udo Jürgens: This Time It's Personal
  • 1967: Whoever Thought Rotating Mirrors Is A Good Stage Background Was A Fool
  • 1968: COLOUR!!!!! (or, “The Year Cliff Richard Was LIVID”)
  • 1969: The Year Everybody Won
  • 1970: The One With The Most Ridiculously Energetic Interval Act
  • 1971: I Want Whatever Conditioner They're Using
  • 1972: Vicky Leandros Is A Goddess
  • 1973: [Luxembourg to the rest of Europe] You Just GOTTA See The Orchestra!!
  • 1974: The Rise of ABBA
  • 1975: None Of The Acts Can Paint For Shit
  • 1976: Whoever Had To Move That Background Display Before Every Song Must Be Fucking Ripped
  • 1977: A Bird And A Child In The Hand Is Worth Four In The Bush
  • 1978: Who Needs Postcards When You Have Lifts?
  • 1979: The Year With A Gay German Genghis Khan
  • 1980: Johnny Logan, Pt.1 (or, "Close, But No Cigar, Katja Ebstein")
  • 1981: Blonde White Folk Create New Global Dance Sensation
  • 1982: [Germany to the rest of Europe] Babe, I've Changed, Trust Me
  • 1983: The European Flower Show
  • 1984: *Sigh* I Wish I Was As Cool As Désirée Nosbusch
  • 1985: The Student Has Become The Master: Norway Edition
  • 1986: A Child Is Significantly Better Than A Load Of Adults
  • 1987: Johnny Logan, Pt.2
  • 1988: Europe's Embarrassing 80s Prom Night
  • 1989: Yugoslavia Finally Wins 3 Years Before It Stops Existing
  • 1990: The European Union Is A Very Good Thing
  • 1991: Gorgeous Singers Make Up For Ugly-Ass Staging
  • 1992, 1993 & 1994: Ireland: The Trilogy (Franchise)
  • 1995: (Instrumental Version)
  • 1996: Ireland: The Sequel Nobody Wanted
  • 1997: Love Shine A Light (Except Towards Basically Anywhere That Isn't England)
  • 1998: Trans-cending The Haters Through Eurodance
  • 1999: Here Comes The English Language
  • 2000: The Year The Logo Predicted Instagram Makeup Trends
  • 2001: Not Even The Songs Could Save The Horrible Fashion Of The Early 00s
  • 2002: Well… That Wasn't Expected
  • 2003: A Song Sung In Nonsense Almost Won
  • 2004: The Dance Off
  • 2005: You're My Number One Angel If You Let Me Try
  • 2006: Demons Win In Front Of Some Stairs
  • 2007: Like Everything Else In 2007, Eurovision Has A Bit Of An Emo Phase
  • 2008: What On Earth Were We Thinking
  • 2009: Mother. Fucking. Violins.
  • 2010: A Significant Amount Of Jumping Occurs
  • 2011: Good Luck Filling All This Unnecessary Stage Space Up, Lads
  • 2012: Are My Eyes Bleeding Or Is Literally Everything In This Contest Red?
  • 2013: Ministry Of Sound: Eurovision Edition
  • 2014: What A DRAG, Amiright?! (Nah But Seriously 2014 Was A Fantastic Year)
  • 2015: The Story Of A Man And His Projector Friend
  • 2016: Jamala Beautifully Makes Us Feel Sad
  • 2017: The Year Having A Dancing Gorilla Was Considered An Advantage

i was asked to do a tutorial on how i make my icons by anonymous, so here’s my super easy way of doing it. there’s no major editing or backgrounds simply because i’m super lazy and i prefer the look of clean, bright icons. i’ve only ever used this method on cartoons (voltron. i’ve only ever made voltron icons lol), so i can’t say for sure whether this method would work well with real people. just keep that in mind!

for some examples of what you can make, here’s my icons page.

please like/reblog if you try it out, and feel free to ask me any questions.

Keep reading

anonymous asked:

I've read your post regarding fandom's entitlement and two things I am wondering. First, would you say creators of continuation of already existing fiction are obligated, at least to some extent to stay true to the creative visions of previous creators? Second, does this mean we shouldn't criticize anything? I mean, there is a difference between complaining the work is doing something I don't want and the work doing something I believe is bad writing.

Sorry it’s taken me so long to respond, Anon.  But these are interesting questions that I do want to answer -

First, would you say creators of continuation of already existing fiction are obligated, at least to some extent to stay true to the creative visions of previous creators?

This is a hard question to answer with an absolute yes or no.  Are you talking about the continuation carried on by the original creator?  In that case, the creator has absolute freedom to take the work wherever he/she wants, as there’s no one else to say what the “true” vision is.  Whatever that person creates, that is the “true” vision.  It’s coming from their head and heart.  They get the final say.

If it’s a professional continuation (for pay and for the original studio/publisher/network etc), there is an obligation to “play within the lines” so to speak; Studios/publishers/etc pay continuing creators to keep their audience and therefore to keep their profits.  Going outside those parameters can be disastrous - David Fincher’s Alien 3 is a prime example.  He didn’t “have” to stay within the original story, but his going too far off the mark destroyed audience loyalty and the movie tanked.  He didn’t get to make another one.

If it’s a fan work, all bets are off.  Think of the criticisms of “out of character”; even in the most A of AUs, something needs to be grounded and recognizable as the original work in order to be successful to a reader.  However, if fic writers are obligated to stay true to the original vision, well there goes all your AUs and fix-its and mashups right out the window.  That would mean that the only fic allowed would be proper “in-canon” works - and you know how well writers would follow that directive (hint: they won’t.)

So unless it’s the original creator, I would say that there does need to be a connection to the original work.  It doesn’t have to be entirely “true”, but it should connect to the original to some degree.

Second, does this mean we shouldn’t criticize anything?

Absolutely not.  One of the joys/purposes of creative works is to discuss it and tear it apart and find what you like and don’t like about it.  To share with others your views and your emotional reactions and to hear theirs in return and to compare and contrast and figure out where you land with the work.  But the purpose of critique is for yourself, and to make others aware of the work whether for recommendation or warning.  The creator is welcome to listen to the critiques and choose to apply those ideas to the next work, but they’re not obligated to.  If their goal is mass commercial success, then they’re smart to listen to the audience.  If their goal is personal fulfillment, they’re not going to give a fuck what you think.

There are many instances where creators changed the content of their works in response to fans’ criticism.  Tolkien asked for input from a number of people for Lord of the Rings, asking for criticism & feedback.  But ultimately he was the one who decided what to use and what to ignore of that feedback.  Raymond Feist retconned some of his Riftwar Saga in response to readers pointing out inconsistencies, and to beef out the plotlines when the books took off so he could add more novels to the series.  But the authors chose to do that; ultimately the final work rests with the authors. 

As this applies to Moffat and Gatiss and the Sherlock series: Moffat & Gatiss can and did do whatever the fuck they wanted with the storyline of their series.  That is entirely their right.  The viewers who either loved it or were extremely pissed off raised their voices and let their pleasure/disappointment be known.  That is entirely their right.  But that’s where the interchange ends.  If Moffat/Gatiss choose to ignore the criticism and keep making the show they want, they can.  If the viewers want to stop watching the show because of this, they can.  Viewers do not have the right to demand the creators give them a different show.  They absolutely do not have the right to wage campaigns of harassment and abuse. 

There’s a difference between criticism and entitlement.  “I don’t like this” is entirely acceptable; “you need to make it this way” is crossing the line.  It doesn’t matter if you think “it’s bad writing”, the audience doesn’t get to tell the creator what to do.  Unless you’re purchasing a direct commission.  That’s the only time you have any level of creative control (and even that is up for negotiation.)

Essentially the bottom line is that the creator ultimately has the power.  The audience is not in control of someone else’s work.  The audience’s only power is in where they direct their attention. 

how-tobe-him  asked:

Anime suggestions?

Asking a 42 year old lifelong anime dork for anime suggestions!?

