legitimate businessman

House Call, Part 2

The detective sauntered down the concrete alleyway, as his protégé tread with a light step behind him. Eyes felt something, a feeling he hadn’t known in years. Was that… Music? He could feel the abrasive beat against his chest, a bass level unrivaled by wasteland technology.

Fish rapped his knuckles against the steel door with a metallic echo, and almost instantly, the slat in the door opened and a deep voice emanated from behind the passage

“State your business” it said

“It’s Fish, V expects me.” Fish answered, Eyes  genuinely terrified of what could possibly lurk behind that door.

The voice spoke in a foreign tongue to its comrades, and turned back to the opening in the doorway

“He’s in the back.” It said, slamming the slat back shut. The unmistakable sound of latches and bolts unlocking could be heard from the other side of the door, and opened inwards for the two of them. The music was considerably louder inside, and shook Eyes to the core on every beat. It was some sort of gangster rap music, but in a language unknown to Eyes.

The voice was revealed to be a four-armed monstrous man with hands like wrecking balls. He wore a white tank top over his hulking muscle structure, and upon further examination, had rock-like shards spreading across his entire body. Marked on his shoulder was a tattoo of a triangle with a single eye in the center.

Fish and Eyes entered the building, which elicited the slight glance from a few menacing , but nothing serious. This alone was enough to startle Eyes, who sidestepped behind Fish who was busy lighting a cigarette. Fish stepped forward towards a large wooden bar, once a glorious altar to friends and drunks alike, the dark oaken bar was now a lively spot for anyone with the coin and a willingness to step above the law.

Fish, a regular drinker as Eyes had observed, mounted a worn leather and wood barstool, surely seeing its fair share of late nights.

“Fish!” A voice called from the left. Eyes, still contemplating whether to sit or not, looked up immediately to see a man, well dressed in white and black. His body was truly nothing more than a white circle with arms and legs and a single monstrous eye in the center of his torso.

Fish looked up to meet the circular stranger’s gaze, and his face perked up a bit

“Cuz, long time no see. It’s been a while lil’ guy, how’s the bar?”
“Not too bad” Cuz responded, his eye slowly shifting to meet Fish’s thousand-eyed comrade. “What’s the deal with your tagalong? Witness Protection? Suspect of a crime? Someone kill his family?”
“Business. None of yours actually.” Fish responded sternly.
“Well jeez, pal. Didn’t mean to get you all rough in the gills. Let me make it up to you.”

Cuz pulled a roughly marked glass bottle with a dark liquid inside of it and poured some into two glasses.

“We square?” Cuz asked, sliding one of the glasses across the bar to Fish.

“Sure.” Fish replied  

“Listen Cuz, you’re my favorite barkeep, but I’m not here for the rotgut. Not today, at least. We’ve got business with your brother.”

Eyes stood beside Fish contently and nodded as if to back up his point.

“Alright, I get it. You come by for the first time in weeks and you don’t want to have a drink with ol’ cuz. No worries mi amigo, I love you too.”

“Let’s not get all offended here, I’ll be back for that drink, don’t worry.” Fish reached into his coat pocket and dumped a small pile of coins which Cuz quickly slid across the bar and funneled into a glass container. He got off the stool and looked at eyes, waving a finger to motion for him to follow. Fish and Eyes walked across the bar, ducking past patrons far larger than the two of them combined.

In the back of the bar, a tall ornate maroon door stood in a golden frame, guarded by two of the larger well dressed patrons. One looked down at the duo, and stepped aside allowing them entry. Fish promptly opened the door as Eyes examined what lie behind it. Realizing that some no one larger than him was in the room beyond, Eyes sped through the ten foot door frame eagerly.

The room beyond was the cleanest, most luxurious display Eyes had ever seen, the carpets were stainless, monogrammed with a “YV” patterned across the area of it, shining pillars rose from ceiling to floor, standing spotless and shined, and a gigantic golden chair stood behind a desk that appeared to have been polished every day for a thousand years.

The chair began to swivel slowly, and the occupant was revealed. On the cushion sat a triangle, he was simply that. Nothing more than a triangular body with a single eye and limbs. He wore a white pin-striped suit and a shining gold revolver at his side. He sat up in his chair and placed his hands on the desk.

“Fish. Thank you for coming. Your associate as well.” The figure said, his eye studying the two of them.

Fish took a cigarette from his breast pocket and lit it promptly. “What do you have for me, V” He said, busy taking his first drag.

