is that what you wanted adam

anonymous asked:

16, kovic ^__^

“I’m going to kiss you now,” Adam told you, holding your face.

“Okay,” you whispered, your heart racing.

Your eyes fluttered shut but there was no kiss. After a minute, you peeked and Adam was still standing there as if frozen in time until Bruce shouted, “Cut!”

Bruce pulled him off to the side to ask him why he was ruining the scene. You could hear Adam ask him for a minute before turning to you and pulling you off to the side.

“What’s up?” you laughed as he pulled you into the hall to give the two of you privacy, “Scared to kiss me?”

Adam shook his head and leaned down to kiss you to prove his point. He pulled away, “I just wanted our first kiss to be just ours.”

“First kiss?” you questioned raising an eyebrow as Adam blushed. You didn’t let him answer though as you pulled him back down into another kiss.

CANON ANSWERS ABOUT WKM (complete!)

I took notes watching the stream! Let me know if there’s anything integral that I missed– and you can bet SERIOUS MONEY that I’ll be piecing together more theories in the next few days!

CHAPTER ONE

  • CONFIRMED: WARFSTACHE PREQUEL.
  • “Bonjour” was an homage to ADWM.
  • Each character Mark plays has different quotes about “Life” (i.e. Life is for the living, life is ours to choose, life needs a bit of madness).
  • THE DRUNK SEQUENCE PREDICTS EVERYTHING!!
  • The Damien keg stand meant to signify that he’d be stuck in “the upside-down”, and when he tried to wake us up, that told us he was the only one who really wanted to help us!
  • ASSHOLE MARK NEVER DRINKS.
  • The Mayor turning gray means ABSOLUTELY NOTHING.
  • Mark tried to make it obvious we would die, yet we were all still surprised (lmao).
  • CONFIRMED: In Mark’s own words, Damien is the only one with a “human” reaction to the death.
  • The Colonel was based on the hunter from Jumanji!
  • The Chef is scary, but inherently harmless.
  • Little Buddy’s “kill” mode is insignificant to the story and WAS an homage to FNaF.
  • CONFIRMED: COLONEL, MARK, AND DAMIEN WERE FRIENDS SINCE CHILDHOOD BUT HAD A FALLING-OUT.
  • And the dick on the body tape was 100% Ethan’s idea!! LMAO

CHAPTER TWO

  • CONFIRMED: The Colonel DOES “pop in and out of existence”, but he is NOT the only one to do so– just the most obvious.
  • Mark tried to make it “painfully apparent” that the Colonel was the one who did it.
  • Detective and Asshole Mark were friends at the same time he, Damien, and Colonel were friends– but the two did NOT know the Detective.
  • The long winding hall sequence with Detective was intentional– so we could get oriented with the house…
  • … because the house “does not follow the laws of physics”.
  • When following the Colonel out of the bedroom on the second floor, we warp with him to the first floor patio (with the pool).
  • The crib in the room was not a planned detail in the story.
  • CONFIRMED: The Colonel and Celine ran off together, and that’s what made Asshole Mark hate him.
  • CONFIRMED: IN THE WHOLE STORY, THERE IS NO HOST INVOLVEMENT WHATSOEVER.
  • CONFIRMED: The Colonel and Asshole Mark grew up together in that house, which is why the Colonel knows it so well and refers to it as “his own”. Mark even considered making those two characters be brothers!

CHAPTER THREE

  • “Hence the guns” is one of Mark’s favorite scenes in the series.
  • The cane is a sign of Damien’s high-class status as Mayor.
  • CONFIRMED: Celine and Asshole Mark were married.
  • Quote from Mark himself: “[Celine] wants what she wants, and she won’t let anyone get in her way”
  • Another quote: “She also has a temper… like someone else we know”
  • Mark’s original inclination was to make Damien and Celine be siblings, hence Celine’s adamant refusal of Damien’s help. (I caught onto this notion, but it didn’t really resonate with anyone else I talked to about it.)
  • Mark said that Celine wanted to use the viewer in the ritual because she saw them as expendable, since she didn’t know them personally.
  • There are no lightning strikes when George says “murder” because he hasn’t been inside the house for many years.
  • CONFIRMED: The house is cursed. (Make of that what you will.)
  • CONFIRMED: In the final door shot of Celine, she is possessed– because she messed with power beyond her control, and Damien was in the room with her at the time.