Sorry that it’s taken me a little bit to address this.  In the absence of specifics I decided to provide a recommendation of my old favorites as opposed to new releases.  Of course then I realized I could write entire essays on each of my old favorites as a recommendation and started thinking about how to make a post like that.  Then I decided to provide short recommendations for most of the old favorites and save the hard-sell for a single great freaking show.  This in turn led me to end up re-watching large parts of said show because it’s just that freaking great.   Also, if anyone reading this wants lengthy essays on why I love a certain series, ask away and I’ll write one up if I’m feeling productive one day!


If you’re looking for recently-aired stuff, you can go through my GIF tag to see what I’ve been watching for the past few seasons.  Chances are if I’m making GIFs of something I also recommend watching it.   The only recent show that I’d mention specifically as deserving more attention than it received is Made In Abyss.  It’s a great little show.  It’s also really dark, despite the cutesy character designs, so don’t be fooled.  Also, if body horror is a trigger, stay the fuck away.  The Abyss does bad bad things to people.   Anyway, on to the old stuff ;)

Macross Series
Macross is my all-time favorite ongoing setting.  It’s one of the great pillars of the Real Robot genre.  It’s stands apart from its peers by focusing more on the human side of conflicts, having an actual nuanced take on the role of the military, and just being very hopeful in general.    There are several separate series that I recommend, thus I am grouping them together.

The Super-Dimension Fortress Macross (1982):  The original.  A true classic of anime.  The animation is terribly dated at this point, but the story still holds up.  Every time I remember that I first watched this within a year or two of it airing, I feel really old.

Do You Remember Love? (1984):  A stunningly-animated movie version of the TV series.  The story is slightly different, but close enough if you don’t want to put in the time to watch the TV series but want a better frame of reference on the sequels.  It’s also one of the most technically impressive hand-animated movies put to film, so it’s worth a look.

Macross Plus (1994):  Four episode OVA series set 30 years after the original.  The focus is on the reunion of three former friends rather than the overarching events of the setting, so it can easily be watched without knowing anything about Macross.  It’s also widely regarded as one of the best OVA series ever made.  It launched the career of Yoko Kanno, among others.

Macross Frontier (2007):  Takes place 47 years after the original on board one of Earth’s many outbound colony fleets.  Like Macross Plus, the cast is original to the series, and the first 8 or so episodes begin with summaries of the history of the Macross setting, so it can be watched without watching the others…though you’ll miss a lot of references and a bit of the story nuance, but not enough to be unenjoyable. 

Moving on from Macross!

Azumanga Daioh (2002):  The original slice-of-life show.   Cute girls doing cute things.  You will cry when they graduate.  Watch it.

Nadia of the Mysterious Seas (1990):  High adventure in the 1800s!  Very very loosely based on 2000 Leagues Under The Sea.  This is the series that put Gainax on the map.  It also has one of my favorite openings ever.

Aim For the Top!  Gunbuster! (1988):  While we’re talking about the glories of 80s-90s Gainax, let’s drop in on Gunbuster.  A surprisingly-deep take on the Super Robot genre, featuring the most hot-blooded female pilots you’ll find anywhere, which is a huge selling point.   If you ever wonder why Evangelion took off so quickly, it’s because it was sold to us as a TV series “by the people who did Gunbuster!”   

Marmalade Boy (1994):  For years this was my ‘warm blanket and dark chocolate’ anime.  Whenever I was feeling down for reasons hormonal or otherwise I’d just start watching randomly from one of the 76 episodes.  It’s just an animated soap opera.  The main character, Miki, is stunned when her parents come back from a vacation and announce that they’re swapping partners with a couple they met in Hawaii.  They all move into the same house together, and Miki meets the other couple’s son Yuu.  Hijinks ensue.  Nearly every episode ends on a cliffhanger or stunning revelation.  It oozes melodrama from every frame of animation.

EDIT:  I just walked out into the living room and told the wife what I was doing and mentioned that I recommended Marmalade Boy.  Her response:  “RUN MIKI!  RUN FROM YOUR PROBLEMS!” and now I can’t stop laughing, because that’s exactly Miki’s response to everything bad that happens to her.

(I appear to be drifting closer to writing essays for them all, I’ll just add a couple more and move on)

Yamato 2199 (2012):  A bit of a cheat, as this is fairly recent, but it’s a direct remake of the original 1970′s series that I watched as a kid…and it’s frankly better than the original.  

Please Save My Earth (1993):  Six-episode OVA series that covers the first half of the manga series by the same name.  A girl named Alice begins having dreams of living in a hidden base on the moon.  She encounters several other people who are dreaming the same thing.  I used to hate one of the characters for what he did.  Then I understood but still couldn’t forgive it.  Finally, now, I think I can forgive him.  It’s a series that makes you feel very strongly, but to explain is to spoil.  One of Yoko Kanno’s first series as a composer.

His and Her Circumstances (1998):   A romance buds between two people who hide their true selves behind a mask of normalcy.  Will they still like each other once those masks are stripped away?  A compelling romantic comedy from Gainax, and also one of the codifiers of the Gainax Ending, so the show kinda goes to shit in the second half, with three recap episodes and the animation devolving into stick figures, but the main plot is resolved long before then and despite all of this it remains a truly incredible series.

Okay, so, now we come to it.  The hard sell.

If there is anything at all in this post that you watch, you absolutely MUST WATCH

The Day The Earth Stood Still

I cannot possibly summarize the plot better than its own intro, so watch this:

The entire show is like that!  Breathless exposition!  Dashing heroics!  Fearful villainy!  And the entire thing done in a retro-60′s design aesthetic as an homage to the original creator of all the characters within, Mitsuteru Yokoyama.  Top it off with a literally operatic soundtrack and you have the recipe for…well…maybe that’s hard to say?  Why am I recommending a series about a kid who controls a giant robotic pharaoh? 

The show looks absolutely ludicrous, and in many ways it is.  The characters are over the top in a very old-school sort of way.  You’ve got your obvious good guys, literally called the EXPERTS OF JUSTICE.  You’ve got your obvious bad guys who constantly pledge themselves to the service of a guy named BIG FIRE.  The heroes protect the new utopia that the world has become with the invention of a perfect power source.  The bad guys seek to destroy that utopia and crush humanity beneath their heel.  It’s all so cut-and-dry.  Even the characterization of some of the villains as “noble monsters” and some of the heroes as “ends justifies the means” loose cannons doesn’t really give it much depth.

At first.

The show very quickly disabuses you of that notion as it delves into what it actually took to carve out a utopian existence from a humanity that is so frequently opposed to any such thing.  It examines the motivations of the villains and finds them valid.  It examines the motivations of the heroes and finds them wanting.  It provides two questions that drive the emotional arc of the story and demands that the characters, and you the viewer, answer them.

Can happiness be achieved without sacrifice?

Can a new era be reached without misfortune?

As the sins of the past rise up to destroy the hope of the future, somehow the giant robot pharaoh stops seeming so ridiculous.  The fact that everything looks like 1960′s guy-in-monster-suit action cinema only serves to contrast the actual depth of the characters and the series as a whole.  To say more is to spoil, so I’ll not go into detailed analysis.  Suffice it to say:  The show looks silly, yet is really quite serious.

It also has one of the best finales of all time.  I watched this series as it was released, and there was a three year wait between episode six and episode seven, and I can honestly say it was worth every second.  Re-watching it just a few hours ago, my cheeks were wet with tears and stretched in a big grin at the same time.  It’s probably the most satisfying end to a series I’ve seen. 

So, there you have it.  A whole bunch of old anime to watch.  (WATCH GIANT ROBO)

If anyone reading this actually watches something based on my recommendation and enjoys it, please let me know.  It’s always great to hear that a recommendation was well-received.

Not even giving this a real title. Just feels good to post something.

Kaidan hugs just like she remembered.

His right arm surrounds her completely, his palm flat and fingers tangled in messy hair. The gentle way in which he cups her head, like she’s this precious, delicate thing, a stark contrast to the strength with which he holds her against him. Left arm around her waist, Kaidan pulls her firm against him, and even through both layers of armor she can feel him tremble. Cheek resting on his chest plate, Shepard swears she can hear his heart beat.

For the first time since waking, she takes a deep breath.