“First things first, it seems you owe me an introduction to this one.” V said, gesturing towards Eyes

“Right, right. This is the kid I’ve been keeping around. I just call him Eyes, shouldn’t be too hard to see why” Fish said, chuckling at his own joke.

V forced a laugh, then met one of Eyes’ many stares. “You know who I am, boy?”
Eyes shook his head nervously, wondering if he should

Fish turned to Eyes “This is Yung Venuz. Head of the Venuz gang, a legitimate businessman who has often been wrongly accused of revolutionary crimes.”
Venuz laughed, this time legitimately.

Eyes’ stare widened, now realizing the caliber of criminal he was dealing with. Venuz, not nearly as physically threatening as any of the mutants in the bar was the mastermind.

“Look at the kid, you scared him I think” Venuz said, forcing words between laughs. “Come here, kid, I’ve got something to show you” Venuz dismounted his chair, and Eyes waited for the sound of his feet to hit the ground, but it never came. As Eyes walked across the room, he soon realized that not only was this the criminal mastermind of the city and beyond, he could levitate.

Venuz pulled open a drawer of his desk, inside it were more revolvers than Eyes had ever seen in his entire life. The boss picked one up, inspected it, and held it towards eye, handle out.

“Take it kid, you’re going to need it if you’re working with this guy” Venuz said, gesturing backwards to Fish.

Eyes slowly and reluctantly grabbed the handle of the revolver. He felt its weight, which was a surprising realization, as he had never held a weapon in his life.

“Well, seems like you owe me for that gun then, right?” Venuz asked

Eyes looked up from the firearm immediately, staring nervously at Venuz.

“Looks like you’re tagging along on the job then.” Fish said “So what is it, V? Someone get shot again?”
“I wish, my friend. But this one is a bit uglier.” Venuz walked over to a maroon and gold wardrobe along the wall. He sorted through various sizes of an identical uniform consisting of a black dress shirt and pants, white vest and white armband with a logo of Venuz on it. He pulled two sets from the closet and closed it back up.
“Someone’s been stealing from our supply posts in the desert. My boys don’t usually get put on the outposts without a clearance to shoot anyone who isn’t one of us, so you two are going to need these.” He tossed each of them a uniform.

“I don’t have the slightest damned clue what’s happening over there, but I need two out there who aren’t one of mine.”
Fish inspected the uniform “White isn’t really my color, V. But hell, it’s a job.” He stretched his hand to Venuz who accepted his shake.

“I want you two out there as soon as you can, I’ll have a map drawn for you. You have my clearance to shoot the bastard when you find him.” Venuz said

Fish took a drag from his cigarette, and met Venuz’ eye.
“We’ll find him, V.”

The two shook hands, and Fish turned, uniform in hand. Eyes, still distracted by his revolver, looked to see Fish leaving and ran after him.

“Let’s go, kid. And don’t shoot anybody til’ we get there.”

deadly kanej

in celebration of reaching my next 100 followers (!!!), I bring to you some headcanons 

- there was absolutely no denying that one of them was as deadly as the other, both of them fleeting creatures. they can jump you in broad daylight with nobody being the wiser.

- they were sneaking vipers that would coil themselves around your neck with their own soothing lilt to distract you from it. kaz envelopes you in words and inej strikes with darkness as her ally. 

- despite his sleek appearance, his distorted version of being a legitimate businessman, kaz was never above getting his hands dirty if need be. his years on the streets made him a fighter who can absolutely hold his own through resilience and stamina, as well as trickery. 

- inej is more elegant in her deadliness. she doesn’t revel in it like kaz does. she doesn’t enjoy it like he does, either. to her, it’s a means to an end.

- kaz sometimes finds himself intoxicated by the violence he commits. after all, it was the only thing in his life that ever helped him get anywhere. 

- inej sometimes finds herself seeing a certain beauty in kaz’s bruised and scarred body, in his split lip and busted knuckles. it reminds her that this is also the boy she loves. 

- their choice of weapon is no coincidence: 

inej chose blades because they mean she is forced to look her victim in the eye. she doesn’t believe in letting the lives she takes count up on an invisible list somewhere, to have their faces blur and become indistinct. she owes them remembrance – a life is no currency. 

kaz chose guns for his killings. they make for quick business. he chose to make his weakness a weapon in itself, his cane darts out to break a shin in the blink of an eye (because he will be damned if he lets anything get in his way)

- inej’s religion lets her see death as an extension of life on the one hand, and the other side of the coin on the other. kaz’s religion of greed stems from a life led with death always breathing down his neck. if you are not clever enough to best it, then more the fool you. you’re as much at fault as he is. 

