key of space time

6

shinee + space-y things for the birthday girl, @leejinklies. ♡

Continue to love, even though you’re scared of having your heart broken. It tends to feel like it, but heartbreak is not the end of the world. In the end, we get up again and we survive - every single time. Continue to heal, even though you’re scared of falling to pieces every now and then. The act of healing is not a constant or a fixed period of time, it’s a process. You need time and space. A lot of times, distance is the key. Think about it - a different perspective could be all you need. Continue to be grateful, even though you’re scared things you need will stop coming your way. Embrace the little things, always. Find happiness in simplicity and joy within yourself. Do not forget to say thank you, whoever it is you say it to - friends, family, the universe. Continue to change, even though you’re scared of losing parts of yourself. Humanity doesn’t stand still. We can’t let ourselves get stuck at one stage in life - we have to let ourselves evolve to become the best version we can be. Don’t fear growth. We’re always learning, always adjusting - it makes us who we are.
—  continue / n.j.
10

“It’s the oldest story in the universe, this one or any other. Girl and girl fall in love, get separated by events. War, politics, accidents in time. She’s thrown out of the hex, or she’s thrown into it. Since then, they’ve been yearning for each other across time and space, across dimensions.

This isn’t a ghost story, it’s a love story!

The fundamental misunderstanding of the state in which Heather exists in after she becomes ‘the pilot’ is what drives the conflict in this episode, but it’s made abundantly clear that she is not dead.

When they meet in the park outside the Doctor’s study, Bill, seeing her in this new form, mutters “you’re dead!”, which is repeated back to her by Heather’s mimicry - the clear intention here (supported by Lawrence Gough’s brilliant directing style) being to establish the misunderstanding of her being ‘the monster’ while playing it off as a ‘horror’ moment. But, in classic Moffat fashion, the entire point of this episode is to subvert that idea.

I really have to praise Stephanie Hyam’s performance here because it’s key to understanding that Heather’s pursuit of Bill across time and space was something that she was directing. Notice how much emotion appears on Heather’s face whenever she catches up to Bill - she looks extremely sad when she appears in the Doctor’s study (see the fourth image above) and Bill gets in the TARDIS because that’s exactly why she’s here… to fulfill her promise to Bill that she won’t leave without her.

She appears positively elated to see Bill when they travel several million years into the future and cross to the other side of the universe, as her face emerges out of the water. There’s multiple occasions where Bill has a flashback to their time together earlier in the episode and we’re meant to think that it’s her remembering the girl that was before she became this creature, playing to a rather typical trope in how horror films are directed. But it’s actually establishing the opposite, as Bill slowly pieces together the reason why this is happening and realises that this has been Heather all along.

Perhaps the most obvious clue is given to us in how Heather assumes the form of a Dalek that’s trying to kill the Doctor. A Dalek! The Doctor wonders why she didn’t fire on them. She had a gun, after all - “the deadliest fire in the universe”, a Dalek’s weapon.

But she doesn’t use it…

Face-to-face, at last, she affirms her feelings towards Bill when she’s told “I really liked you”. Hyam’s performance here is just brilliant because she’s obviously having to mimic what Bill says, but you can distinctly hear the tone of sadness in her voice as she says the line back to her because this is where they part ways.

And she extends another offer to Bill, showing her what she’s become - how she sees the universe differently now, and all of time and space. And Bill is enraptured with it, but releases Heather from her promise because she’s (naturally) scared. Things still aren’t totally clear: she doesn’t know or understand what she’ll become if she accepts this offer because Heather isn’t totally human any more, but, as we’ve seen time and time again throughout the episode, right up to this moment, she’s still Heather.

The end of The Pilot has two rather important moments regarding the episode’s narrative arc with Heather. Back in the Doctor’s study, Bill asks if she’ll ever see Heather again, to which the Doctor rather cynically responds “I don’t see how”.

But, after Bill calls him out on the mind wipe situation and he’s reminded of Clara - who he’s very clearly still yearning to find - he shows up outside the university in the TARDIS and tells Bill:

“It’s a big universe. Perhaps, one day, we’ll find her…”

I can’t for the life of me find the quote, but, some months ago, Moffat said that there’s a very particular story they have in-mind to tell with Bill. I definitely don’t want Pearl to leave after one series, but it seems like a distinct possibility with the handover to Chibnall ushering in the next era of the show…

As such, I can sort of see how Bill’s story could potentially end if she’s only going to be in Series 10 and won’t carry over into the Chibnall era.

