it's been a very disappointing run


’ What do you want me to do, dress in drag and do the hula? ’
’ I despise guessing games. ’
’ Oh, goody. ’
’ Yes. Well, forgive me for not leaping for joy. ’
’ When I’m King, what’ll that make you? ’
’ You’re so weird. ’
’ You have no idea. ’
’ Sing something with a little bounce in it. ’
’ I’ve got a lovely bunch of coconuts. ’
’ Big ones, small ones, some as big as your head… ’
’ Hakuna Matata. It’s our motto. ’
’ What’s a motto? ’
’ Nothing. What’s a motto with you? ’
’ Did I miss something? ’
’ Let me out! Let me out! ’
’ Please don’t eat me. ’
’ Whoa. Talk about your fixer-upper. ’
’ I can’t go back. What would it prove, anyway?  ’
’ You can’t change the past. ’
’ You said you’d always be there for me! But you’re not. ’
’ It’s because of me. It’s my fault. ’
’ Ahh, so you haven’t told them your little secret. ’
’ It’s not true. Tell me it’s not true. ’
’ No! It was an accident! ’
’ It’s your fault he’s/she’s dead. Do you deny it? ’
’ Then you’re guilty. ’
’ No, I’m not a murderer! ’
’ Friends? I thought he/she said we were the enemy. ’
’ Don’t ever do that again! Carnivores, ugh! ’
’ We’re pals, right? ’
’ I don’t wonder; I know. ’
’ The great kings of the past look down on us from those stars. ’
’ I always thought they were balls of gas burning billions of miles away. ’
’ Fireflies that, uh… got stuck up on that big bluish-black thing. ’
’ Everything the light touches is our kingdom. ’
’ A king’s time as ruler rises and falls like the sun. ’
’ What’s happened to you? ’
’ You’re right, I’m not. Now are you satisfied? ’
’ You know you’re starting to sound like my father. ’
’ The sooner we get to the waterhole, the sooner we can leave. ’
’ So where are we really going? ’
’ Right. So how are we going to ditch the dodo? ’
’ It’s a tradition going back generations. ’
’ Well, when I’m king, that’ll be the first thing to go. ’
’ Well, in that case, you’re fired. ’
’ Nice try, but only the king can do that. ’
’ Your Majesty. I gravel at your feet. ’
’ Why do I always have to save your… Ahhh! ’
’ I know what I have to do. ’
’ Temper, temper. ’
’ I’ve been running from it for so long. ’
’ Ow! Jeez, what was that for? ’
’ It doesn’t matter. It’s in the past. ’
’ Oh yes, the past can hurt. ’
’ But from the way I see it, you can either run from it, or… learn from it. ’
’ You see? So what are you going to do? ’
’ First, I’m gonna take your stick. ’
’ Good! Go on! Get out of here! ’
’ So you’d better have a good excuse for missing the ceremony this morning. ’
’ Perhaps you shouldn’t turn your back on me. ’
’ I wouldn’t dream of challenging you. ’
’ Is that a challenge? ’
’ I’m afraid I’m at the shallow end of the gene pool. ’
’ There’s one in every family sire. Two in mine, actually. ’
’ Pinned you again. ’
’ What’s going on? ’
’ Oh, dear, I’ve said too much! ’
’ Well, I’m brave. What’s out there? ’
’ All the more reason for me to be protective. ’
’ Well, I suppose you’d have found out sooner or later. ’
’ Just promise me you’ll never visit that dreadful place! ’
’ You run along now and have fun. ’
’ I wonder if its brains are still in there? ’
’ Danger? Hah! I walk on the wild side. I laugh in the face of danger. Ha ha ha ha! ’