“I thought you were dead, Shepard. We all did.” Kaidan’s lips brush against her hair. The emotional rasp in his voice sends a shiver down her spine.

When he pulls away, Shepard nearly collapses, having trusted him to bare her weight without realizing.

When his tone shifts from relief, to sadness, to anger, Shepard forces herself not to shrink away.

When he steps back, Shepard steps forward.

Incoherent thoughts fog her mind, clouds too thick to navigate. Her mouth pulls tight into a grimace, a scream trapped behind fastened lips. Gloved fingers curl into fists, knuckles white and palms shimmering blue. Her jaw quivers and she’s never been so grateful to have her companions at her back, where they can’t see her weakness.

She wants to tell him to stop, wants to ask for just one last hug. One last time, she wants to feel him hold her. Wants to feel at home. Wants to feel safe. One last time, she wants to breathe.

She wants to yell at him, wants to curse him for abandoning her. Wants to tell him how scared she was walking through frozen colonists, every turn hoping to see him trapped in stasis, fearing what had become of him when he didn’t turn up.

Everything she wants bubbles to the surface and her skin tingles, her throat swells around words she wants to say.

But Cerberus knows too much already, and Miranda is there. The Illusive Man’s right hand constantly watching, observing, reporting. Shepard can’t bring herself to hand over another way for them to manipulate her.

“Alenko,” the evenness in her tone surprises her, but no more than when Kaidan pauses and looks back, “be safe.”

Kaidan’s eyes grow wide and moist, and though he tries not to, Shepard sees him suck in his bottom lip. “Yeah,” he’s already so far and his voice so low, she can barely make out his words, “you too, Shepard.”

anonymous asked:

Hi i was the one who sent in the family photo hc!!! I have another one that i absolutely adore. I wanted to make a comic from Geoff perspective seeing jack before transitioning having a mood/vision board. It started out with cute dresses and make up and a nice vacation spot for geoff and her to visit on holiday. Mostly her life with goeff being happy even tho she lives in a shitty apartment in a shitty phobic area. Pt 1 (im on mobile sorryy)

But as time goes on they get into some nasty business and meet nasty people (turned family).Slowly she replaces vacation spots with mugs shots and dresses with guns and Geoff starts to worry. He pulls her aside one day after seeing her placing up a bloody picture of gavin that was featured on the front page of the los santos newspaper. He asks why she has changed why she supports them all and why she has given up her dreams of pampering and vacations. Pt2!

But she just smiles and says that this is her dream and she wouldnt change it for the world.  (Or st like that but it got abandoned a very long time ago)

When Jack told him she wanted to start transitioning he supported her wholeheartedly, of course. He could see how much happier she was whenever she got to let loose and let down the front that the unforgiving neighborhood around them made her use. She started wearing dresses, cute, flowing and full of bright colors and patterns, she started experimenting with makeup, and was of course a natural at it, and for the first time in a while, Geoff saw her smile brighter than ever. The area around them didn’t lighten up, however. There were still people that would eye them in disgust, people who would shout things out their car windows, and people that made Geoff fear for her safety, but she never seemed to back down, not when Geoff was by her side. 

Nonetheless, he wanted her to have a place where she felt safe, so he bought her a tiny house by the beach that he could come and visit her in, one that she could lay out on the beach in the warm sun and sand and be herself. But they get close, and some of Geoff’s personal life bleeds in. It soaks the pretty corners of her life, the ones she kept out of their unconventional life, and her life goes from pretty red nails and summer dresses to broken knuckles and bloodied heist gear. He still has this image of her, her hair blowing in the light breeze from the ocean, the sun giving her a warm halo of light and highlighting each freckle on her skin, a smile gracing her lips as she talks animatedly to him, stuck in his mind. It vastly contrast to the woman standing before him, a gun shoved in her back pocket and her hair tied back, hanging a battered picture of their Golden Boy, a sneering, bloodied smile on his lips, on their wall like a trophy, her bruised knuckles smoothing the photograph with care. 

Its hard to picture the same person on the beach, and it worries him. Has he taken that safe, carefree warmth away from her and plunged her into this life? He voices his concern one day, and Jack laughs, and its warm and the freckles on her cheeks are the same ones Geoff remembers in the sun on the beach. She grabs his hand and squeezes it. “This is my life, this is my dream, Geoff. It’s who i want to be. I never really wanted to be a princess, but queen of Los Santos sounds pretty damn good to me.” And Geoff laughs too, because he realizes now that the waters inside Jack were never calm, they were rough and wild and hungry, and Jack couldn’t have fit in better with the Fakes if she tried.

Fall 2017

The fall 2017 season has been out for about 3ish weeks now which is just the right amount of time to get a good feel for the new shows that are airing. I’m gonna go through what I’m watching and what I think about it. 

Girl’s Last Tour

This is not a show that I expected much of anything out of. I’d picked up a volume of the manga in a store once and read a few pages, and other then that didn’t know anything about it. The story follows Chise and Yuuri in what appears to be a post apocalyptic world where war has devastated the human race and they are some of the only survivors left in the world. They mosey around in their Kettenkrad motorbike going from fueling station to fueling station just trying to stay alive. The moe art style is in stark contrast with the bleak setting, but it somehow works. So far each episode has had some kind of central theme and through the hardships and idle moments that the two endure the theme is elaborated on. Initially a dark horse for me, this is my pick for AotS for now. I definitely didn’t start watching it because I saw a gif of them dabbing in the OP and was like what is that from. 

Originally posted by senor-sama

Ancient Magus Bride

Also a show that I had no previous knowledge of but am quite pleased with. The story follows Chise and her journey in becoming a mage and bride, I think. She sells herself into slavery and is bought by an ancient magus. This seems like it’s going to be a long story so it’s a bit early on to really evaluate that aspect of it. Thankfully it’s listed for 24 eps so we get at least 2 cour. It’s shaping up to be a romance, adventure, drama sort of thing from what I can tell. The animation is solid and the color palette is usually on the bright side. All kinds of fantastical creatures are present in the show which really gives fills in the world around the main characters. While things appear bright and cheerful in the foreground there is this a layer of horror in the background that reminds me a lot of the original fairy tales. It’s shaping up to be a great show. 

Originally posted by shiintan

Kekkai Sensen & Beyond (s2)

Set in Hellsalemslot, New York city with the addition of another dimension colliding with it, the show is about the actions of the superhuman team Libra and their fight to keep the city from plunging into total chaos. It’s episodic in nature with most of the episodes being one offs. Though there is often a little bit of tie in to the overall plot line. Bones has done a fantastic job with the animation. It’s bold, stylish, and explosive in fight scenes, and otherwise solid for everything else. One of the things that I like about it is that the main character, Leonardo Watch, is not a super powered fighter. He can only do supporting tasks so it makes the conflicts have a lot more variety and tension rather than how is he gonna punch them harder this time. If you liked the first season this is more of the same and you’ll like this. 

Originally posted by yakisobagirl


What happens when an alien space craft crashes into an old man who is about to die of cancer? Well naturally they rebuild his body out of courtesy for accidentally destroying him, except they only have military units available so he ends up being basically grandpa terminator. Another guy was caught in the crash in received the same treatment. Oji-san terminator uses his powers to save people and selflessly throws himself into dangerous situations, while the other guy (referred to from now on as edgelord) uses his powers for his own satisfaction which includes murdering people to feel alive. The central conflict is the friction between the ideology of the two now basically demigods. One wants to save everyone, and one doesn’t care at all for anyone that’s not important to him. The animation is a little on the meh side with heavy use of CGI. It’s not bad CGI, but a lot of what is happening could have looked incredible if it was hand drawn. So that’s a bit of a mark against it, but it’s still pleasant to watch. It’s shaping up to be some kind of action thriller and my only real worry is that it’s listed as 11 episodes and it’s probably gonna end up rushed or ending in an awkward place. Oh well, should still be a fun bloody romp. 

Originally posted by nakoshi


This is a show that I’ve watched a bunch of times already, but I’m going to watch it again. It’s a moe SoL that features a themed cafe where each of the waitresses has some sort of character they play. The main character (I honestly don’t remember he name) has a notoriously evil looking smile and is casted as the sadistic waitress. It’s not new, it’s not really that great, but I’m still going to watch it. The themed cafe is an ok setup, and allows for some jokes that play well with the setting. Overall it feels like a more tropey discount Working!! Gotta have that moe SoL fix though. 

