more dialogue!

Hottest Tracks of 2017

  • “Just… like… me.” - Jughead Jones
  • “I love you, Betty Cooper.” - Jughead Jones
  • “Jughead Jones… I love you.”- Betty Cooper
  • “ Hey there, Juliet.” - Jughead Jones
  • “Also…” - Jughead Jones
  • “Also… Jug.” - Betty Cooper
  • “Hold on tight.”- Jughead Jones
  • “ Don’t let go.” - Jughead Jones
  • “Juggie” Betty Cooper
  • “ Betts.” Jughead Jones
  • “ I believe you, Jughead.” - Betty Cooper
  • “ Come here.” - Jughead Jones
  • “ Hey, you.”- Jughead Jones
  • “ My boyfriend.” Betty Cooper
  • “ Jughead Jones is Riverdale. The very soul of Riverdale.” - Betty Cooper
  • “ I love Jughead, Mom.” - Betty Cooper
  • “ and that is why I love you, Betty.” Jughead Jones
  • “ I support you.” - Betty Cooper
  • “ sure you don’t want a ride home?” Jughead Jones
  • “ Believer” - Imagine Dragons

Please, feel free to add more.

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Thor: Ragnarok Movie Clip - Get Help (2017) | Movieclips Coming Soon
Thor: Ragnarok Movie Clip - Get Help (2017): Check out the new clip starring Chris Hemsworth and Tom Hiddleston! Be the first to watch, comment, and share cl...

I’m gonna deconstruct this scene because I’ve been thinking about it ALL DAY and what the hell, I’ve got time. This clip demonstrates what I love most about Taika Waititi’s filmmaking and it shows off Chris and Tom’s chemistry in the fiercest way. It’s hilarious, sweet, bittersweet, surprising, and poignant.

1) “Loki, I thought the world of you.” 

Even though there was an instinctive part of me that screamed, “OK, WELL, YOUR ACTIONS TOLD A DIFFERENT STORY, THOR” due to residual bitterness over what a dickbag Thor was in the first film, I’m 1,000% here for this line. I’m proud of how much Thor has matured, thrilled that these two are actually talking to each other, and happy that Loki’s hearing something he’s probably always wanted/needed to hear even though it’s bittersweet because Thor’s using the past tense.

Tom’s reaction here is SO GOOD. Just the tiniest shift in his eyebrows to indicate that Thor has Loki’s attention and he’s fucking locked in and hanging on to every word.

2) “I thought we were gonna fight side by side forever, but at the end of the day you’re you and I’m me.”

I know there was a minor (?) uproar over Chris’ comments that Thor will be “indifferent” to Loki in Ragnarok, but this scene seems to suggest a kind of acceptance rather than indifference. Maybe for the first time, Thor truly seems to have accepted that he and Loki are fundamentally different beings–and by extension, he’s accepting Loki’s nature. Yes, part of that acceptance means letting go and moving on (note: I did not say giving up) and that’s sad, but realistic I think. How many fakeout deaths and stabbings can a person be expected to withstand? “You’re you” is a significant break in pattern for Thor and Loki appears genuinely taken aback by it.

“You’re you” is a huge deal because to me, the brothers’ central conflict has always boiled down to the fact that Loki isn’t Thor (thanks, Odin, for exacerbating this tension). For Loki, that fact is a source of self-loathing and resentment, something that he can act out against and, as Tom has often said, define himself in opposition to.

By the same token I think it’s become clearer that what Loki thinks of Thor matters to Thor. For an older sibling, having a younger sibling who looks up to you and wants to be like you is perhaps one of the biggest indicators that you’re a good–dare I say worthy–person. Ever since Loki let go of Gungnir Thor has struggled to make sense of Loki’s rejection, to define himself without the security of having his brother by his side. With that in mind I’ve always seen Thor’s past attempts to bring Loki back to the “good” side as heartfelt and genuine, but also somewhat ego-driven and shortsighted because it came at the expense of Loki’s autonomy and self-identification.

Cut to now. By acknowledging that he and Loki are each their own person, Thor’s relieving Loki of the pressure and expectation to be anyone other than himself. In a way that’s a gift, but it’s also terribly sad because it’s accompanied by loss for both of them. Which brings me to:

3) “I dunno, maybe there’s still good in you but let’s be honest: our paths diverged a long time ago.”