’ Do you know what we do to kings who step out of their kingdom? ’
’ Puh. You can’t do anything to me. ’
’ Oh, my, my, my. Look at the sun. It’s time to go! ’
’ Hey! Why don’t you pick on somebody your own size? ’
’ I’m very disappointed in you. ’
’ You could have been killed! ’
’ You deliberately disobeyed me! ’
’ I was just trying to be brave like you. ’
’ I’m only brave when I have to be. ’
’ Being brave doesn’t mean you go looking for trouble. ’
’ Whoah. I guess even kings get scared, huh? ’
’ But you’re not scared of anything. ’
’ We were afraid it was somebody important. ’
’ Tell me about it. I just hear that name and I shudder. ’
’ Yeah, be prepared! We’ll be prepared… for what? ’
’ Long live the king! Long live the king! ’
’ If I told you, it wouldn’t be a surprise, now would it? ’
’ If you tell me, I’ll still act surprised. ’
’ You are such a naughty boy/girl! ’
’ You hear that? If you ever come back, we’ll kill ya! ’
’ So it is with a heavy heart that I assume the throne. ’
’ That’s the stupidest thing I ever heard. ’
’ You know, having a lion around might not be such a bad idea. ’
’ Ah, you’re an outcast! That’s great. So are we. ’
’ I’m telling you, kid: this is the great life. No rules, no responsibilities… ’
’ You mean a bunch of royal dead guys are watching us? ’
’ Come on, I just heard about this great place. ’
’ I’m surrounded by idiots. ’
’ I’m kinda in the middle of a bath. ’
’ So where are we going? It better not be anyplace dumb. ’
’ I’ll show you when we get there. ’
’ The waterhole? What’s so great about the waterhole? ’
’ You’re the king? And you never told us? ’
’ You don’t even know what I’ve been through! ’
’ I finally got some sense knocked into me. ’
’ Please have mercy, I beg you. ’
’ You don’t deserve to live. ’
’ Why should I believe you? Everything you ever told me was a lie. ’
’ This looks like a good spot to rustle up some grub. ’
’ I’ll make it up to you, I promise. ’
’ You got to put your past behind you. ’
’ When the world turns its back on you, you turn your back on the world. ’
’ Bad things happen, and you can’t do anything about it. ’
’ There’s more to being a king than getting your way all the time. ’
’ I’m so hungry I could eat a whole zebra. ’
’ Listen kid: if you live with us, you’re gonna have to eat like us. ’
’ Come on, will you cut it out? ’
’ I thought I knew, but now I’m not so sure. ’
’ What’s that supposed to mean, anyway? ’
’ I’m not the one who’s confused. ’
’ You don’t even know who you are! ’
’ This is just the way your father looked before he died. ’
’ So what’s the plan for getting past those guys? ’
’ No wonder we’re dangling at the bottom of the food chain! ’
’ Where is your hunting party? They’re not doing their job. ’
’ Then you have sentenced us to death! ’
’ Well, it sure is a surprise to see you… ’
’ Hakuna Matata. It means “no worries”. ’
’ These are rare delicacies. ’
’ You have forgotten who you are and so have forgotten me. ’
’ You are more than what you have become. ’
’ How can I go back? I’m not who I used to be. ’
’ Will you stop following me? Who are you? ’
’ What’s going on here? Who’s the monkey? ’