Similar to how Clara and Ashildr ended up with their own TARDIS and went off together to travel in time and space, Heather has her own time travel capabilities and Bill is clearly hoping that, in travelling with the Doctor, they will find each other again.

Naturally, that sets the stage nicely for Bill to continue travelling after her time as the companion is done with her new cosmic girlfriend.

If you know your friend, partner, or family member has dependency issues and they’ve made it clear to you that they have separation anxiety and would rather you tell them you don’t want to talk to them rather than ignore them, and you still ignore them, I’m sorry, but

You’re a piece of shit and they deserve so much better than you. I don’t care what the fuck your reason is. There literally can’t be a logical explanation as to why you can’t take a minute out of your day to text your loved one who’s MADE IT CLEAR THEY NEED THIS to tell them that you’re not ignoring them, you’re just not in the mood to talk.

You are a piece of shit.

it is 2am and i am upsET over voltron shoes

No really have you SEEN THEIR SHOES WHAT KIND OF A TRAINWRECK


like, we have the Paladin Uniform boots right?

Super cool boots, all stylish and colorful, they’re a solid 8/10 no?

But THEN

WHAT ARE THOSE

Lance,,,bby ur the one with the most not edge-lord clothes w h y

WHAT THE EVERLASTING QUIZNAK ARE THOSE

KEITH NO YOU MY CHEMICAL ROMANCE LOW KEY COSPLAYER

Shiro is excused bc the boy’s been drifting from time and space for the last two years his shoes were the least of his worries

BUT GUYS CMON WHAT

HOW DOES PODGE EVEN WALK IN THOSE I HAVE SO MANY QUESTION

HUNK! I TRUST U WITH MY LIFE,,,BUT NOT WITH MY STYLE


anyway bottom line is these kids need to go back to that space mall and get some idk space Converse rip offs and some Heelies stat

anonymous asked:

i'm still in awe at how good sheith is like??? they have such an emotional and heartwarming relationship and have parallels between each season and countless quotes (way more compared to other ships) and you get the sweetness between them but all the angst of keith losing shiro (twice already) and them being separated and their unexplained backstory and there's just SO MUCH to them that it honestly boggles my mind? i don't want to get my hopes up about the possibility of canon sheith but damn

YEAH. purely with what we have in canon already it’s just… //clenches fist. so good. that literally no one–regardless of whether they think it’s romantic–can say they don’t love each other is really incredible for a kid’s action show about robots?

and they’re so healthy and mutually supportive. they talk their shit out, they keep an eye on each other, they give each other space and respect. it’s honestly low-key inspirational. relationship goals, big time.

it’s a really believable relationship because it’s so complex and you can see all these different aspects and insecurities play out in real time within the show.

i mean, i’ve had this tumblr for six years now but i’ve never even remotely cared before. sheith is just that good.

raven-dreams-of-gf-chahut-maenad  asked:

Can I have an esthetic for a time of space(I know they're closed it's a joke)

whOOP NOT A JOKE ANYMORE CAUSE I’M DOING IT.

seriously, i thought one of you would’ve stopped this by now but nOpe

The Time of Space is someone who creates destiny and rhythm with the universe itself and everything it contains.

This player would be a literal GOD. They would basically have control over the very fabric of the universe. Since Time and Space are the cardinal aspects and are vital for having a successful session, having a player that embodies and controls them both would be inSANE. They would also probably have a hardcore god complex even before they entered SBURB. 

I’ve been thinking of these asaspects as VERY LARGE glitches in SBURB, and the Time of Space would probably be the largest glitch of them all. This asaspect is insanely OP and should not exist ever. It would almost be like if you hacked into a game to max out your character and make them the most overpowered thing in existence. Yeah, that would be the Time of Space.

robertssugdens  asked:

39: You're drunk, come on let me take you home

Robert’s making a fool of himself again.