- he uses his violence for her, to protect her, to help her and inej knows what it means for that boy to work for a cause that doesn’t primarily serve him.  

- they were never far from each other. he misses the security of knowing that she was following him like a ghost in the shadows. 

- inej misses the security of knowing that the death she brought to the world was committed on another’s commands. 

- despite the horrific crimes that make up the trail of blood that kaz has left behind him in the course of his life, he cannot regret it because he knows it brought them together.

- despite her innocence being corrupted and her self-determination being dissolved into fear and helplessness, inej draws strength from the knowledge that those experiences helped her learn how to fight her way back to her feet. because now, in her struggle to make the world a better place, they stand her in good stead. 

anonymous asked:

While I'm not sure one can see The Penguin as childish (more as someone who desperately wants to be a Gentleman Bandit - with all its associated Romance - but is obliged to be a "Legitimate Businessman" by his financial & physical limitations) I genuinely loved your thoughts on The Riddler and would still enjoying hearing your ideas for The Penguin himself.

That’s definitely the modern interpretation, but the modern Penguin is not only generally a C-lister but seems deliberately presented as such - not that Cobblepot as a ‘legitimate businessman’ doesn’t have its moments, but it’s always felt to me like an abdication, a none-too-subtle way of admitting that no one can quite figure out how to make Penguin work as a straight-up supervillain and therefore no one’s even going to try anymore. I used to be (somewhat reluctantly) in the same boat, but the mindlessones’ Rogues Review entry on him pretty much flipped me 180 degrees on the subject. I don’t want to just rehash what they said wholesale, so in short: if the Riddler is a dark mirror to the potential immaturity of what Batman’s setting out to do, Penguin is if Bruce never grew up period, the worst possibility for what he might have become if he hadn’t been born again hard in Crime Alley. A ridiculous, posturing Little Lord Fauntleroy grown up soiled and perverted and cruel, a cooing momma’s boy whose tantrums behind her back rock the Gotham underworld. Obsessed with his pet birds and clutching to his umbrella like Linus does his blanket - adapting along with him to the criminal world he so loves with buzzsaws and flamethrowers and helicopter blades - he’s a naked coward under the slightest pressure even as he wak-wak-waaaks to himself over his superiority whenever he seemingly has Batman backed in a corner and Doomed, Doomed I Tell You!, craving the world’s fawning acceptance before his sophistication and charm even as he leers at the help and dresses like a 4-year old’s idea of how rich people look. Him putting up a front as a nightclub owner and running for Mayor I think works just fine in that context, but always deep down is the idea that he’s the childishness at the heart of Batman’s world curdled into id run wild; a brat demanding love and attention and respect, with the force of old money and tank-sized rubber ducks of doom backing up said demands.

anonymous asked:

Any Sterling Headcanons?

  • Born with a silver spoon in his mouth
  • Went to Harvard and didn’t have to pay a dime for it
  • Is legitimately a good businessman, doesn’t play dirty to get what he wants (in terms of legal matters anyway)
  • Isn’t afraid to speak his mind. He knows how he wants things run, and he makes sure he gets what he wants.
  • Never married. His focus has always been on business above all else.
  • Has an alcohol problem. He prefers vodka.
  • Lives in a mansion by himself
  • Favorite book is the Great Gatsby
  • Has a butler that polishes him once a day
The Wire: Stringer Bell (INTJ)


Introverted Intuition: Stringer Bell is first and foremost a visionary. He has a clear, bold, and singular idea for his future: turning the Barksdale-Bell drug empire into a legitimate business and becoming himself a legitimate, respectable businessman. His hobbies and passions are all centered around this goal. He takes economics classes at the local community college, where he excels, and when the police finally raid his home they find his bookshelf filled with works like The Wealth of Nations. Stringer has little to no respect for past traditions; he ignores the venerated Sunday Truce and he is quickly attracted to and supports new ideas that fit into his vision of drugs as a proper business, like Prop Joe’s New Day Co-Op or Bunny Colvin’s Hamsterdam. Stringer’s Ni-tunnel vision will ultimately prove his undoing, as he ignores past and traditions right until they show up in his face with a shotgun.