It’s in this moment that Loki really seems to realize where this conversation is headed. And he doesn’t like it.

We know Loki lives to test Thor. It’s his (super dysfunctional and unhealthy) way of making sure Thor still cares about him. In The Dark World, Loki tests Thor’s assertions that he doesn’t trust him and has lost hope for him by … getting himself impaled. Yeah, “dying” was also his “get out of jail free, usurp the throne” card, but it’s not insignificant that he calls Thor’s bluff in the process. 

4) “Yeah. It’s probably for the best that we never see each other again.”

Speaking of calling Thor’s bluff, I think Loki–because he’s a smart little fucker–says this in order to get ahead of the conversation. He knows what’s coming, so he pulls the classic “I’ll reject you before you reject me” move. But I don’t think he means it. It’s more likely that he’s trying to balance the scales so he’s not on the utter losing side of this conversation. And honestly? Deep down I doubt he can bear to hear Thor say it and by proactively agreeing with him he’s holding out hope that Thor will pull a “JK!” and change his mind.

5) “That’s what you always wanted.”

OMG THOR HAS GOTTEN SO SMART. I mean, I guess it’s within the realm of possibility that Thor is still really dumb about Loki’s feelings/motivations, but personally it’s more fun and satisfying to think he sees Loki’s test and raises him an even bigger one.

Loki’s face is so sad-funny. His plan backfired, he’s panicking a little, but he’s got to save face and play it cool, and he’s also legit sad because he knows this outcome is the culmination of his past actions and he did his part in paving this road for both of them. And at the end of the day he’s still the younger brother who doesn’t want to appear weak, so he’s doing his best to match Thor’s tone and attitude.

The moment when Loki lifts his chin and gives a little nod is a dead giveaway; never seeing Thor again is the opposite of what he wants, but he’s prepared to accept that it’s too late for anything else. It’s SO far from an apology, but for Loki it’s about the most mature thing we’ve seen him do.

The fact that for once they’re not arguing with each other is what made me tear up. It’s like they both know they should’ve had this conversation years ago, when it could have made all the difference, but at the same time they know that moment has passed. THIS IS FUCKING TRAGIC.

(If I wrote this movie, this would be the moment where they both dissolve into tears, fall on the floor, and cry-hug it out, which is why I write poetry and not screenplays.)

6) “Hey, let’s do Get Help.”

This was the beginning of the death of me, I will never be the same. I laughed so hard. On the surface this whole exchange may seem like just a gag–and it IS funny as hell–but I feel like it’s working on so many levels and reveals something deeper about Thor and Loki’s bond.

First of all, if you’re me, everything that preceded this moment was really uncomfortable and sad and almost unbearable to witness so I don’t think it’s a stretch to assume that Thor and Loki were feeling some of that too.

What I love about this transition is that Thor immediately cuts through the tension, probably to put both of them at ease and bring them back into the more familiar territory of their rapid-fire banter. Loki seems a bit surprised but relieved.

IMO, this brief exchange of dialogue does more to convey Loki and Thor’s bond and establish their history than anything we’ve been shown in the previous films (not counting that deleted scene from the first movie). I thought it was really poignant to see them revert to/rely upon something from their distant past. You can tell this is an argument they’ve had a zillion times before. You can tell from the stunt itself that it’s something they’ve had many opportunities to perfect. 

Even though Loki is reluctant to participate, he does, because he still craves inclusion and acceptance. Even though Thor is no longer quite as overbearing and arrogant as he once was, he regresses into that role so that he can get his younger brother back for just a moment. It’s like they’re consoling themselves without admitting that they want to be consoled. And yeah, on a practical note they also need to find a way off of Sakaar.

In conclusion, they’ve both just conceded that their relationship has reached an impasse with no real way forward, yet in the immediate aftermath of this supposed acceptance they choose to revert to an older dynamic that reflects presumably happier times. They don’t want to quit each other. This is fine. It’s fine. I’m not crying. I love them. The end.