Originally posted by medusalily

Overall this season looks pretty good. It’s got a few shows that look like they’ll standout as well above average and others that look like they’ll be fun. LL Sunshine and Shokugeki are on the list of things to watch but I haven’t got to them yet. I’m up to date on the Shokugeki manga so I’m not in a hurry to watch more, and I’m not in the mood for Idols right now so I haven’t started Sunshine. 

How the Vrains OP and ED might be hinting at Kusanagi’s betrayal

In light of @pendulumprince’s post about the “Kusanagi is evil” theory, I wanted to also add my two cents about it (I was just adding on to the post itself but realized it was getting long and also has more to do with the OP/ED and only kinda has to do with the foil between Kusanagi and Akira.)

I feel like lighting in the Vrains OP and ED is used in a sort of simple but clever way. We see both Yusaku and Go running against a bright blue sky - for Go, it represents his bright ambitions that are so different from the others. Although Yusaku has a more secretive life than Go, his conviction is clear and he walks forward without hesitation (the same with Go). In contrast, Aoi is standing still and looks away from a setting sun. She hasn’t reached her key motivation yet. Guess who else has a still shot during twilight.

It’s a harmless kind of cute shot honestly, but it’s also the only shot we get of Kusanagi in the OP. He’s a pretty major character so you would think that we would see him supporting Yusaku from the sidelines at least. Instead we have just this to work with. Here we don’t even see the sky - it’s just Kusanagi completely confined in his truck and the night time starting to fall on the city in the background. We see him at the “in-between” period of the day. He’s not fully lit, not like our protagonist Yusaku. It gives an indication that Kusanagi may also be “in-between.” And in fact, in the OP and ED he is NEVER fully lit.

This image can easily give an indication that he’s working hard in the night toward his goal (his brother), but we also don’t see the screen he’s working on. It’s likely none of the hot dog truck monitors because those are usually blue and he would be looking up at them. Even if it’s intended to be the hot dog truck, it has a completely different vibe of secrecy, and we don’t have eye contact with him. Moreover, he is once again somewhere between light and shadows.

The last shot we’re given is Kusanagi standing dramatically in the rain, this time no visible light source to be found. On top of that this shot is right on beat with the lyrics “Never give up” which match with his determined, defiant look here. He’s put himself in darkness and is not even attempting to shield himself from the downpour. It’s similar to the darkness that always shrouds Akira.

We know that Akira’s not necessarily evil, just that he feels that he’s thrown himself in darkness and made himself a hellhound for the sake of Aoi.

My point is that, given all of these hints, I think Kusanagi is going to be given a choice somewhere down the line where he’ll have to choose between his loyalty to his brother or his loyalty to Yusaku, and the choice he ultimately makes may be one that puts a strain on his relationship with Yusaku. 

anonymous asked:

Hiiii I think you already know I've been lurking on your blog for a few hours lol I've been reading your posts about mitam and sott, sweet creature etc. Is it possible you could make one for more songs on the pink album? I would love to see woman or only angel!!! Specially woman tbh. I know it's a lot to just ask but it would be amazing! If you already have a post about this just ignore me lol (or direct me to it) thank you, sea xxx

WOMAN has always puzzled me, and I have read a lot of good interpretations, but I was still not really satisfied for my own musical curiosity. So here goes nothing. 

I am basing my interpretation on these lyrics, and will refer to times from this video:

Someone very fortuitously discovered an allusion to Charles Bukowski’s poem, Old Man, Dead in a Room

Keep reading

sound-of-inspiration  asked:

Hey~! I hope you're doing well! :3 I saw your post and wanted to share this headcanon I've had for a while now with you: I somehow can imagine, that everytime Oikawa tries to lie or tries to mask over his true feelings, he unconciously begins to twirl a lock of his hair around his finger. And Iwaizumi is one of the few people, who actually notices and then proceeds to ask him again what's wrong, until he might give in! :o

a.n.: this probably wasn’t what you had in mind and my writing isn’t really up-to-par but I hope you like it! 

Tooru’s fingers are long and thin and perfect for setting. They’re smooth and pale where Hajime’s own are shorter and more rough, all bruised and covered in splinters.

They’re warm when he takes Hajime’s hand, yet so cold when he presses them into Hajime’s neck in comfort after a lost game. They dance over his skin and tap on Tooru’s knee when he’s thinking. They end up in Tooru’s hair, again, always, twisting and pulling and turning the locks in circles.

Hajime’s eyes follow the movement for a while, how fluid it is, how contrasting Tooru’s dark hair looks against his skin, how he pulls a little strand out but ignores it, or maybe doesn’t notice. He always does this, even after Hajime tells him he will leave himself bald for it. He knows now that it’s because Tooru is nervous, or wondering too hard about something he thinks is too stupid to mention. Hajime never asks because Tooru always tells him anyway. He watches Tooru press his index finger against the thumb and pull, harder this time, at a particularly abused strand of hair. Tooru does this little dance with his fingers, twirls the piece of hair back and forth between index and thumb, sometimes adding his middle finger as well.

“You’re doing it again,” Hajime sighs in the end, because the usual fifteen minutes of non-stop hair torture have long passed and he’s just about done watching it take place. Tooru’s hand stops in the movement, and he spares Hajime a short glance. He doesn’t seem to be aware of what he’s doing, but he drops his hand to his lap long enough for Hajime to look away. “So what’s wrong?”

He asks this because he knows Tooru will just start pulling again if he doesn’t.

Tooru hums; it’s the first sign of acknowledgment Hajime gets from him. “I guess I’m wondering.” The answer is so vague it leaves Hajime’s thoughts spinning, wondering what it means. He doesn’t try to figure it out, it doesn’t matter, Tooru will tell him if he nudges a little harder.

“Care to elaborate?” His tone is dry but curiosity reaches his eyes. Tooru has always liked to make him work for everything, even simple answers to simple questions.

Tooru’s fingers continue their little dance, but Hajime doesn’t try to stop it now. “Have you ever…” He stops himself mid-thought and hums again, considering his words. Tooru is always thinking and it drives Hajime half-insane with how clearly he can imagine those gears turning around in his head. “Do you ever wonder what it’s like?” he looks up, his eyes finding Hajime’s and holding his gaze. “To kiss a guy?”

It takes him by surprise, not because he never thought about it, but because he never thought Tooru would. “Sometimes.” He admits. It isn’t difficult; it actually makes it a little easier to breathe.

“Have you ever done it?” Tooru’s face looks more open than Hajime has ever seen it – he swallows, nods, watching the smile form on Tooru’s face. “I’ve been thinking about it a lot lately. I think I want to try it.”

The part of Hajime that hasn’t yet gone haywire wonders why Tooru is telling him this. There’s an unspoken with you in the look Tooru is giving him, or so Hajime thinks, but he doesn’t dare open his mouth to ask.

“So do you want to?” Hajime must imagine it, but it feels like Tooru is sitting a lot closer than he was just a moment ago.

“Wh – sorry, what?”

“I wanna kiss you. Can I?” Tooru deadpans.

Hajime bites his tongue; he knows it isn’t the right time to tell Tooru the proper way to ask is May I?

“Okay.” It’s that simple, somehow everything with Tooru always is.

Hajime sees him start to lean in, so he does the same and they meet halfway. Actually, they crash; it’s like a supernova, Hajime doesn’t know how else to describe it. Tooru’s tongue is hot, and insistent on wiping Hajime’s mouth clean of saliva. It almost hurts when they push their lips further together, bruising and biting the skin. Hajime’s head is spinning in circles, trying to remember how to breathe. And Tooru’s skin is so smooth; Hajime’s hand goes to his face, pressing into his cheek.

His lips ghost over Tooru’s one more time before he feels the other pull away. Hajime does the same with some reluctance, because Tooru’s smell – honey and cinnamon, and cold air stuck in his hair and everything good – lingers in the space between them. Tooru looks at him for what feels like the first time; Hajime’s mouth feels too dry to speak so he’s glad when Tooru does.