Extraverted Thinking: Stringer is good at the day-to-day management of the Barksdale-Bell crew because he’s great at logical, clear-headed decision making. He gives his subordinates clear, consistent, detailed, and logical rules to avoid detection by the police and he expects them to be followed. He enjoys structure, implementing the Robert’s Rules of Order for use in drug crew meetings when he takes over for Avon in Season 2. He’s blunt and unflinching when expressing his anger or disappointment at someone (as opposed to his Ti-Fe partner Avon, who is generally more diplomatic). Rather than solve problems by logically thinking through multiple scenarios (Ti-Ne), he instead intuitively comes upon the root cause and efficiently enacts a solution (Ni-Te). This approach serves him very well when it comes to things he’s familiar with, like the drug game (he effectively crushes the police case against him in Season 1 at the first sign of trouble by destroying pay phones and ruthlessly murdering any witnesses who might testify against him) but in Season 3 his similar efforts to cut through the red tape of real estate development end with him losing thousands of dollars. In general, he’s ruthless and practical at solving real-world problems,ordering a hit on anyone he sees as a threat.

Introverted Feeling: Stringer keeps his emotions very close to his chest, rarely expressing to anyone how he truly feels about any situation . He has a deep loyalty to his childhood friend Avon, and remains loyal to him even when Avon is in prison. When Avon becomes too much of a hindrance, Stringer tries to send him back to prison rather than murder him as he has with every other threat. Stringer shows little to no compassion for anyone other than his very closest friends, and he orders the deaths of multiple members of his own organization, even ones who have shown loyalty. Stringer is deeply hurt when Avon or Clay Davis questions his view of himself as an intelligent businessman and imply that Stringer is little more than the jumped-up gangster which he has tried his entire life to rise above. But in general Stringer doesn’t care what others think of him. While Avon constantly worries about his “rep,” and takes disrespect as a personal affront, Stringer only cares to the extent that having a bad rep will be bad for business.

Extraverted Sensing: In general, Stringer doesn’t like to get involved with the street-level dealings and violence of his business, preferring to live in the intuitive world of upper management. He is excited by the prospect of being able to sit back and live off his money while other people do the dirty work, as opposed to Se-dom Avon who needs some kind of hands-on involvement. However, Stringer’s inferior Se bites him a couple times in the series. He can’t fully divest himself from day-to-day workings of the operation in S3 even after he’s made enough clean money that he can never go near drugs again (this decision is also fueled by his Te control freak side), and he jumps into a few rash decisions, most notably leaping into Clay Davis’ investment before fully thinking it through, to disastrous results, and his impulsive move to send Omar to eliminate Brother Mouzone will eventually lead to his death. 

Something I do like about Love Never Dies is that we get to see Erik, ten years older and maybe a smidge more mature, being, like, a real person? And not just skulking around an opera house where most people don’t really believe in him?? He’s a legitimate (kind of) businessman with employees who depend on him for their livelihood. He’s an important figure on Coney Island, and everybody knows who he is. When Christine & co. show up he doesn’t try to steal her away. He offers her a spot in his show for a good salary, just so he can hear her sing again. Of course, when she refuses he resorts to threatening and intimidation, but he tries to do the right (ish) thing first. He’s not the sad, cringing little sewer goblin he used to be. Now he oozes self-confidence and has clearly grown used to being in charge. He’s not begging for Christine’s blind devotion, because he doesn’t have to beg now. He’s accepted (kind of) that Christine is out of his reach, so he’s asking her for one final gesture of kindness. And yeah, probably he doesn’t deserve it, but mentally he’s strong enough now to ask her instead of simply demanding, and idk I just really dig Erik acting (and being treated!) like a real person.

Epic Movie (Re)Watch #204 - The Untouchables

Originally posted by thefilmfatale

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: Blu-ray

1) Al Capone at the barber.

Originally posted by filmvisionary

First of all, this scene establishes Capone’s position in the world of the film. The press treats him as a legitimate businessman despite his immoral standings (he’s a KNOWN bootlegger, he doesn’t even hide it), which means it’s going to be all the more difficult to take him down. He’s totally in control of the scene and the fear we see in the barber’s eyes when he accidentally cuts the mobster shows just how dangerous he really is. It’s a great first taste of the gangster.

2) The second scene - of the shop blowing up and the little girl going up with it - does well to draw in audience sympathy. Despite all his showboating Capone is a monster who kills whoever gets in his way. A bully on the worst scale. He literally murders a little girl as collateral damage because someone doesn’t want to serve alcohol. That’s just fucking evil.

Originally posted by nicolaswindingrefns

3) As I’ve noticed with many mob movies, The Untouchables has a woman problem. Patricia Clarkson is great but here character is nothing more than the dotting and supportive housewife. Like, there’s no conflict to her AT ALL. Her husband is doing work which puts her and her family at risk but she’s always supportive/understanding. Can’t have the woman questioning her man now can we. It’s kind of annoying. And then the only other two female characters I can even think of - the mother of the murdered girl and the woman at the train station - aren’t even characters really as plot devices. They’re just there to up the stakes for Ness.