I’m deep in my feels right now and probably projecting a lot (HI, HELLO, I HAVE A TROUBLED YOUNGER BROTHER, I’VE NEVER USED HIM AS A PROJECTILE BUT I UNDERSTAND THE IMPULSE), but even without having seen this scene in the full context of the film, it’s my favorite Thor/Loki moment to date. It’s what I’ve always wanted. It actually brings “We were raised together, we played together, we fought together” to life in a meaningful way, whereas in The Avengers I felt like those were just words.

If you made it this far, thanks for reading!

anonymous asked:

I agree with your thoughts. The other embraces involved huge amounts of angst and relief because it was after a period of forced and dangerous separation. This time, yes, there's danger, but there's more of an ease and comfort there, even how Carol smiles and how they focused more on her than Daryl here. There's confidence between them,no hesitance or unsurety about if things are okay between them. I wanted more, esp from the dialogue ("it's going to be fine" gave me S2 vibes), but I still liked

I think you summed it up perfectly there. It’s the comfort level that I like here.

I love the way he accepts the hug without any hesitation anymore too. Most of the contact (as was show in a previous ask) is initiated by him, even with other people. He’s rarely shown that much comfort in accepting hugs so unexpectedly like that so there’s that.

And what you describe about her smile, about the look on her face which is more focused on her (like the hug The Same Boat) and she gives him that little squeeze which like too. The physical part of this is great to me.

People are right about the dialogue,it does suck, at least until the last part which did have, to me a least, a season 3 echo from the ‘9 lives remember?’ scene. But other than I agree about the rest of the dialogue.

Now this idea that it’s ‘just another hug’ to me dosen’t  wash in the sense that’s that exactly why I like it. Because it’s ‘not a big deal’ anymore. And that alone makes it a big deal.  In other words ‘its news when it’s not news’.

For two people who came from the backgrounds they came from, who sometimes flinched at sudden moves and contact, to have such ease in their physical interactions. To be able to embrace and react in a normal way that others take for granted is a HUGE deal to me. Like  you said, it was not a hug born out of huge emotions, such as separation or for comfort after a traumatic event. It was just an ordinary thing thing. Saying goodbye, telling someone you love to be careful.

That what makes it important to me. I’ll throw everything else out the window and just focus on that part of it because to me, there is no such thing as an unimportant hug. They are important. They all have meaning, even if the meaning isn’t as big as we want to be.

That’s just my take on it. People can dismiss me as being overly positive but I can’t be any other way. Am a glass half full kind of person. But I don’t hold it against anyone who isn’t.

I’m just gonna let it be what it is and appreciate it is all :)

Writing Tip: Don’t Be Afraid of Mixing Dialogue and Action

So I’ve been reading a lot of amateur writing lately, and I’ve noticed what seems to be a common problem: dialogue. 

Tell me if this looks familiar. You start writing a conversation, only to look down and realize it reads like: 

“I’m talking now,” he said. 

“Yes, I noticed,” she said. 

“I have nothing much to add to this conversation,” the third person said. 

And it grates on your ears. So much ‘said.’ It looks awful! It sounds repetitive. So, naturally, you try to shake it up a bit: 

“Is this any better?” He inquired. 

“I’m not sure,” she mused. 

“I definitely think so!” that other guy roared. 

This is not an improvement. This is worse. 

Now your dialogue is just as disjointed as it was before, but you have the added problem of a bunch of distracting dialogue verbs that can have an unintentionally comedic effect. 

So here’s how you avoid it: You mix up the dialogue with description. 

“Isn’t this better?” he asked, leaning forward in his seat. “Don’t you feel like we’re more grounded in reality?” 

She nodded, looking down at her freshly manicured nails. “I don’t feel like a talking head anymore.” 

“Right!” that annoying third guy added. “And now you can get some characterization crammed into the dialogue!” 

The rules of dialogue punctuation are as follows: 

  • Each speaker gets his/her own paragraph - when the speaker changes, you start a new paragraph. 
  • Within the speaker’s own paragraph, you can include action, interior thoughts, description, etc. 
  • You can interrupt dialogue in the middle to put in a “said” tag, and then write more dialogue from that same speaker. 
  • You can put the “said” tag at the beginning or end of the sentence. 
  • Once you’ve established which characters are talking, you don’t need a “said” tag every time they speak. 
  • ETA: use a comma instead of a period at the end of a sentence of dialogue, and keep the ‘said’ tag in lower caps. If you end on a ? or !, the ‘said’ tag is still in lower case. (thanks, commenters who pointed this out!) 