“I don’t think I ever want to kiss girls again,” Tooru’s breath comes out against Hajime’s face, bringing him back to the surface of his thoughts.

His fingers are closed over Tooru’s jaw, gentle. Tooru is tapping his thigh, eyes dark and curious as he looks at Hajime. And Hajime takes his hand, squeezing his fingers – they’re so cold again – and smiles.

“I don’t think I ever want to kiss anyone else again.”

anonymous asked:

I'd like to start this off with that, I disagree with quite a bit of your view points on certain parts of HQ BUT I honestly really enjoy talking to others with a different point of view from me. It intrigues me a lot. So if you don't mind me asking why do you ship Oikawa and Kageyama, who show a strong dislike to each other though I do see a mutual respect I've never thought of them as an actual pairing. In the midst of this discourse I honestly hope I don't sound rude, thank you for your time.

You don’t sound rude at all, don’t worry ^^ I’m always happy to have a decent conversation (you can probably tell that happens rarely in this fandom LMAO so I’m happy whenever I get the chance)

Now on to oikage. The thing with “negative feelings” is that strong feelings, especially when they involve such idealization they have towards each other, comes out as the exact opposite quite often, which is also called “emotional ambivalence”. The cliché about “there’s a thin line between love and hate” is a cliché for a reason - it’s a pretty common thing IRL. I’m surprised that fandom rejects this honestly? I think the reason for it is that people here are obsessed with friends to lovers trope probably bc it feels safe and validating, which actually is something rarely happens irl bc attraction tends to be instant (esp when it comes to guys lmao) rather than developing over time and it doesn’t end up with people having a “calm” friendship, it makes things tense (and even antagonistic), especially when this sort of idealization occurs, not to mention their existing rivalry complicating things.. That’s actually one of the reasons why i love this ship so much, both of them see each other as “the ultimate” and fixate on each other and their behaviour carries so much frustration towards each other, it’s incredibly easy to read as romantic, especially considering their certain shippy interactions in canon and how reactive they tend to be (which I will mention later). Another thing of note is that they both act pretty different when it comes to each other, Kageyama shows more emotion (a rare thing indeed lol) and Oikawa basically puts on a “charming(!)” appearance and he’s (literally tsundere lmao) defensive towards him which is sort of how you’d act towards someone you like (idealize too). 

I’m gonna direct you to another ask I got back then bc I don’t wanna make this one even bigger with some manga panels..though I only posted the moments that didn’t spoil anything bc the friend who asked hadn’t read the manga so it’s ofc incomplete and somewhat basic. I try not to overdo things. LOL. Here, the “intro”.

Now to overdo things -  I’m pretty sure you didn’t ask for this much detail, just an overview but “hints” have a lot to do with why I’m so taken by this ship so I’m gonna have to share some. Apart from the small and cute things anime glossed over that are supportive rather than indicator (like how Oikawa makes a cute face at Kageyama’s creepy smile in contrast with everyone else or their mutual shock at seeing each other unexpectedly lmao) we have quite obvious things like Oikawa calling Kageyama his “damn cute kouhai” and his “favourite food” in the novel after denying him being his enemy which I also mentioned in the post I linked but honestly, I can’t say these enough bc.. there literally isn’t any other way of interpreting those. >_> Then of course, how he goes to shiratorimatch after angsting over Kageyama whole night (LOL).. he basically decides to do so after hearing girls in some shop talk about “how they shouldn’t put off confessing” and.. he suddenly is like “things weren’t over!”. Then talks about his “all too big eyes” while he expresses desire to crush on him LOL. Also worths mentioning how defensive Oikawa is about Kageyama: denies him being his kouhai, then says the opposite to Ushi and even implies Kage will beat them… says he wants both teams to lose, but openly roots for Kage. This sort of ambivalent behaviour honestly screams romantic feelings. Then there’s apathetic af Kageyama, who basically has Oikawa as his aim, thinks of him during shiratorimatch (with a weird expression too lmao they also have sort of weird expressions about each other, hard to pin down one feeling about those, I wanna make a compilation of them sdgsdhf), stalks his practice, visualizes him as some sort of smooth general of armies (lol talk about having rose colored glasses smh).. These are what comes to mind immediately. They’re really shippy in general, it’s mostly bc fandom has a great bias over it that stuff about them don’t get around much, like how novels are ignored etc and general negative approach towards it affects newcomers too so yeah >_> 

If you disagree with these being shippy, to test it, just reverse those incidents and apply them to mainstream ships and see how your idea about them differs then - if quarter of these happened in another ship’s context, whole fandom would agree on them being literally married. Hah.

Yuuri and Grief/Loss as it Applies to his Career (and Victor)

Following my Victor and Grief post, here is a look at Yuuri’s perspective to his feelings of grief and loss surrounding his own career. Unlike Victor whose perspective we didn’t get until later episodes, Yuuri’s has been laid bare for us since episode 1. We’ve gotten the chance to hear his thoughts in specific moments and watch his evolution throughout the course of the show.

So one thing that I think will come as a surprise to absolutely no one is that he has been grieving over the loss of his career since episode 1. And added to that is that he accepted this loss by the time episode 12’s hotel scene rolled around.

Let’s take a moment to quickly review what kinds of loss Yuuri has been working through.

In the interest of not repeating a huge chunk of text that I already described at the beginning of my Victor post, I’m going to point you to it here and only describe the portions here that apply to Yuuri.

The type of loss that Yuuri works through during the show would fall under the category of Anticipatory Loss. In short, this is the anticipation of loss, regardless of whether the loss will actually come to pass or not. Victor says “I’ll get you gold at the GPF” but never actually states during the entire show that his coaching and time with Yuuri will end there. That interpretation of his words is entirely on Yuuri’s end. Yuuri then spends a lot of time convincing himself that he is going to lose Victor when there’s been no confirmation on whether that will actually happen or not.

The impact of Yuuri’s loss very clearly falls under the category of Compound Loss. It’s easy enough to see that through losing his career he feels like he is going to lose a lot more (the future tense and focus on how he feels about it are important as his loss is about something he feels he is going to lose in the future). He would be losing his role, identity, direction, and more. But most importantly he’d be losing his relationships, both with his friends/fellow skaters (Phichit for example) as well as with Victor, both before he knew him (he’d lose his chance to ever get to know him in any capacity) and after (he’d lose the relationship he had grown with him as a person and not just a skater).

As you can see, none of that really comes as a surprise because Yuuri himself has basically told us as much. So let’s get into the 5 stages and see where they play in.

Keep reading

anonymous asked:

Could Barry have aspergers?

First, and I genuinely don’t mean this as any sort of attack, I just want to note that Aspergers = autism spectrum. Aspergers used to refer to a related spectrum but was often considered “milder” than autism, and modern research and clinicians have realized that they’re ultimately the same (broad) spectrum and the issue was their diagnostic tools classifying people on “severity”. There are issues with separating people into “high functioning” and “low functioning” groups the way the Aspergers/autism distinction does and there’s just… a lot of stuff that goes into this.

That being said, I think what you’re really asking for is more a question of “could Barry be neurodivergent, and specifically could he be somewhere on the the autism spectrum?”

And the answer is: of course! Why not?

For the purposes of headcanons, I always say: go for it, if it works for you.

For the purposes of canon-analysis, it’s a bit harder. Writers will sometimes write neurodivergent characters without even consciously realizing they’re doing it, because as human beings we recognize behavioral patterns and think “well this person is like that” without always knowing how to name or identify where that characterization comes from. This is part of the reason some characters get coded as neurodivergent without it ever being made explicit in the text (there are other, sometimes more insidious reasons as well but we don’t need to chat about them here).

I’m not sure if I’m the world’s best person to write an analysis of Barry as being on the autism spectrum specifically, because although my husband and some good friends of my are on the spectrum, I myself am not. I can take a stab at it for you though since I’ve been learning and reading a lot in the past few years about it (and may one day come back to that question I got like 2 years ago about Len being on the autism spectrum because… yeah, he really is I think). 