Originally posted by mulder-scully-gifs

3.1) ARE YOU KIDDING ME!? I just googled this shit and for one thing Eliot Ness didn’t have any children during the time this film is set and two HE DIDN’T HAVE A HAPPY MARRIAGE! They ended up getting divorced a few years later IN THE 30s! But the film decided to drop that ripe conflict and interesting character interaction to instead give us a cliché dotting wife trope!?

Originally posted by thegifsshop

4) Kevin Costner as Eliot Ness

Originally posted by screencapped-movies-tv

The best movie heroes don’t see themselves as heroes and aren’t portrayed as invincible/mythological but as just normal people trying to do good. That’s exactly what Ness is here: a good man doing his best. While at the beginning of the movie he’s a bit of a boy scout, it’s his development from that into a man who is willing to go further for a good deed which makes him interesting. This is a guy who pins up a headline of his first really big failure, who is able to remove any sense of ego and pride to ask for help when he needs it. He HATES it when he has to kill people (as seen when he has to shoot one of Capone’s goons in Canada) and just wants to get home at the end of the day. Costner portrays all of these qualities very well, making Ness an honest and down to earth character. Writing a character to be that is one thing, but Costner actually portraying that helps the audience get invested in our protagonist.

5) Sean Connery as Malone.

Originally posted by larinah

Connery was won his only Oscar (and it was the only time he was nominated for an Oscar) in this part and you can see why. From his very first scene Malone is striking and memorable, taking complete command of every scene he’s in. Robert DeNiro as Al Capone is a tough guy to go up against, but through Connery’s performance you believe Malone can really help take him down. That’s how strong a performance he gives, being the standout player in an already great cast. And one of the key things about Malone is that he’s not all about bravado. He’s not a trope, but a character. He has fears, insecurities, but he’s able to push past these to do the right thing. This just means Connery’s performance is all the more layered as he plays out Malone’s decisions and conflicts. It’s absolutely great.

6) The church scene.

I think this scene is largely memorable because of how powerful the cinematography is. It’s a unique visual; the characters are kneeling/in a state of submission but by towering over the camera they’re given power in the shot. But it’s more than just an amazing shot (which that is), the scene also clearly sets up the stakes and goals of these two cops. You clearly understand Ness’ morals and convictions here while Connery’s always amazing performance as Malone really helps to carry the scene.

7) I love the way Malone tests George Stone/Giuseppe Petri (played wonderfully by a young Andy Garcia). He wants a real fighter, someone strong in their convictions, not someone who could easily be pushed over by Capone. So seeing how reacts to blatant racism is very telling of this. Also I just love that THIS is the way Giuseppe (I think I’m going to call him Giuseppe in this post) handles it.

8) I go to school in Chicago, so I recognize a ton of the bits in the film which were actually shot in the city and I always get a kick out of it. Like, “oh, I walk down that street. Oh, I’ve been there. Cool!”

9) The ease with which the titular Untouchables handles the first liquor raid reminds me of a quote by Edmund Burke: “The only thing necessary for the triumph of evil is that good men do nothing.” Everyone KNOWS where the liquor is, Capone’s not HIDING, just no one wants to take him one because of his power and because they don’t care. It’s not hard at first, it just gets hard once you actually make a move.

10) The dinner scene.

I think this is DeNiro at his best in the film. The dinner scene is ripe with tension as soon as Capone picks up a bat. You KNOW what’s going to happen with that bat. He’s Al Capone for pete’s sake! The slow pacing of the scene as well as what is basically a demented version of “duck duck goose” (as Capone makes his way around the table, we’re waiting to see who he’ll wail on with the bat) really ramps up the tension, while the total brutality of the scene’s outcome raises the danger/stakes for our heroes.


Ness [in shock at the suggestion]: “Try [Al Capone] a murderer for not paying his taxes?”

I was originally going to use the “Dramatic Irony” gag from Netflix’s “A Series of Unfortunate Events” but it doesn’t really work in the context so instead:

Originally posted by sweetscarlett

12) This line always stuck with me.

Canadian Mountie: “And surprise, as you very well know Mr. Ness, is half the battle.”

Ness: “Surprise is half the battle. Many things are half the battle. Losing is half the battle. Let’s think about what is all the battle.”