Some more examples: 

“If you’re writing an incomplete thought,” he said, “you put a comma, then the quote mark, then the dialogue tag.” 

“If the sentence ends, you put in a period.” She pointed at the previous sentence. “See? Complete sentences.” 

“You can also replace the dialogue tag with action.” Extra guy yawned. “When you do, you use a period instead of a comma.”

So what do you do with this newfound power? I’m glad you asked. 

  • You can provide description of the character and their surroundings in order to orient them in time and space while talking. 
  • You can reveal characterization through body language and other nonverbal cues that will add more dimension to your dialogue. 
  • You can add interior thoughts for your POV character between lines of dialogue - especially helpful when they’re not saying quite what they mean. 
  • You can control pacing. Lines of dialogue interrupted by descriptions convey a slower-paced conversation. Lines delivered with just a “said” tag, or with no dialogue tag at all, convey a more rapid-fire conversation. 

For example: 

“We’ve been talking about dialogue for a while,” he said, shifting in his seat as though uncomfortable with sitting still. 

“We sure have,” she agreed. She rose from her chair, stretching. “Shall we go, then?” 

“I think we should.” 

“Great. Let’s get out of here.” 

By controlling the pacing, you can establish mood and help guide your reader along to understanding what it is that you’re doing. 

I hope this helps you write better dialogue! If you have questions, don’t hesitate to drop me an ask :)

youtube

acronin7 said:

The telltale when an option is not what you think it is please? It doesn’t play anymore

Here you go.

2

Harry: Isn’t there a spell to do this?
Ginny: Yes, but magic shouldn’t replace the hands of a father. My mum always said so.
Harry: Really?
Ginny: No. I just like to see you try, it’s funny.

[instagram @potterbyblvnk]

4

YOLO.exe - PART 1

> a Fatal_Error has Occurred Side Comic

> Non-canon Comic

> Next


This is the beginning of a very fun interaction ;)

For those who may not know/remember, this is Fresh_Hell :D

It’s important to note that this is the first non-canon side comic I’ve started- this isn’t actually part of the canon story. It’s more of a fun ‘what if’ scenario to explore. Even though he probably actually never would, what if Fresh decided to possess Fatal_Error? What would happen next?

I have several ideas for comics like these, but I can’t start some until certain parts of the canon story have happened, or else they won’t make any sense, or might spoil something in the main comic before we get to it. The same can be said for the canon side comics too - it’s all about timing. So comics like these might pop up from time to time, and update as we go along.

But anywho I’m rambling ^^

Peace out, brahs <3

Fresh belongs to @loverofpiggies!

5

he didnt think she’d get this far

inspired by this kinda

“Name one leader who was happy.“

Magnus’ words break the silence surrounding them and Alec glances up at him with a quizzical look on his face.

They are sitting on opposite sides of the coffee table in Magnus’ living room. Alec hasn’t seen him since Magnus walked away from him at the Institute three days ago.

It’s been a busy couple days, trying to catch both Valentine and Jonathan before they destroy the world, but despite that, Alec had immediately made his way to the loft, when Magnus texted him to come see him.

“You can’t,” Magnus says, almost daring Alec to try.

So he does.

He tries to think of someone he knows to be a great leader, someone who’s happy. But all he finds is heartbreak and sadness. He thinks of Luke, a well-respected pack leader, who’s lost not only his old life but also his long time partner. He thinks of his parents, of their messed up marriage, of all the lies their entire family has been built on. He thinks of Lydia, who was so close to having both, when the love of her life was killed.

He looks at Magnus and thinks of how much grief and betrayal he’s gone through in his long life, and he has to swallow the lump in his throat before answering.

“I can’t.”

“I know. They never let you be successful AND happy.” Magnus stares off into the distance for a moment before looking back at Alec. His eyes are sad, but there’s something else in them as well.

Before Alec can figure out what it is, however, Magnus is out of his seat, legs carrying him slowly around the table and towards Alec.

“I’ll tell you a secret,” Magnus says, kneeling in front of him.