Anyway, hopefully what I say will ring true for people, fully realizing that of course all people on the spectrum are going to have slightly different experiences.

Before I do that, however, I also want to say that my personal headcanons for Barry are really that he’s ADHD, which is a related form of neurodivergence, and one that I’m more closely tied to (I’m not diagnosed but I show a ton of the signs and symptoms for it and it seems to run in my family, so I have more personal experience with it). So a lot of this discussion might end up looking more like general indicators of neurodivergence that can fall into autism spectrum and/or ADHD or both, as they do overlap a good deal.


Some canon discussion/evidence?

Well, first, Barry’s single-minded focus. Neurodivergent people can have difficulties with switching attention and can get totally absorbed by things, and Barry’s no different. Once he has a goal or a thought in mind, the rest of the world sort of gets put on mute, it seems. From searching for the Man in Yellow to Saving Iris to whatever the goal of the day is, that becomes ‘it’ for him for a little while.

That helps lead me to ‘special interests’ and hyperfixation. From what I can tell, Barry ran a blog on ‘the impossible’ and raced across the country looking for cryptids and other impossible events whenever he had the opportunity. I would say that this could be classified as a special interest for him. He likely has others or has had more in the past: musicals (maybe even specific ones), specific aspects of the sciences that he’s pursued, the Speed Force, etc.

Also, and I’m sorry if this ends up stereotyping slightly, people on the autism spectrum generally have advanced abilities in mechanical understanding (and score noticeably different as early as the age of 4 on tests of engineering/mechanical types of knowledge) and Barry demonstrates this type of understanding time and again in the show.

Originally posted by theflashdaily

He uses those abilities all the time at crime scenes, and as the Flash as well, like when fighting Zoom and using gravity to his advantage. He pursued a career in the sciences and uses chemistry, physics, and mathematics in his everyday life (and when working on things such as the speed equation). 

A little less “stereotype” and we see Barry’s physical behavior. 

In S1, he was often physical awkward in that he was clumsy and backing into doors, always running, and seemed to have… too much energy? It’s been said elsewhere that speedsters, or at least Bart (from the future), were introduced in part as a metaphor for ADHD (and that at least Bart’s arc was supposed to help educate people about ADHD because comics can be awesome like that). So that spectrum of “too much energy, almost clumsy because of it, always moving and kinetic and touching or doing something or running out the door” has made me think of Barry as having ADHD and thinking of his behavior more from than perspective. But from an autism spectrum perspective, you sometimes see a lot of the same behaviors. Clumsiness is common, from what I’ve read (though of course, not for everyone. My husband is the least clumsy person I know). And being late! Barry is often late, and that can be a sign of ADHD for sure (I’m always late, my husband always wants to be exactly on time… it’s an issue).

Originally posted by superflarrowgifs

In terms of sensory processing, I can’t think of anything too specific. Certain fabrics, textures, foods, or physical sensations can all be important to people on the autism spectrum due to how they process sensory information, but I don’t think canon provides us with much information for how Barry deals with sensation. I also can’t think of any evidence of physical stimming off the top of my head but sometimes that won’t be obvious anyway. Barry keeps chemistry toys in his lab (we’ve seen them in background shots a few times) but nothing else really comes to mind there. He paces a lot? Is standing whenever it’s an option, really? Rubs his hand over his hair/ head whenever he’s tense or anxious? None of that is specific to neurodivergence (over, say, anxiety) but it is still technically self-stimulation behavior.

Originally posted by theflashdaily

In terms of speech patterns, I can’t think of any really canon examples of atypical speech patterns that might imply autism spectrum neurodivergence (in contrast to say, Julian, who is sometimes overly formal or literal to the point of awkward, which can be a sign of autism spectrum for some people). Barry does info dump a little sometimes about things related to speed (a new special interest? It would make sense) or other information, but the show doesn’t often give us conversations that aren’t related to the plot so it’s hard to say. 

(That being said, one of the things that used to be used to “distinguish” autism spectrum from Aspergers was the children with Aspergers didn’t show the same language-related issues in childhood, and now that we understand autism as more of a constellation of behaviors, not all of which will be present in the same person, it’s not overly surprising not to find it here. Also, Barry really doesn’t use almost any adjectives or flowery language, even few adverbs, and he sticks to either simple or exact words for things [in contrast to Wally who’s word-choice is a lot more diverse!] so maybe we do see a bit of evidence through that? His speech is relatively straightforward?)

Originally posted by ccrogues

(precise, specific, informative)

Sociality… well we know that Barry didn’t have many friends as a kid, especially after his mother died. He talks about having been bullied and we know he was a big anime nerd and part of a lot of clubs in high school. That’s not evidence in and of itself of neurodivergence because neurotypical kids get bullied all the time as well, but some of it could be a sign, especially because it’s clear through the clubs etc. that he was trying to put himself out there and maybe it wasn’t working. 

Originally posted by speedstergifs

He clearly gets along just fine with other people who are on the side of scientifically-oriented (i.e., all of the Star Labs team, Felicity, eventually Julian) and other people who are smart and kind (Iris, Oliver) so it’s definitely not that Barry can’t make friends. But kids can be cruel and neurodivergence can be easier to notice in childhood for one reason or another (including because people haven’t ‘learned’ to hide or suppress their own signs as well, and it sucks that people would ever ‘have’ to but that’s what childhood teaches some folks).

In either case, there’s evidence he had issue socializing and pretty much only had Iris as a close friend until he hit adulthood? And it’s also clear that although he’s “liked” at the precinct, he doesn’t really have friends there and he sticks out, at least not until Patty came along.

Last points: again, not to stereotype, but anecdotally at least, there does seem to be some potential overlap between people on the autism spectrum and the asexual spectrum, and a lot of people headcanon or interpret Barry as being demisexual? Which makes a lot of sense to me, and could be part of an interpretation of Barry as being neurodivergent. (Though it really should be clearly noted that people can be on the autism spectrum without being on the asexual spectrum and vice versa, and I don’t want to imply otherwise!)

And… I think that’s most of what I have to say? I’d have gifs for more of this but honestly they aren’t easy to find for this topic ^^;

And I invite people to make additions to this post if they have any more headcanons or canon examples, or clarifying information? 

beautifulhigh  asked:

Off the back of that anon's question... when did Aaron fall in love with Robert? Like proper, totally in love, not like he'd felt for Jackson (and Ed?), but something more and bigger. "I've never had this with anyone" kind of love. When did that happen?

Ahh Jen why are you doing this to me!! So many feelings! My beautiful, sweet Aaron!

OK, so a big moment in my head is their first hotel stay, when Aaron wakes up and he’s got Robert’s arm around him – the first time he’s had Robert truly to himself, without the panic of getting caught and without the discomfort of hay bales sticking into his back – and it’s like he has this moment where he pictures what it would be like to have Robert all to himself, and he wants it. He wants it so much. The way he looks at Robert when they kiss as well the next morning – have you ever seen something so beautiful? For me, he is clearly smitten at this point.

It’s also key that it comes just after Robert’s ‘You’ll make me think I fell for a quitter,’ line. I can’t work out Robert’s motivations behind that line, I’ll be honest, but when Aaron hears it he’s physically shook. It’s like, up until that point, he hadn’t even considered it as an option, and then all of a sudden it’s entered his psyche and that’s what plants the seed, leading to old heart eyes teddy bear Dingle in the hotel room.

The second hotel room was another big moment – and I think when Aaron realised he was struggling to share Robert any longer. His talk with Paddy the next day confirms that, and that he was in love with him at that point, and already it’s a different kind of love to what he’s ever known (see below).

Home Farm week was important too – Aaron getting a taste for what a real relationship with Robert would be like, and Aaron loving it so much he never wanted it to end. I mean, I’m not sure what Aaron was expecting to happen afterwards, but when Robert announced that Chrissie was coming home, he’s completely devastated. He fell hard during that week, and I’m not convinced he’d ever enjoyed domesticity quite like it before, even if he had lived with Ed in France.