CHAPTER FOUR

  • The Colonel looks out for Celine and Damien– but NOT Asshole Mark.
  • The odd glowy room-walking sequence was supposedly a small view into another world– “the upside-down”, it was dubbed (but there’s debate about whether that region specifically was “the upside-down”)
  • There is debate as to whether this is how the Colonel “pops in and out of existence”.
  • We don’t see the Detective’s investigation room until that chapter because the house hid it from us.
  • In that room, there are post-its reading “DON’T TRUST THE SEER” (which I caught, but it was a very minor thing I had to watch multiple times to see)
  • The Colonel owed Asshole Mark A LOT of money.
  • As we fall, William says, “It was an accident, I swear!”
  • The original idea for the final gun scene was that Damien would walk in and be the one the Colonel shot, NOT us.
  • CONFIRMED: Asshole Mark had killed himself many times before, but returned to his body from “the upside-down”. That’s why he was stabbed 37 times, poisoned, beaten, strangled, drowned, AND shot– none of those happened on the same day. Asshole Mark tried his hand at the dark arts to achieve this.
  • CONFIRMED: The black eyes we see when Asshole Mark’s body speaks to us after we die is NOT his own spirit– it’s the spirit of someone else trapped there.
  • CONFIRMED: Damien had every intention of helping us! He did! Mark confirmed it– he wasn’t manipulating us at all, he just wanted the best for us!
  • CONFIRMED (!!!): William/the Colonel spent ten hours watching our body overnight and cradled Damien’s cane the whole time. (THE FEELS ARE REAL, GUYS! THEY’RE CANON!!)
  • CONFIRMED: The reason Wilford Warfstache’s suspenders are pink is because they used to be red, but they faded over many, many years.
  • Mark didn’t realize how tragic the ending really was until he was editing it. In his own words, it’s “terrifyingly sad”.

And, finally, the one we’ve all been waiting for…

  • CONFIRMED: DAMIEN PUSHED US OUT OF THE BODY. But he wasn’t manipulating us for that… he did it because he cared for us and didn’t think we deserved the true hell of what resurrection really meant. He did it because he thought it was the right thing to do.

With Star Wars: The Force Awakens, director J.J. Abrams sought to prop up and revitalize the most popular film franchise in movie history, to preserve its qualities in amber for a new generation. The Force Awakens was very concerned about what you, the moviegoer and fan, thinks about Star Wars. It wants to please you. It wants to be comfort food. And it’s very, very good at that.

But with Star Wars: The Last Jedi, director Rian Johnson wants to burn Star Wars to the ground. Not because he harbors ill will toward it, but because he loves it. He loves it so much that he wants to cleanse the garden and allow something fresh and new to grow. The Last Jedi is not concerned about what you, the moviegoer and fan, thinks about Star Wars. It wants to challenge you and make you question what Star Wars is and what it can be.

(This post contains major spoilers for Star Wars: The Last Jedi.)

Keep reading

a summary of the last jedi press tour so far

daisy ridley: *bares her teeth smiles with no life behind her eyes*

rian johnson: *takes photo* *sweaty and nervous* hiii

interviewer: can you tell us anything about the film?

rian: oooh hheeeheh aiii iihhg– *pulls out phone to argue with fans smarter than him on twitter*

adam driver: *says something a neo-nazi would say*

rian: *jacks adam off right then and there*

everyone else:

mark: HEYYY EVERYONE *tells ten-minute story from the 80s for the 400th time*

interviewer: but what about the new movie?

mark: it sure is

interviewer: …ookay let’s bring out the rest of the cast!

john boyega: *shows up*

everyone: JOHNN!! <333

mark: oh thank god i don’t have to carry this whole interview on my back like yoda anymore

kelly marie tran: *sees picture of rose* and i thought oh geez that’s me.png

oscar isaac: *forehead vein bulging because no one is asking him any questions so he can’t get into gender politics*

daisy: *visibly sobbing because john is back* PEANUT!!! *mouthing* h e l p m e

john: peanut. *is super charming* *does a triple backflip*

mark and john: *call each other father and son and carry the whole interview*

interviewer: *wiping tears* wheewww so… do you want to say anything at all about the new movie?

rian johnson: *devolving into a baby*

everyone: *crickets*

interviewer: well what about the for–

daisy, john, oscar, mark: THE FORCE AWAKENS? *throw adam and rian into a volcano* DID SOMEbODY SAY TFA? TFA WAS SO GOOD <333 *excitedly reminisce about tfa instead of talking about tlj*

interviewer: so is there anything at all you want to talk about in any capacity when it comes to the new movie?

everyone: ………………………………….. porgs

Adam: My idea (of Kylo and Rey’s relationship) is always going to be more sentimental and obvious.