Alec almost stops breathing. The fact that Magnus is so close to him after so long makes him overwhelmed and dizzy, and it’s very clear in his voice when he speaks, words shaky and whisper quiet. “Tell me.”

“I’m going to be the first.” Magnus takes Alec’s hand in his, looking into his eyes with a determination Alec has never seen on his face before. “Swear it.”

“Why me?”

“Because you’re the reason. Because you are going to be the first one along with me.”

Magnus squeezes Alec’s hand, and suddenly the emotion in Magnus’ eyes that Alec couldn’t pinpoint before becomes clear. Hope. Magnus has hope, he has faith in them, in their future together, and he’s asking for Alec to do the same.

“Swear it,” he repeats.

Alec doesn’t hesitate; he looks Magnus directly in the eyes, feeling the same determination he saw before. “I swear it.”

“I swear it,” Magnus echoes, a small smile tugging at his lips.

He reaches up to rest his hand against Alec’s neck, thumb slowly caressing his cheek, and Alec can help but smile too.

They’re okay. They’re going to be okay.


edit: i’m gonna put the disclaimer here and i hope people will see it, but the dialogue is mostly taken from ‘a song of achilles’ just a psa i guess

100 Dialogue Prompts: Part 4

It’s amazing to see how much we can create together, my amigos. Here’s part 4.