13) The entire shootout in Canada actually works very well. There’s a grand amount of tension in the scene before anyone even fires a gun, just when we’re waiting in the shack. Then the fact the mounties kinda screw up Ness’ plan creates interesting conflict because anything that can be done to throw off a well thought out plan is interesting. But what works the best is the fact that the ensuing skirmish between Capone’s men and the authorities is just so damn entertaining to watch. The music, the action, all of it makes it feel really heroic honestly. I dig it.

14) I really like Malone’s trick that convinces Capone’s guy to turn on him. It’s really intelligent and the fact that the movie kind of takes it seriously (with the music and the focus on Capone’s living goon) actually makes it pretty funny.

15) Wallace’s death packs a considerable punch, primarily because he was the best on the team. He was the most honest, the most earnest, just a good man. Even better than Ness you could argue. So the fact that he’s the first to die and in a truly awful way just drums up a lot of sympathy/reaction from the audience.

16) If you want to understand the impact Wallace’s death has on the story, look no further than the following scene. The fact that Eliot just straight up goes to confront Al Capone is A) a powerful choice by the character and B) very telling of his emotional state that he does something so reckless.

Originally posted by karmicreditplan

17) I love how pissed Malone gets when it seems like they’re done going after Capone. When he’s in, he’s all in. His own personal stakes are so high by now. What would the point be of all of this, of Wallace’s death, if they’re not going to go all the way? This whole moment could really be considered the low point of the film, meaning a big change needs to happen.

18) A lot of my notes lately have been about scene and in some ways how one scene leads to another. The death of Wallace leads to Eliot making a hasty move as well as the crumbling of the investigation. The crumbling of that investigation leads to Malone confronting his police pal about Capone (more on that in a moment) which leads to the next scene which leads to the next scene. The best structure of a film is an invisible one and the organic nature of this plot means just that. It’s pretty great.

19) As I mentioned above, the scene where Malone confronts his cop friend about Capone is really great. Not only is it organically born from what’s happened but it’s pure stakes. If a character - ANY character - can leave the scene without getting what they want and not being totally devastated the stakes are too low. NEITHER character can yield to the other without being totally fucked, to the point where they have a fist fight trying to hold on to their stakes.

20) Malone being stalked by one of Capone’s men in his own apartment is INCREDIBLY effective as a scene of suspense. The use of point of view camera angles in this shot is great. The audience is given the information we don’t think Malone has and we’re worried for him. Much like the shark in Jaws, it seems like he’s about to get jumped on by a bad guy before he turns around with a friggin’ SHOTGUN and utters one of the greatest lines in film history.

Malone: “Brings a knife to a gun fight.”

21) Following this, Malone’s extended death sequence is absolutely gut wrenching and another strong example of Connery’s excellent acting. It speaks once again to stakes. He’s holding on as desperately as he can, as long as he can, until he can tell Ness what he died for in the first place. Until he can do one last thing to help put Capone away. It’s just totally heartbreaking and I love it.

22) The Union Station shootout.

This is by far the most iconic moment in the film I think. First of all, let me mention two personal things about this scene: I walk those steps REGULARLY and one of my teacher’s at school is a sailor in this scene (I just don’t know which one, I think the left one walking up the stairs).

A perfect example of high stakes from slower tension, not only does the scene take its wonderful time building up to the shootout but the violence itself is also in suspenseful slow motion. The inclusion of the baby buggy not only adds a slight ticking clock element to the pre shootout scene but also a grander scene of immediate stakes as the action unfolds. NO ONE WANTS TO SEE THE KID GET HURT! It’s just really freaking great.

23) The final encounter with Ness and the man in white who killed Malone always felt a little extra to me. On the one hand it ties up that loose end and is very entertaining to watch. At this point I’m more interested in what is happening in the court room with Capone though. So…I don’t know. The movie is pretty great so I guess having it in doesn’t hurt it. Also Eliot killing him in basically cold blood shows a lot of development for his character. As does…


Eliot [on how he convinced the judge to change juries]: “I told him his name was in the ledger too.”

Lawyer: “His name wasn’t in the ledger.”

Originally posted by honkytonkmexico

25) And this is a final good note.

Reporter: “They say they’re going to repeal prohibition. What will you do then?”

Eliot: “I think I’ll have a drink.”

Eliot was never fighting for prohibition. He was fighting for the law. He was fighting against a bad man who was killing people and alcohol was a part of that. And I think this last line represents that perfectly.

Despite whatever issues I may have with it’s female representation, The Untouchables is an absolutely excellent film. It is wildly entertaining, able to be fun and dramatic at the same time. And although Sean Connery gives the best performance in the film, he is a part of an ensemble with no weak link in its bunch. From DeNiro to Costner to Garcia, they’re all great in the film. All in all, The Untouchables is just a great movie.

lyla-lycoris  asked:

Challenge: Xira Arien is a refined lady of refined tastes. She's hosting a get-together that is said to be the most important event of the year. Cards in this deck cannot show overt violence or horrible monsters. Some thematic suggestions include Masked Admirers and Olivia Voldaren.