anonymous asked:

Do you think there is chance Killian won't be in the AU? My enthusiasm for the show has been steadily declining, because my main reason for watching is CS and I feel that they have been majorly sidelined this season for the sake of Regina. And even when they have scenes they fall a bit flat (with some exceptions) because it's always running somewhere, rescuing s.o, etc. So if he's not into AU and it's another ep of Emma and Regina, I'll be extremely put off from the show and very disappointed :(

There is zero chance he won’t be in the AU. We have spoilers of Colin and JMo shooting in the woods in EF attire.

My guess is that AU Killian won’t appear until near the end of 6x10, but we’ll see a good bit of him in 6x11.

I’m sorry you haven’t enjoyed this half season, but I’ve loved what they’ve given us for CS. Of course I always want more, more, more, I’m only here for CS after all, but we’ve gotten some really great stuff. A hot couch makeout session, a moving in together conversation, lots of comfort and reassurances, Hook and Henry bonding and becoming a family, delicious tension as they both fell into the trap of keeping secrets and the gut-wrenching moments when they both came clean, team work on multiple occasions, Killian continuing to be Emma’s top source of encouragement, support and the only person 100% focused on her well-being and of course Killian as the only person who can chase away her demons.

Watching this show is 100% more enjoyable if you appreciate what we get, rather than whining about what you wanted, but didn’t get. (Of course it’s your prerogative, and I don’t care what you say on your own blog, I can unfollow you, but if you come into my askbox, don’t expect me encourage or coddle the sad sack attitude.)

DAY 2903

Sopaan, New Delhi                Mar 13/14,  2016                 Sun/Mon  1:06 am

These are the days of brevity and sublime .. of the less the better .. of the approaching of the ‘ides of March’ and its reference :

“the Ides of March are here .. 

“aye Caesar, but not gone ….”

                                                  ~ Shakespeare Julius Caesar .. 

If this the interpretation of solitude .. be sadly mistaken … for there never can be, that has evolved over 1000′s of years and not the next IPL season ..

I drove past my Delhi home when we did not have our own in Gulmohar Park .. it was 13, Willingdon Crescent .. and now its Mother Teresa Crescent .. of those very bitingly cold winter mornings and the rising up to run for stamina and strength down the Crescent till the Estate of the President and back .. used to be a most warming adventure despite the cold ..

The cold continues ..

The Blog endeth .. and the well wishers must have been disappointed at Jalsa gates for the Sunday meet … !! Happens !!

My love to all 

Amitabh Bachchan

Horror’s system of sympathies transcends and preexists any given example. Patrons of a slasher film or a rape-revenge film know more or less what to expect well before the film rolls, and at least one horror director (William Friedkin) has suggested that their emotional engagement with the movie begins while they are standing in line–a proposition that acknowledges the profoundly formulaic nature of the enterprise. And as anyone who sees horror at the right venue (designated mall or downtown matinees) can attest, horror audiences can be startlingly “competent” (in the linguistic sense) and startlingly public about it.  As Andrew Britton [in “Blissing Out”] describes it:

“It became obvious at a very early stage that every spectator knew exacty what the film was going to do at every point, even down to the order in which it would dispose of its various characters, and the screening was accompanied by something in the nature of a running commentary in which each dramatic move was excitedly broadcast some minutes before it was actually made. The film’s total predictability did not create boredom or disappointment. On the contrary, the predictability was clearly the main source of pleasure, and the only occasion for disappointment would have been the modulation of the formula, not the repetition of it. Everyone had parted with his or her four bucks in the complete confidence that Hell Night was a known quantity, and that it would do nothing essentially different from any of its predecessors. Everyone could guess what would happen, and it did happen. In the course of the evening, art had shrunk to its first cause, and I had the incongruous sense, on coming out, of having been invited to participate in communion… This highly ritualised and formulaic character,” he concludes, “is the most striking feature of the contemporary entertainment film.”

Britton here echoes the Frankfurt School critique of mass culture… It should be noted, however, that the characteristics which prompt Britton’s political contempt are by no means peculiar to “Reaganite entertainment”; they are the usual characteristics of orally performed “literature” everywhere: in Western traditions from the Greeks through the late Middle Ages and beyond, and in the Third World, and in pockets of the First and Second, in our own time. Britton’s description could very nearly stand as a summary of the aesthetics of oral literature, right down to the phrase “ritualised and formulaic.” So too horror’s habit of cross-referencing or “intertextuality,” which Britton finds solipsistic, narcissistic, hermetic, and banal (and Vera Dyke, in her Games of Terror, finds “post-modern”); it too is a standard feature of oral cycles. As for the aggressive behavior of horror audiences, it is worth noting that according to historian Lawrence W. Levine [Highbrow/Lowbrow], extravagantly participatory audiences (shouting, throwing things) were the norm in all manner of performances (operatic, dramatic, symphonic) until toward the end of the nineteenth century, when they were silenced and “sacralized”.

- Carol J. Clover, Men, Women, and Chain Saws: Gender in the Modern Horror Film