Translation: I want Kylo to be happy, marry Rey and have like 10 beautiful children with her, all that by the end of Ep. 9. Thank you very much.

The Last Jedi: Behind the Scenes (part 1)

Meanwhile, a long time ago in a gym far, far away…

Daisy and Adam are back-to-back, working through the choreography of their big fight scene, wearing clingy street clothes, and carrying big sticks.

Rian: That looks great. Now for this next sequence, Daisy - when Adam stretches up for his big downcut, I’m gonna have you reach back with your left hand and grab his thigh…right about at the hip socket.

Daisy: *blinks*

Adam: *drops his stick*

Choreographer: Do what now?

Rian: Yeah, and Adam - as you’re coming down to follow through with that swing, you’re going to bend far enough down to get your butt underneath Daisy and give her extra leverage so she can kick Tim over here in the stomach. You following me?

Adam: You want me to lift her up with my ass?

Rian: Yes.

Daisy: So I’m gonna be sitting on his butt in the middle of this fight scene?

Rian: More like you’ll be draped across his back in a sexy, er…artful representation of the yin/yang symbol.

Daisy: So, I reach my hand back like this?

Rian: Higher.

Daisy: Here?

Adam: Maybe a tad lower.

Rian: No, that’s perfect. Adam, finish your cut, bend your knees…a little more.

Adam: You know I’m 6'3", right? Any lower and I’ll be on my knees.

Rian: *under his breath* Don’t get ahead of me, son.

Adam: What?

Rian: What? Just spread your legs a little wider. There you go. Now just practice that movement a couple dozen times until it feels natural, then we’ll add the kick and work on lightsaber placement. *skips back to the director’s chair and starts munching on popcorn while imagining all the ways this is going to break the internet*

Part 2 here.

watch my heart burn

hey guys, so i wrote an au type thing and it’s pretty different from anything i’ve written before so i hope you guys like it. here’s the spotify playlist i listened to while writing this.

Y/N is just a uni student trying to get her degree and pay her bills. so when she finds a man willing to pay her bills and give her good sex, it’s an offer she can’t refuse. but she might’ve gotten a little more than she bargained for.

masterlist

questions, comments, concerns

He’s wearing a suit that is worth more than a year of your rent as you watch him walk around the room, never giving anyone more than a small smile. When he swallows his drink, you’re hypnotized by the muscles in his neck, the way his Adam’s apple bobs. You find yourself licking your lips as you watch him run a hand through his hair.

“I want him.” You say.

“What?” Your friend follows your gaze, “Oh… No you don’t.”

“Yes I do. He looks like he could pay off my student loans and give me good dick while doing it.”

She rolls her eyes, “I don’t know much about how he is in bed, but I can tell you that he’s a demon trapped in a man’s body.”

Keep reading

6

◊ My mom was adamant about me watching musicals: “You need to be cultured.” It wasn’t a weird thing like she needed to educate me — they were just always on. That’s what I was allowed to watch all the time. I used to watch the Broadway “Les Miz” and study it. I wanted to be an actor as a kid. My teacher in second grade had called a talent agency and had them call my house. My mom was so mad. She was like, “No, that’s not a life I’m going to put you in.” Understandably, you know — she was just trying to protect me. I fell into music, but I just needed to find the right moment to jump into acting.Brendon Urie on The New York Times

4

‘‘Is it true that you turned down Mark Hamill’s invitation to have lunch with him before you guys started making The Last Jedi?’‘ No, that’s not true. I heard that too […]. He did stopped me and said ‘‘I don’t know what your process is but I’m around if you want to talk about the character’’ and I was like ‘‘Oh, great’’. That’s what Mark is like. He’s generous, if you want to talk about it… Which I took to mean ‘‘I’m not above not talking about it if you want to’’. 

 bonus: 