Holy hell, this is an amazing theme. Let’s get started.

Xira’s Guests

Anyone who’s anyone is going to be at this party, and Xira has gone out of her way to make sure that all sorts of nobility, aristocrats, artists, clergymen, and entrepreneurs are represented.

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Hinky the House elf was truly not like all the other house elves. Although crafty, he always needed to be reminded to help out his Mistress, and, although young and healthy, he did not wish to carry out the simplest tasks: cleaning the mansion or preparing five course meals without punishment. Even then, he dared to speak against his Mistress under his nose, and once or twice was caught stealing his Masters’ possessions. The Mistress suspected he might have had some goblin blood in him - how else would you explain such behavior? The Master blamed modern morals and the tolerance propaganda that even House Elves seemed to have picked up. Unimaginable, even the Daily Prophet thinks it is acceptable for purebloods to marry muggles!

Now, he heard, they dared to wish to be represented in the Ministry, and what came next? House elves wanting their own department? What a truly terrifying age to live in.

But Hinky did not wish for a Ministry department. He did not like listening to politics or reading newspapers, and, frankly, he didn’t even like other house elves that much. He did like buttons. Those were his favorite. Watching the youngest Mistress sew those pearls on her gown was his most favorite pastime (until she would notice it, of course: no one would enjoy burning candles thrown at them).

One day the Mistress had a particularly bad day. Some half-blood infant was rumored to had defeated the Dark Lord, and the war was lost. Traitors and mudbloods usurped power and now began arresting those of noble families, as though they were common criminals. And because she could never have a break, not even in the comfort of her own mansion, the tea Hinky served her was cold and not sweet enough. That’s when she finally snapped. “You like buttons so much, yes? Well here you go! Take it! Take it all!” she screamed as she threw her robes right into Hinky’s hands.

She regretted it a second later, of course, but Hinky was long gone by then. 

He didn’t have friends at Hogwarts, and didn’t know that he could ask for a job. He didn’t know where to go, and after a month of wandering around forests and wizard towns found himself a nice tree not far from Hogsmeade, and built himself a house there. He’d sneak up into Hogsmeade at night and find pieces of cloth, and after a while mastered the skill of sewing.

And thus he lived alone for thirteen years to come, not knowing what was going on in the world, not coming across any other elves, and not even craving company, until one day, whilst stealing some nice cloth wizards used to cover their food, he overheard a couple of them talking about a boy named Harry Potter and how he’d freed a House elf named Dobby, and how Lucius Malfoy was furious and they’d all had a good laugh. 

It didn’t take Hinky long to track down Dobby. He didn’t like what he had to say, and did not wish to continue the acquaintance, and did not shed a tear when he heard of Dobby’s demise. He did like Dobby’s sweater, though, and the collection of socks. 

After yet another war ended, and, to the horror of Hinky’s ex-Mistress, the purebloods en masse began to free their House Elves to prove their good faith, Hinky decided that his time had finally come. The rumor of a marvelous free elf who lived in the woods and sewed amazing clothes spread like a wildfire. One after the other the elves of Hogwarts came to Hinky, willing to pay for sweaters and socks their own size. Some even eyed Hinky’s intricate hats and - oh dear - shoes! And as they were all getting paid, so Hinky came into familiarity with Wizarding money. “Oh no, a hat with this many buttons?” he would say. ”At least nine knuts, this is!”

After some consideration, he decided he was a legitimate businessman now, and did not need to steal anymore. He put up a nice sign on his door, prepared a catalogue, and even hired another elf to fetch him cloth and threads. And as the time passed, he seemed to have forgotten all about his Mistress, and the years he spent alone in the woods, and how he’d tried to sew for the first time, with frozen fingers and a twig instead of a needle. 

But then, every year a sock embellished with buttons would appear on Dobby’s grave. A gift, from one free elf to another.

(written and submitted by punkdraco. This is marvelous. Punkdraco imbues this with the spirit of canon while still striking out from the confines of the books, by affording dignity, cleverness, and ingenuity to members of the wizarding world often overlooked. The result is touching and brilliant, a wonderful story.)