  1. “Look, I might be evil but even I have standards.”
  2. “Do your parents know you’re dating Death?” “No, I promised we wouldn’t get back together after he broke up with me the first time.”
  3. “Wait why am I naked and covered in cheese?”
  4. “Good god, that cake is fuckin stale and dry mate!!” “Just like how you are recently? Gee, thanks.”
  5. "There is always time for a high-five.”
  6. “Karen, what would ever posses you to find me here.”
  7. “Oh my god, put that man down! Come on, let’s go get you some REAL food.”
  8. “A demonic sugar glider?”
  9. “People always say they never thought they would be here but I absolutely did.”
  10. “And I thought I was a bit weird. But you! You are insane!”
  11. “So your hair knows kung-fu? Ha, that’s nothing! MY hair knows HAIR-ATE!” (You know, as in karate) (This used to be an insider between me and a friend…)
  12. “One day, darling, you and I are going to conquer the Universe not just our world.”
  13. “Did you seriously think they wouldn’t notice when their humans went missing?!”
  14. “Well, maybe next time you should consider that not everyone wants to be woken up at four in the morning by a- what IS that, anyway?!”
  15. “Now, how exactly did your foot get stuck in the barrel?”
  16. “I hope you realize what you’re doing. This forest never ends, you know that, right?”
  17. “You can’t just kill someone and then make it all better by saying sorry!”
  18. “Why the fuck is my cat levitating?!” “He said he wanted to feel what flying was”
  19. “You’re trying to tell me you killed three men…with a microphone?”
  20. “Hang on, are you a John Wick fan?”
  21. “IT’S TWO IN THE MORNING!” “And?” “ I have a strict no murder rule until eight. Call me then.”
  22. “I did realize you were going to be naked the whole time”
  23. “Ok, I understand you like animals, but you can’t just bring a tiger into the apparent without asking!”
  24. “I…I didn’t want you to find out like this. I’m so sorry.”
  25. “OH MY GOD CATHERINE! I JUST SAW A NARWHAL! I’M TELLING YOU, I SAW A FREAKIN’ WHALE UNICORN!”
  26. “I gotta go, I left my toaster in the oven!
  27. "Why is there a gaggle of fancy buisness men on my front lawn?”
  28. “Can you please stop referring to me as ____! That’s not my name!” “Then what is?” “I don’t know!”
  29. *Sarcastic* “Yeah, sure. I won’t at all mind being your footslave.” “Oh, goody! I knew you’d agree!” “Wait, what?”
  30. “When are you going to give up on this whole ‘evil’ thing?” “When it stops being so much fun!”
  31. “You didnt say to KILL the man!” “WELL I DIDNT SAY NOT TOO”
  32. “Mum, Dad… I’m gay.” “That’s nice, honey, but now is not the right time!”
  33. “Take a look at your soul and consider your life choices! Oh wait, that’s right! You don’t fucking have a soul!” “Oh, god, just go drown in a bathtub of syrup why don’t ya?”
  34. “I kindly ask you to please quit making your heart stop. It’s creeping me out!” “So… Y-You were sleeping in a coffin” “Yeah I’m used to it” “Are you a vampire or what?! How can someone get used to sleep in a coffin?” “No I’m used to sleep I never said that I’m used to sleep in a freaking coffin!”
  35. “Darling I love you, more than I can ever express in words…. But please stop teaching chickens necromancy.”
  36. “I wanted to know why you stole souls, not your melodramatic backstory…”
  37. “I really wish that old white man would stop rubbing his nipples at me”
  38. “You know it is written: Do not summon Satan, right ?”
  39. “Look around, what is this?” “My room?” “No, this is pathetic.”
  40. “I’ve been a professor for 20 years, and yet still my greatest secret hasn’t been revealed–I can’t read.”
  41. “Our souls don’t belong in these 'human’ bodies, every one of us is implanted here from another galaxy, and this has been the case for a thousand years. No one knows what 'actual humans’ are like without us inhabiting them.”
  42. “Did you just create a portal in time and space to pull another version of yourself into this world so I have to deal with another annoying idiot?” “No but thanks for the idea.”
  43. “You’re bleeding?!” “Nah, I’m frolicing in a field of flowers - yes I’m bleeding!”
  44. “Let me get this straight. I tell you that I make a decent omelette and you somehow equate that to qualification for piloting a spaceship?”
  45. “It’s the weekend! Let’s hit the town! See a concert, redo our wardrobes, get high, start a crime ring, I don’t know.”
  46. “Keep running, you’ve only got 4HP!”
  47. “This is clearly your first time. Stop screaming already, you’ll wake the neighbors!”
  48. “Has anyone seen the outdoors?” “What the fuck is an outdoors?”
  49. “Why do I feel like this again, I thought we were done with this?”
  50. “Look, as much as I like to hang out with you, I’ve gotta go and save the earth. Toodles!”
  51. “Have you seen?… oh shit”
  52. “Two questions: one, how many matches do you have, and two, where do you keep your socks?”
  53. “Because fuck surveys, that’s why!”
  54. “Stop yelling out the window or the koalas will rip your face off!”
  55. “I guess when I heard 'Night of Debauchery’… I didn’t picture muffins on your pajamas.”
  56. “Honey, you can’t keep throwing people to the pit of pain and despair just because they don’t like choc mint ice cream.”
  57. “Oh, no honey, put that back…”
  58. “It’s going to be too late, you know. It’s always too late.”
  59. “Hey, so, uh… I’m in trouble…” “What did you do this time?” “I got stranded in Wales….. again…”
  60. “OK, but… how do we get the dog out of a hole in space in time exactly?”
  61. “Aren’t people supposed to grow instead of shrink ?”
  62. “Wait. You’re aroused?” “Why would that surprise you?” “It does on account of you being covered in blood. Wipe that smile off your face. You look like a cat in heat.”
  63. "I pay your taxes”
  64. “No, ____. We did not raise our hamster like this.”
  65. “You can’t run from your own shadow(s), what makes you think you can run from theirs?”
  66. “You adopted… a dog?” “Mate, that’s not a dog.”
  67. “And at this moment, he decided to punch himself in the face.” “Narrator, listen, I know you’ve been with me my whole life, but you’re a huge jerk.”
  68. “Why didn’t you tell me it was a portal BEFORE we ended up here?”
  69. “Is that…the Mona Lisa.” “…Yes…” “What did I say to you about stealing priceless artifacts!?” “…That I had to take you with me next time.” “Exactly!”
  70. “Yes, I agree, magic is pretty cool. But did you really have to use it for THIS?”
  71. “Despite the fact that was epic, you’re still suspended”
  72. “Chill, dad it’s not what you think it is!” “Well it looks like you’re making out with the demon your grandma banished to cellar…WHY IS HE IN YOUR ROOM?”
  73. “If you truly love me you’ll let me-OH FUCKING HELL DID YOU JUST STAB ME!?”
  74. “Spoon”
  75. “What began as a conflict over the transfer of consciousness from flesh to machines escalated into a war which has decimated a Million worlds.The ___ and the ___ have all but exhausted the the resources of a galaxy in their struggle for domination. Both sides, now crippled beyond repair, the remnants of their armies continue to battle on ravaged planets, their hatred fueled by over four thousand years of total war. This is a fight to the death. For each side, the only acceptable outcome is…“
  76. ”… I’m going back to bed. You brought it here, you can deal with the mammoth yourself.“
  77. "Is the food supposed to be moving?”
  78. “You mean to tell me that in the two minutes I was gone,  you bombed a minor country,  got married to a stripper,  and assassinated a world leader?!”
  79. “Is that a unicorn???? EATING MY BEEF JERKY?!”
  80. “Do I get to dream about you again tonight?”
  81. “Well now I have to change clothes AGAIN!”
  82. “All of this was because of a… OF A PLUSHIE?!” “Well…Yeah?” “Great, how are we going to get out of jail now?!”
  83. “So…you gonna tell me why my brother is upside down and why you’re wearing my purple thong?”
  84. “Did you really have to burn down another Cracker Barrel?”
  85. “Sir, that’s impossible, you can’t do that.” “IS THAT A FUCKING CHALLENGE?!?!”
  86. “We need to invade Portugal.” “…Sure, why not?”
  87. “Did you divide by zero?! YOU’RE GOING TO KILL US ALL”
  88. “Stand down, Milady, this is a matter between gentlemen with mustaches.”
  89. “Next time you get arrested I am NOT paying your bail” “That’s a lie and you know it.” “….”
  90. “I thought you were dead.” “So did I”
  91. “John dont flush the dog down the toilet”
  92. “What did I say again about resurrecting dictators??”
  93. “Cucumbers are NOT pets… what do you mean, you ate him??”
  94. “Are you and God seriously fighting right now? And what happened to Satan?”
  95. “Are ferrets supposed to be blue??”
  96. “I’m the protagonist? Well I guess that explains why I look like about a thousand other people.”
  97. “Why do I do this to myself?”
  98. “Stop eating your tortilla chips with ketchup. It’s unattractive.”
  99. “How do you eat an entire cheese wheel in one sitting?”
  100. “Why are God and Satan moving in with us?”