Aaron hates that he cares, hates that he still wants to help, hates that his first thought is to get a pint of water, and get Robert into bed and have him sleep it off. They were broken up, for goodness sake, he wasn’t supposed to care anymore.

But he did.

He always would, wouldn’t it? That was the trouble with falling hopelessly, absolutely in love with someone, it was the trouble with finding the love of your life at twenty-something, it was the trouble with love in general.

You couldn’t just forget.

“Cut him off,” Aaron directed at Charity, the other Dingle never overly bothered about over-serving Robert. Whether it was because she understood how it felt, to be sitting on the outside, to be that alone, or if it was Charity being Charity, happy to make a few extra quid out of Robert, he wasn’t sure.

“‘M fine,” Robert slurred, shaking his head. He wasn’t in the least bit fine, hair a mess and his shirt untucked, looking nothing like the confident, put together Robert he’d fallen in love with, the one who’d caught his eye all those years ago.

“You’re not fine, you’re drunk and you’re mouthing off,” Aaron said, grabbing Robert’s half drunk pint, slamming it down in front of an unsuspecting Sam, who was sitting next to Robert.

One of the few Dingles who wasn’t giving Robert the silent treatment, Aaron noted, his family doing what they did best and icing Robert out, leaving the man who’d once been an honorary Dingle, alone and hurt and sad.

Aaron wanted to help, he did, but he’d needed the space, needed the time away to get his head in order. Clearly, Robert was doing the opposite, and it made Aaron’s heart ache in the worst sort of way.

He’d know exactly how to fix this, if they were still together, he’d hold Robert close and just talk to him, make sure he knew that he knew he could cry, he could yell and scream and be as upset as he wanted to.

Robert glared at him, eyes unfocused as he watched Sam drink his pint. “I paid for that,” he grumbled, patting his blazer for his wallet.

“She’s not going to serve you any more, Robert, so you might as well give up,” Aaron said, deciding to take the tough love approach with his ex-husband. “Go home, sleep it off, and stop making such a fool of yourself.”

“I miss you, Aaron.”

Aaron hated how he knew people were watching, watching the great Robert Sugden reduced to a heartbroken mess, a shell of the man who’d burst through the doors a few years previous, the world at his feet.

“You’re drunk,” Aaron sighed, hoisting Robert out of the bar stool he was slumped on. “Come on, let me take you home.”

Robert didn’t protest, not really, letting Aaron half carry, half drag him out of the Woolpack, and toward’s Diane’s cottage. He was living there again, out of the Mill, refusing to set foot in Victoria’s place while Rebecca was there, choosing Catchphrase with Doug and quiet mornings with his step-mother.

“Could you - hic - could you ever love me again?” Robert asked sadly, hand fisted in the material of Aaron’s hoodie.

“What makes you think I’ve stopped?” Aaron inquired, Robert mostly a dead weight as he urged him up the little garden path to the front door, lights off and Diane and Doug at the B&B.

“You kicked me out,” Robert said, eyes welling with tears as he leaned against the wall of the house, searching his pockets for the front door keys. “You didn’t want me around anymore.”

Aaron sighed, noticing Robert’s keys hanging out of Robert’s coat pocket. “That doesn’t mean I don’t love you, Robert,” he said, twisting the key in the lock. “It means I need time, and I need space, to get my head in order, but it doesn’t mean I don’t love you.”

Robert blinked at him, dark circles practically black, his ex-husband exhausted looking.

“I will love you forever,” Aaron reassured, getting the front door open after a few tries, gesturing for Robert to go inside. “I just need a little bit more time, yeah? You can give me that, can’t you?”

Robert nodded, running a frustrated hand through his hair. “‘M sorry,” he mumbled tiredly, the confidence the alcohol had fueled wearing off.

“Don’t be,” Aaron shook his head. “I’m hurting too, Robert.”

“I know,” Robert said, voice thick with tears. “I just don’t know what to do with myself, without you.”

Aaron leaned in, pressing a kiss to Robert’s cheek, feeling the stubble there scratch against his skin, letting his lips linger for a second before he spoke. “For now? You need a glass of water and bed.”

“And tomorrow?”

Aaron gave him a sad look. “We keep going, I guess. We - we try and be better, so we can be better together one day.”

“One day?” Robert looked almost childlike, hope written across his every feature.