If I talked to people the way that President Trump talks to people, my mom would kick my ass. Athletes are given a really special platform. It’s our duty as athletes to be role models. I won’t go to the White House. And I won’t go because I don’t think somebody like me would be welcome there. I know what it’s like to go into a room and feel like you’re not wanted there. Given this platform of being an Olympic athlete, I think it’s really important that we stand up for what we believe in, and speak out against things that we think are wrong and [unjust].
Rihanna answers her famous friends' question in Elle Magazine
  • DAVID COPPERFIELD, MAGICIAN: I’M NOT KIDDING, THIS IS A REAL OFFER: I CAN MAKE YOU DISAPPEAR AND REAPPEAR ANYWHERE IN THE WORLD. WHERE DO YOU WANT TO GO, AND WHY?
  • Rihanna: Ten minutes before I lost my virginity…and I’m holding you to that offer. LOL.
  • LAVERNE COX, ACTRESS: YOU’VE HAD SO MANY ICONIC FASHION MOMENTS AND TAKE SO MANY RISKS. THE ICONIC CFDA AWARDS ADAM SELMAN DRESS IN 2014—WHAT GAVE YOU THE COURAGE TO TAKE THAT RISK THAT WAS SO PERFECT AND ELEGANT YET DARING?
  • Rihanna: Dear Laverne, I took advantage of my titties before they go south. I saw my window, and I took it.

onepeacemakermanyfaces  asked:

You mention many times that there's a lot of sexual imagery in the film and womb symbolism. Some is obvious like the dark cave. Yet while I sensed a lot of what you're saying, I don't see it. Could you elaborate on some sexual and womb subtext?

JJ: *clings to his mystery box. leaves breadcrumbs. no one gets it.*

Rian: Don’t worry, grandfather, I will finish what you started.

Rian: ALRIGHT FOLKS. WE’RE MAKING EVERYTHING IN THIS FILM A STAND-IN FOR A WOMB, PENIS, OR VAGINA. THAT’S RIGHT, I SAID EVERYTHING. ADAM, LOSE THE SHIRT. DAISY, ALWAYS BE WET. HOW MANY VAGINAL OPENINGS DO WE HAVE IN THIS FILM? THREE? WELL IT’S NOT ENOUGH, ADD MORE. KIDS. LITERALLY STICK SOME KIDS IN THERE AT THE END. SOMEONE GRAB THE BABY OIL. ANDY SERKIS, I WANT YOU TO CHANNEL HUGH HEFNER. THAT’S RIGHT, WE’RE GOING TO FILM THE WEDDING NIGHT IN A BLOOD RED BOUDOIR-

theatlantic.com
The Myth of the Barter Economy
Adam Smith said that quid-pro-quo exchange systems preceded economies based on currency, but there’s no evidence that he was right.
By Ilana E. Strauss

Imagine life before money. Say, you made bread but you needed meat. But what if the town butcher didn’t want your bread? You’d have to find someone who did, trading until you eventually got some meat. You can see how this gets incredibly complicated and inefficient, which is why humans invented money: to make it easier to exchange goods. Right? This historical world of barter sounds quite inconvenient. It also may be completely made up.

The man who arguably founded modern economic theory, the 18th-century Scottish philosopher Adam Smith, popularized the idea that barter was a precursor to money. In The Wealth of Nations, he describes an imaginary scenario in which a baker living before the invention of money wanted a butcher’s meat but had nothing the butcher wanted.“No exchange can, in this case, be made between them,” Smith wrote.

This sort of scenario was so undesirable that societies must have created money to facilitate trade, argues Smith. Aristotle had similar ideas, and they’re by now a fixture in just about every introductory economics textbook. “In simple, early economies, people engaged in barter,” reads one. (“The American Indian with a pony to dispose of had to wait until he met another Indian who wanted a pony and at the same time was able and willing to give for it a blanket or other commodity that he himself desired,” read an earlier one.)

But various anthropologists have pointed out that this barter economy has never been witnessed as researchers have traveled to undeveloped parts of the globe. “No example of a barter economy, pure and simple, has ever been described, let alone the emergence from it of money,” wrote the Cambridge anthropology professor Caroline Humphrey in a 1985 paper. “All available ethnography suggests that there never has been such a thing.” Humphrey isn’t alone. Other academics, including the French sociologist Marcel Mauss, and the Cambridge political economist Geoffrey Ingham have long espoused similar arguments.

When barter has appeared, it wasn’t as part of a purely barter economy, and money didn’t emerge from it—rather, it emerged from money. After Rome fell, for instance, Europeans used barter as a substitute for the Roman currency people had gotten used to. “In most of the cases we know about, [barter] takes place between people who are familiar with the use of money, but for one reason or another, don’t have a lot of it around,” explains David Graeber, an anthropology professor at the London School of Economics.

So if barter never existed, what did? Anthropologists describe a wide variety of methods of exchange—none of which are of the “two-cows-for-10-bushels-of-wheat” variety.