BUT you ask when he felt the ‘never had it with anyone’ before kind of love? Well…

What he feels for Robert is completely different to what he felt for Jackson or Ed, in my opinion, so arguably as soon as he’d fallen for Robert, it was automatically different; automatically something he’d never had before. Why do I think that? Jackson and Ed were safe. He fancied them – clearly – and there was a spark. But in many ways, Aaron was totally in control. He decided to pursue the relationships, and the feelings developed from there. Love arose from attachment, in some ways. The narrative with Jackson is a little skewed because it runs alongside Aaron coming to terms with his sexuality – which he was clearly not in control of – but I think Aaron felt with both of those relationships that he was at least able to make the decision to be with Jackson/Ed, and there was never the same level of uncertainty that he faced with Robert.

With Robert, he accepted there was no future (hahahahahaha bless them!) and that it was what it was, and yet his feelings developed regardless; despite himself. There was no attachment (or there shouldn’t have been) but still his heart longed for Robert. His heart didn’t do as it was told, with Robert; in contrast, with Jackson and Ed, his heart was just doing what was expected in that situation.

AND, to add to that, I think that in actual fact it was sometimes the time apart from Robert, where Aaron really realised how much he really loved him, and how deeply. He got over Jackson and Ed with time. Time cured him of those feelings. BUT – he could not get over Robert. Despite everything – despite what he knew Robert had done; what he was capable of – he couldn’t stop. However much time passed, and however much distance he tried to keep, and however many times he may have tried – he NEVER STOPPED loving Robert (we know that – it’s canon). He couldn’t. And that’s a kind of love Aaron had never had before.

Also – as an aside – with the whole shooting/Aaron wishing Robert was dead scenario – I was talking to @stolemyhheart about this only today – I think the real reason he wanted Robert dead wasn’t because he didn’t love him. It was because he knew that was the only way he could move on from him; the only way he could stop loving Robert, was if he was dead. (And, I doubt that would have stopped it tbh, Aaron – Robron’s love transcends human nature and mortality, I’m sure of it)

So, yeah. He loved him early on, and he never stopped, and it was only when they weren’t together that he realised he’d never had a love that overpowering, and he never will again!

anonymous asked:

Can you direct me to some of the latest and greatest TD theories? I've been offline for a while.

Hey anon! I’m sorry that it’s taken so long for me to get back to you. I have to say, when I first saw your ask, I was a little lost. Team Delusional generates so much during the season, that it’s staggering. Below I listed all of my favorite, and what I consider likeliest, theories. For brevity I only described some of the major pieces of evidence for each theory, but I recommend through the links, as I can only summarize so much here.

  • Cure Theory (Beth was bit)
    • Since before season 5 aired, there was speculation that Beth’s arc would be related to a cure. She was in a working hospital after all. @bethgreenewarriorprincess​ first suggested that Beth was bit, her wound hidden under the cast. Christy noticed that Beth had an abnormally large IV bag of heparin, a blood thinner, that would help her recover from her GSW and is also often used in the zombie literature as treatment for a bite. Furthermore, Beth wore a soft-compression cast, made from gauze, which is not good for setting broken/fractured bones. Because she had a cast made from gauze, it was changed regularly. (Notice how it goes from being grimy to clean in different scenes.) Edwards also wore rubber gloves while changing her cast offscreen, indicating that he was exposing himself to infection. We think that Beth is immune, and I believe that if Beth returns in season 8, she will be part of All Out War, and then season 9 will focus on the search for the cure and the Whisperers.
    • https://bethgreeneishopeunseen.tumblr.com/tagged/beth-was-bit
  • Officer Bello
    • Christy and I also uncovered evidence that Bello was the one who actually shot Beth. She was likely aiming for Dawn and hit Beth by mistake. There was gun smoke near Bello, after Beth fell, and an officer glanced at her, as if they were in on the conspiracy together. Bello was also at the perfect height and angle for Beth’s GSW to make sense. Lastly, Amber Dawn Fox, who played Bello, has done a lot of TWD promotion and even had a table at SDCC this year, even though she’s a relatively small actress.
    • https://bethgreeneishopeunseen.tumblr.com/tagged/officer-bello
  • Binoculars Bethfoot & the Junkyard:
    • In 7x08 a hooded figure appeared in a coda, surveying Alexandria before kidnapping Father Gabriel. On 7x10′s Talking Dead it was confirmed that the figure was Tamiel, from the Junkyard, but that’s impossible. There are differences between Tamiel and Boots’s costume, especially in the sleeve material, and there are also physical differences. Boots has fairer skin and more delicate hands, as well as a faint scar above her right eyebrow where Beth’s second facial laceration is. I believe that Tamiel is a narrative decoy and Sabrina an actual decoy, filming the walkaway shot in 7x08 as a stand-in for Emily. I also think both of them filmed together in July, filming scenes that explained how Tamiel and Boots reached Alexandria before Tamiel left to follow the Saviors while Boots stayed behind.
    • https://bethgreeneishopeunseen.tumblr.com/tagged/binoculars-bethfoot
    • Beth is hiding among the Scavengers, and I think she will eventually face up against Jadis as she faced Dawn. Grady and the Junkyard are thematically the same, yet complete opposites, and both are original groups in the show. I think Beth will form a group/community with people from Grady and with Scavengers.
    • https://bethgreeneishopeunseen.tumblr.com/tagged/the-junkyard

(picture credit to @badassbethdixon​)

  • Beth and Tigers:
    • Beth’s action figure was originally going to come with a very large bear trap. I think Beth saved Shiva from a bear trap at one point, and at that time she stayed at the yellow house. Beth’s figure stressed her medical training, in relation to Hershel’s veterinarian skills, and once Ezekiel saved Shiva she trusted him for life. It would be the same with Beth, I think. If Beth saved Shiva, Ezekiel would be eternally grateful and definitely let her take shelter in his domain. It would also explain the mysterious guitar player. Furthermore, I think Beth is on the run from some Grady survivors, who are after her for the cure. It makes sense that she would stay at the Kingdom but leave, feeling too exposed as C@rol was, per Richard. It would be easier for Beth to hide amidst all of the Scavengers.
    • https://bethgreeneishopeunseen.tumblr.com/tagged/beth-and-tigers
  • Genekie:
    • In 7x11 Eugene forged a tenuous connection with the wives, especially Frankie. Since Frankie hugged him, I sensed a romantic connection, and when I went back and reviewed their characters and the cinematographic elements, I realized that Gimple is going in this direction. He’s going to pair up Eugene and Frankie (Genekie as I call them). Eugene’s love for Frankie will embolden him to fully work against Negan. Eugene and Frankie share similarities with comic!Eugene and Rosita, and overall they fit Gimple’s style. Genekie is a fresh take on a trope-filled pairing type, much like Bethyl. I’ve noticed similarities in the narrative and in Elyse DuFour’s social media. Her social media and interview hint at a larger arc, one connected to Eugene’s. All of it reminds me of Beth’s arc, Emily’s career, and Bethyl. While Genekie is a ship, and not exactly a theory, it is very subtle. If we can read that correctly, then it means we have Gimple’s style down. We aren’t missing his signs.
    • https://bethgreeneishopeunseen.tumblr.com/tagged/genekie
  • Season 9 (The Whisperers):
    • Beth being the cure is very tangible. Her kidnapping, the start of her cure arc, was linked to the D.C. trip, through the use of license plates. It makes sense to explore the cure arc fully after All Out War, when the group would have time to look for supplies and to set up a research area. (In 6x01 Eugene even mentioned that the infirmary would make a great laboratory.) With all of that in mind, I believe that Beth’s cure arc will be linked to the Whisperers. There are comic eggs connecting the two, and Heath’s disappearance introduced the first solid Whisperers egg. Tara found a card with P.P.P. on it, and it’s a musical acronym for “whisper”. That P.P.P. first appeared in Bulletproof Picasso in a scene reminiscent of the end of Still. Heath’s disappearance was even reminiscent of Beth’s kidnapping.
    • https://bethgreeneishopeunseen.tumblr.com/post/162874941726/hope-is-the-distant-light-look-northward
    • https://bethgreeneishopeunseen.tumblr.com/tagged/the-whisperers
“so this is a sort of webcomic character design story” part 5 - Esmé Squalor

I’m so glad I’m finally able to make this post because it’s Esmé Squalor at last

Also, her design has changed significantly since I started this project:

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tylerspolaroids  asked:

hi it's me the gif person and yes i really liked your champion fob gif set, you're so talented!! those are the best gifs I've ever seen on this site!! so if you made a gif tutorial on how you work your magic that would be so so cool and helpful!! thank you :)

bruh you’re so kind it brought a tear to my eye :’)

you can view the post here! tutorial under the cut, and sorry in advance if it seems a little rushed, i’m kinda bad at explaining things, but if you need any help, feel free to ask!