Aaron nodded, the words a promise, this time. “One day,” he confirmed. “Goodnight, Rob.”

“Night Aaron.”

Never one to be defeated so easily, Elsa stuck her foot out and swept Anna’s legs out from under her. It failed to make her sister drop the dart gun, but she did land in a heap on the floor.
“Owww.” Rubbing her bottom, Anna threw her a withering glare. “Where’d you learn to do that?”
Elsa pulled out her backup dart gun and got to her feet. “What, you don’t think basic martial arts was part of my Org training?”
“You, a martial artist? Ha!” Anna picked herself up, and did not appear to be the least bit surprised that Elsa had recovered already.
“There you go, accusing me of being clumsy again,” she remarked. “I wouldn’t be able to do my job half as well if I wasn’t able to maintain some grace under pressure.”

Whatever you say, Elsa… 😂

so @spacebreath had a longing for a hot third-year yamaguchi and I wanted to satisfy this longing but things went a bit out of haND AND THEY DON’T EVEN LOOK LIKE TEENAGERS ANYMORE SO here you have 30yo tsukkiyama
bless whoever come up with the headcanon of pigtail yama

Why Space Marines need to be male

(in this I use Adeptus Astartes and Marines/ Space Marines basically interchangably, mainly for the purposes of readability, so assume I’m talking about the same thing unless I state otherwise)

I mentioned, briefly, in a response to a reader letter in the most recent White Dwarf, that I had a reason for why I think there shouldn’t be female Space Marines. Just so we’re totally clear by ‘Space Marine’ I mean specifically Warhammer 40,000’s Adeptus Astartes, I’m not saying Pvt. Vasquez or Samus or whomever shouldn’t exist. I think it is very important that the Adeptus Astartes should be male, and it isn’t anything to do with the game’s fictional reason for why this is so.

In 40k, only men get to be Space Marines, or rather, only boys. They are taken at a young age, in pre- or early puberty, and physically and mentally made into killing machines. The fiction justifies why it’s only boys that get taken because of some vague notion of the process requiring male hormonal development, which one assumes to mean high testosterone, which is some waffle. I don’t think it’s the strongest reason to restrict Marines to one gender, because HRT is a thing (I’m not really prepared to get into a discussion about trans men as space marines, that’s not what this piece is about so I’ll have to leave that I’m afraid, but that’s definitely something I’d like to hear a take on) but again, it’s not the direct, in-fiction reason to keep the Astartes male that I support, it’s broader than that.

It essentially boils down to what the Space Marines are, what they mean, and what exact genre of fiction Warhammer 40k actually is. In the narrative, of course, the Space Marines are the Emperor’s Angels of Death, his will made manifest, humanity’s finest. They are portrayed as the ultimate soldiers in a galaxy constantly at war, as heroes to all, defenders of humanity. The process to actually become a Space Marine is arduous and long, but if one were to become a Space Marine it would prove that yes, you are one of the best fighters humanity has to offer. Without question.

It’s when you actually analyse what that actually means, what being a Space Marine means, that I hope my reasoning becomes a little bit clearer. If you’ve ever had the pleasure of trying to teach a group of ten year old boys who’ve never seen warfare, who’ve never been affected by it or grown mature enough to comprehend the horror of it, I highly recommend it. Not because you’ll really get anywhere. It’ll be a troubling and haunting experience for you, actually. I covered the First World War with a group of Year 5 boys a couple of years ago, as a coda to us finishing Micheal Morpurgo’s Private Peaceful together. The book is quite damning about the way soldiers were treated by their own country during the war, about how being in a total war situation can affect and damage a young person’s mind, how it can make them do things they wouldn’t dream of doing elsewhere. I confess, I got very emotional at the book’s climax. I take the horror of the First World War very, very seriously (I covered it in my Battlefield 1 review). I consider it an appalling waste of life, a grotesque display of colonialism and imperialist chest-thumping on all sides. I was quite shocked, perhaps naively so, that the boys I was working with didn’t see it that way. After going over what life in the trenches was like, the sheer number of casualties lost over a matter of inches of ground, the complete inability of command structures to adopt strategies that would have mitigated said loss of life until the very end of the war (just to be clear, I did not try to impose my own opinion of why this was on the children; I explained to them how new this form of warfare was and left them to form their own conclusions), several of the boys still seemed quite excited by the idea of it all, of going over the top and firing artillery and what have you. I realised, of course, that they were mapping what we’d discussed onto what they knew about warfare and violence, which is to say the games they played and the films they watched. Even though I was trying to show them that war, perhaps, was not a heroic and exciting affair, they couldn’t see it that way. They even saw death in war as some kind of noble thing, because thats the way they’d seen in on screen. Dulce et decorum est pro patria mori’ indeed.