June 14th, 2014 - Not A Pirate

AUTHOR: vow-anon

June 14th, 2014 - Not A Pirate

Arthur Ignatius Kirkland is not a pirate; he is a perfectly respectable and legitimate businessman, with a vessel duly registered with Her Majesty’s portyard authorities as the Unicorn. The young captain handles legal, if exotic, cargo; he pays the correct taxes and fees, and hires professional liasions in every country to ensure they are correct (and as low as possible). At least, he ensures that no one can prove any differently.

Being a legitimate businessman brings its own set of troubles, of course. Sometimes Arthur thinks he would prefer going fully outlaw and facing down the full might of the royal navy rather than having to endure another inane garden party, or another twittering society matron thrusting her equally twittery unmarried daughter at him. Or having to grit his teeth and force a pleasant smile at fat old bankers who harrumph at him and treat him as if he hadn’t yet reached his majority. Or having to sit and make insipid, useless conversation with drunk-sodden fops and empty-headed belles at dinner parties, always placed next to the most annoying guests because he’s single and young, but needs to keep his business contacts sweet.

Contemplating their deaths under his cutlass, which is of course never on him in “civilized” company, is sweet and helps him get through some of the worse moments. But it would probably not be as helpful as getting a wife, so as to appear more mature and socially acceptable.

Arthur is, as his old schoolmate Bonnefoy often lamented, the furthest thing from romantic. He does not believe in love. He does not believe in romance. He does not even tolerate lust - it’s an unacceptable distraction, an overwhelming weakness. He’s seen his father fall from grace because of love - for a married woman. He’s seen his mother die of a broken heart, for a man who does not in the least deserve it. He’s seen his brothers squander what little inheritance they had been given on women, only to be left bereft and broken once the money ran out. In the meanwhile, he has played smart, avoided entanglements, and stolidly climbed the societal class ladder as far as he could.

Accordingly, to ease his way further up, he arranges a marriage. He is aware he requires a decent-looking lady of gentle breeding, well-trained in etiquette, in order to have the effect he desires; and also that he is not quite enough of a catch - yet - to attract many offers from the class of lady he requires. He decides he will take a wife from one of the better families of Boston, where his status as native-born Briton will aid him in his quest; he finds that New World society is almost as stultifyingly boring as Old World, so if the girl is intelligent enough she should be able to fit in with the necessary crowds quite well.

Accordingly, he entrusts his lawyer in Boston with the task; the man is competent and efficient, so within a short while Arthur has a list of possibilities. After consulting with his lawyer and a meeting with the patriarch in question, he settles on Amelia Jones. Her parents are of good stock, themselves born on British soil; they are wealthy planters, running a profitable and neat plantation near the river. Better still, they are eager for anything that will raise their status in the eyes of their peers, and a dashing, succesful British son-in-law will do the trick quite nicely. Arthur will not only walk away from this with a suitable wife, but with a more robust-looking bank account and several bales of valuable goods to carry over the ocean.

The girl herself, his lawyer reports, has something of a reputation as a scholar, spending a lot of time holed up in her room, reading, and having earned excellent marks at the private girls’ school her parents had sent her. She is quietly welcome at many of Boston’s best homes, and would - or so his lawyer, a Boston local born and bred himself, says - be popular if she were more outgoing, and attended more parties.

(Later, he will discover how wildly inaccurate this description is of Amelia - and how mistaken all of Boston, including her parents, had been.)

Arthur is coolly pleased; the girl, and her easy-to-negotiate-with family, sounds made to order. The necessary paperwork and arrangements are finished with gratifying swiftness, and Arthur soon finds himself in the Jones’ foyer, dressed in his best suit, waiting to meet his soon-to-be wife.

Then all his well-made, perfectly-executed plans get thrown out the window when Amelia descends the staircase with a blank expression, and Arthur falls immediately, deeply, and shatteringly in love with the girl.

gonna do one of these for each of the characters that show up in ch1 (plus eirian and mal)

starting off with mr main character, zeke. if youve followed me for any amount of time you probably know a thing or two about him (he has a whole tag dedicated to him here) but heres a quick rundown anyway:

zeke’s the son of a monster and a human, raised by his grandma and visited twice a month by his monster dad, who tends to take the shape of a ‘legitimate businessman’ when interacting with humans

he’s 26 now, and has had his own place (paid for by his dad) for almost a year, and still hasnt landed a solid, proper job in the field he’s aiming for - which is to say, private investigation within the non-human community. its a pretty popular field these days. he does a lot of bar shifts at his local (the headless jenny, run by a dullahan and a banshee), and occasionally runs an odd job for people he manages to hand out his card to

chapter 1 is about him fucking up his first 'real’ job, and reluctantly taking in a lodger