Let’s make one more ‘100 Dialogue Prompts’ list together. Leave a comment with your prompt below. Don’t forget the double quotes “”. And as always, only one prompt per amigo! Also, here is your random Dutch word of the day: pindakaas

3

Sorry for spamming y’all’s feeds with this. I didn’t expect to keep at it for this long. It could still use an odd panel here and there, but this is more of less the bare bones of it.

Widow and Maximilien are on an undercover mission, maybe in a benefit of some sort, and dancing with Max (possibly to a specific song) reminds her of her late husband and wedding.  Made the dialogue more understandable for this final(?) one. 

anonymous asked:

86 and andreil??

86: “Perhaps you’ll take me out one day — or do I have to make an appointment?” (I combined this with a prompt from foxpaws10 from ages ago based on this post, and I kind of warped both of your prompts i hope this is still okaaay basically it’s doctor andrew and that’s all u need to know)

His morning is a string of disasters that begins with covering the ER in the Sunday rush of hypochondriac elderly and fussy children. It’s one long stretch of kicked over paint buckets, a mess you can’t ignore, splattering the walls and getting on his shoes.

Andrew chose surgery almost entirely for the distance of it, the sterility of a room with a slab of meat, a tray of knives, and a sickness he can actually cut out.

He’s a doctor because he can be, and patients sometimes like that he doesn’t speak a word to them, like silence equals genius.

He likes that there are some patients that come into the ER unconscious and leave the OR unconscious, and all he has is a problem and a ticking clock. He always solves the problem. He thinks maybe it’s because he is one.

The sinking ship of his Sunday in the emergency room goes from slippery to debilitating with one patient.

Two showy ER doctors with their lab coats off and their sleeves rolled up go into the private room they’ve cordoned off, and they both come out looking pinched in the face with their stethoscopes clenched in their fists.

“He’s a fucking disaster,” one of them says, leaning up against the information desk with his eyes still pulling back to the closed door of the room.

“I know. I thought, I dunno. That the news was exaggerating.”

Andrew tilts his head and listens without making any move to leave his post, filling out inane charts as illegibly as he can.

One of the residents chances a look at him and Andrew makes a point of catching him. The guy startles, then juts his chin.