Space Marines represent this kind of thinking, intentionally so. They are the epitome of the uncritical approach to analysing warfare, all glory, no downside. The idea that one might get to fight, and be really good at it, and do it all the time is a neat idea if you only know about war as this cool thing from video games and movies. The idea of the Warhammer 40,000 Space Marine works as a criticism of how we teach boys about war, how we introduce them to it and how casually they absorb the imagery of it, getting uncritically excited about tanks and guns and bombs. Space Marines, fundamentally, are little boys who never really grow up, robbed of a genuine adulthood to instead fight with their mates, forever, until they die, without having to worry about why or who they’re fighting. And that’s why I think its important that Space Marines be male. Because if there were female Marines, this implicit criticism of boys and war wouldn’t be as effective. Thats not to say that I think there aren’t girls who get excited by this kind of thing, there are, but societally we don’t push it on them the same way. We don’t guide them, unconsciously, to this kind of fascination in the same way we do boys because ‘girls stuff’ isn’t about being a hero and fighting and being tough.

Let’s be absolutely clear here, the notion of things being separated into ‘girl’s stuff’ and ‘boy’s stuff’ is patently ridiculous, damaging and regressive. We, societally, still do it by the skipload. Again, work in a school, you’ll see this low-key gender-based segregation all the time. It’s frustrating.

It’s important that Space Marines be male, and only male, so this criticism can stand because of what Warhammer 40,000 actually is. More than it’s sci-fi, more even than it’s fantasy, Warhammer 40k is a horror story. It’s actually terrifying, a mix of Orwellian dystopia with Lovecraftian Horror and Hieronymous Bosch artwork. There’s definitely a place in the game for gender equality, but it has to exist within this horror framework, so it’s not ‘equal rights for all’ so much as ‘everyone will get to die for their empire equally’. The Imperial Guard, for example, where it’s not who you are, its just that you’re a body that can hold a lasgun. When people ask for female Marines, when they come up with their own head canon or whatever, maybe a better option is to think, ‘why do I want this? Is it because I want to see a woman who’s as powerful as these men?’. In that case, think about those men. Think about the context within which they exist. Think about the power they represent. Space Marines are the Mitchell and Webb SS sketch but without the punchline. You know the one, where the two Nazi SS officers are sat down, and one of them, acknowledging the plethora of skull emblems on their uniforms wonders ‘Are we the bad guys?’. Space Marines are covered in skulls, only they don’t get to have ethical quandaries.

Representation is important, but it can’t be as simple as like-for-like, it needs the appropriate context to justify it so it doesn’t feel token or inappropriate. I don’t know if there’s an answer to the ‘female Marine’ equivalent, I don’t know if there can be. I don’t think it’s the Sisters of Battle. They’re their own weird, exploitative thing. I think the main thing people need to remember about 40k is that no one’s the good guys. Everyone’s terrible, because they need to be, because it’s a game that needs to justify why everyone fights all the time. It’s satire, parody, cynicism and good old British gallows humour. So trying to find positive representation in that always struck me as kind of a weird idea. If you want lady marines because you want to see some tits in power armour, you can kindly fuck off into a skip. If you want lady Marines because you want representation, is that really the representation you’re looking for? Emotionally stunted killing machines who have become the poster children for a nightmare regime? I honestly think Warhammer 40,000 has some great female characters, but they’re largely absent from the tabletop, acting in the fiction as the human foil to the inhuman marines. If you really like the 40k universe that might be the place you find the representation you want, the Horus Heresy books are a good place to start.

And They Shall Know No Fear. Only people who think they’re invincible live without fear. We unfortunately live in a world where girls learn that they’re not invincible much earlier than boys.