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One of the reasons why I don’t like the word “famous” …Because then people use it afterwards and they go like, “he used to be famous,” or, “he’s not famous anymore.” And it’s, like, just this weird thing of, like…. Like, I was a guy before, I was the same guy during, and I’m the same guy afterwards. But, like, people think that they can, like, label your life.

anonymous asked:

seeing that robert sean leonard comparison made me wonder since he is such a wonderful actor: what do you think are the most well acted moments of skam? (personally my favorite is the phone call scene in 3x09. that was extraordinary, so natural, i really felt like i was the one calling and the nerves would destroy me.)

Hey, sorry, I was thinking about this question for a while! It’s so hard to choose because the bar is so high. Also, I’m just watching this as a layman without any technical knowledge so separating what I love because of the production choices vs what really features the acting can be tricky. I’m probably biased towards the moments that really feel like a punch to the gut too? My simple answer: “anytime Tarjei’s face (or even the back of his head, really) appears onscreen and also Henrik really getting to dig in during episodes 8-10 and also all eye contact they have together because that can tell their whole love story”. But I tried to do a top five, since you asked!

Honorable mentions: Tarjei in 6.10 part 3 - Kan du varme et til meg også, Henrik in 8.10 part 1 - Tenke det du føler, both in 5.10 part 1 - Hjernen er alene, both in 9.10 part 4 - O Helga Natt.

5) Henrik in 5.10 part 4 - Pause. I love love love that such a quiet scene is so pivotal and that it really only gets its significance from what they aren’t saying. They’re both good here but I single out Henrik because he goes through a complete emotional rollarcoaster in four and a half minutes. He’s nervous, then maybe the most simply happy we’ve seen him on “I’m not sad!”, then alarmed… resigned… saying goodbye. The first time around though… I didn’t see it all. This was second clip that aired after I started watching the show in real time and at that point, I still hadn’t figured out what was going on with Even. So, my first watch through, I was taken in by the way Even forces himself to remain casual and thought it was empathy for Isak rather than a personal reveal. Henrik in this scene is so good because there was just enough there, it was only when I watched it a second time that the alarm in his initial reaction and the moment he looks down clued me in that something was wrong here for him. When I watch it now though, I can almost see the thoughts flitting across his face the whole time as if he’s actually speaking them. It’s a love being built up and then suddenly slipping away right there in that locker room.

Standout detail: When he averts his eyes and takes a second to process:

4) Tarjei in 9.10 part 3 - Sees fredag. Already mentioned in the ask but this scene is done entirely through watching Tarjei go through different emotions in a room by himself. You don’t need to do anything but watch him to get how nervous he was: how he holds the phone to his heart, how he was steeling himself and running through his opening words in his head, how he closed his eyes and chanted silently “pick up, pick up” no matter how anxious about this conversation he might be. And then on the phone with his dad, how he sounds so defeated but he doesn’t break until he has to deny he’s upset… and then all the emotion just comes flowing out. I don’t think anyone could watch this scene without relating deeply?? I think everyone has had phone calls where you’re heart is beating out your chest like this, everyone has burst in tears just like that before. He nailed it.

Standout detail: When he just cracks as he denies he’s upset:

3) Tarjei in 6.10 part 5 - Vært litt spess i det siste. I’m just retreading what’s already been said here but I don’t think I’ve ever seen a more true-to-life coming out done? I’m getting a little teary just thinking about Isak on that bench, steeling himself to make that leap. It’s the sheer reality of this moment that has this so high on the list. Really, kudos to Julie and to Tarjei for getting it so right and putting this on screen. It’s such a universal experience for people who’ve lived this but I’ve never seen it done quite this well. All the little moments of waiting, the tension he’s holding as they go get food first, how nervous he is the whole time as they circle closer and closer to it, the overwhelming RELIEF after they’ve started to laugh about it. It’s just… pitch perfect.

Standout detail: When we cut back to his face as he’s waiting anxiously for Jonas’s reaction after he said “It’s not a girl”:

2) Both of them in 10.10 part 1 - Minutt for minutt. I cryyyyyyyyyyy. First of all, I’m in awe of how Henrik’s face looks completely different in this scene?? He’s getting help from makeup and lighting and camera angles but it’s amazing how different he looks having turned off that light in his eyes. He’s fallen open in a way that we’ve never seen. We’ve caught him turned inwardly, seeming to struggle or be wiped out by something, for brief snatches of time before but now, he doesn’t have the energy or motivation to keep any sort of guard up and you can see it all. He portrays the weight of depression so well too, the physical exhaustion he can barely speak through. How he believes what he’s saying but he doesn’t want to… I’m just really impressed by how well he plays it. And Tarjei, he’s always great, but I especially love the self-consciousness in what he’s doing in this scene. Like how when he reaches out to hold Even and stroke his face, it doesn’t come to him easily, he’s a little stiff at it. The shaky resolve of his voice. And his determination, the fire in his eyes in contrast to the blankness of Even’s.

Standout detail: Henrik’s face when Isak first denies the ‘truth’ he’s telling him and Tarjei’s slight clumsiness as he reaches out and holds Even’s face:

1) Both of them in 8.10 part 4 - 15:15-01:01, from 5:28 to 8:58. I still haven’t rewatched this clip in full, it was almost too effective, but this part is the very heart of it for me. Tarjei’s face as he’s starting to put together that something isn’t right here… my heart is in my throat. And I just never can say enough about how well Henrik played this. I think it would be easy for what happened to be something shocking, something off-putting that puts distance between the audience and characters, even increases the stigma about someone going through a manic episode. But I never felt like that, I felt like the audience was Isak here… it slowly dawned on us. The emotional impact of this scene hinges on both seeing Tarjei slowly putting it together but also Henrik walking that fine line where you can almost think nothing’s wrong at first, but you’re talking yourself into it… it’s just a little too much… and then it gets to the point you can’t ignore. We’re alarmed because we know Even and we know something is off. The way they intercut this with their conversation on the bed, which is another great performance, that’s about things they’re not saying creeping closer but in a much quieter and more intimate way, Even realizing he needs to backtrack and adding “I’m just kidding” and how much both of their eyes are saying there…

I can’t really put it into words. I think the editing and sound help create a lot of the fear you feel with this scene but the empathy, what keeps you with Even and with Isak’s worry for him, what keeps this from ever seeming like a spectacle but instead deeply personal, comes from the performances the two of them gave here.

Standout detail: When Even starts talking about the wedding and it’s just not… hitting… right and the complex mix of emotions in Tarjei’s eyes here, the fear and concern and knowing:

Day 3- Autumn/Fall

Tedros flung down his pen, and leaned back in his chair in defeat.
“Let’s go for a walk.” He said.
Agatha looked up, surprised.
“What, now?”
Agatha gestured helplessly to the towering pile of contracts, treaties and arrangements that they were signing.
Tedros waved his hand dismissively.
“Forget that. I’ll finish it later. I want to spend some time with my wife.”
Agatha opened her mouth to argue, but nothing came out.
“Alright, fine.” She grumbled, feeling that although Tedros had been King longer than she’d been Queen, he was much slacker with the paperwork.
Tedros grinned at her.
“I mean, I know I ought to finish these, but seeing as the copies delivered to me can always be relied upon to be late, I think I can give them a taste of their own medicine.”
“You say that every time.”
“It’s true every time.”
“You’re insufferable.”
“That’s why you married me.”
Agatha sighed, but smiled grudgingly nonetheless.
“Alright, fine. Where do you want to go?”
“The gardens? They’re nice this time of year.”
“The gardens it is.”

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