“Maybe you’ll get along with him, Minyard. He’s as crazy as you.”

“You’ve mistaken the hospital for a playground,” Andrew says mildly. “Give me his chart.”

“What?”

“His chart.”

He looks at his friend, mouth slack, and then the one holding the chart holds it out like a dirty rag.

“He’s Boston’s starting striker,” he stage whispers. Andrew takes the clipboard and ignores him, scanning the details. “We’re not supposed to let any patients know.”

“That Neil Josten is causing a scene ten feet away from them?” he says, and the men titter uncomfortably. “Why should he get the luxury of privacy?”

“How did you—“

“The news is available to everyone, Bryant, you fuck.” He rounds the desk and makes for the closed and shuttered room, dropping the chart in the receptacle outside.

“He shouldn’t be allowed to practice,” someone says behind him, and then someone else, softer, scornful: “surgeons”.

Andrew wrings the door knob and finds himself abruptly face to face with the singular most swollen person he’s ever seen. He’s obviously bolting for it, his gown gaping at the neck and someone’s stolen shoes jammed on. Andrew scans the defiant face, the shock of red hair, the near invisible trail of blood from an incorrectly removed IV.

“Sit down.”

“No.”

Andrew watches Neil Josten— and it is him, one of the handful of strikers on Boston’s team and certainly the most newsworthy — size him up. His eyes run the same circuit Andrew’s would if he were looking to fight his way out: door, threat, surreptitiously behind him for a weapon, back again.

“I’ll drug you,” Andrew says simply. Neil’s good eye, the one that isn’t purpling, goes narrow.

“Are you allowed to say that?”

Keep reading

I’d like to take a moment to talk about Bill Skarsgård’s performance as Pennywise, and particularly the drain scene, as it’s the only one I can repeatedly watch a portion of in good quality to analyze his physicality in the role.

Because so much of his performance is made by his movements, even in the aforementioned scene where he’s just a talking head:

Cover up the eye on your right, and Pennywise is looking up out of the storm drain at Georgie.  Cover the eye on your left, and where’s it looking?  Right at you.

Pennywise’s eyes move independently like this throughout the movie, and it’s not a CGI effect. Skarsgård has a lazy eye and while he can focus it, he’s also able to relax the muscle and put it back out of alignment.  And while having strabismus obviously isn’t a choice on Skarsgård’s part, he uses it brilliantly in this movie when he could have just not utilized it at all.  You’d think having a wandering eye would make him seem less threatening (usually when you see lazy eyes on film, they’re on comedic actors such as Marty Feldman or Steve Buscemi).  But he positions himself with the camera so perfectly, making his character seem like a threat who can see through the protection of the fourth wall.  Even if you don’t consciously notice that it’s looking at you, it’s these little details Skarsgård adds that make Pennywise seem just wrong.

(His contorted bottom lip is another of these traits.  That’s not a prosthetic like his cheeks are, it’s just something he does). 

Because that’s the thing about Pennywise: It’s not an evil clown.  It’s not human.  It is alien and unfathomable and everything Skarsgård does with his performance reminds you of that.  Tim Curry’s Pennywise (whom I love and this is not a knock on his take) was an evil clown who was also an otherworldly abomination. Skarsgård’s Pennywise is an extraterrestrial horror who is wearing a clown’s skin, and it doesn’t quite fit.

Just look at the sewer scene: You’re seeing an animal that just came out of hibernation and is so hungry for a meal that it can barely keep itself from revealing the ruse to its prey.  It wants Georgie to trust it, like it, and approach it, and its voice is gentle (for it), and it’s funny and inviting.  But it’s also drooling all over as if it doesn’t understand or doesn’t care how a human mouth works, and it doesn’t know or care how people focus their eyes either.  It’s struggling to hold itself together and it’s very close to breaking: it growls at Georgie in the middle of the scene, and surely it’s learned in the last few centuries that humans don’t growl mid-conversation?

You could argue that it’s not failing to act human, it just needs Georgie to be scared to eat him.  Fair enough, but Pennywise doesn’t reveal its true self until it’s already holding onto its meal in the book.  And in the movie, it’s clearly anxious when it thinks it might have scared its prey away:

(The nerves don’t come out as well in the photo, but if you watch the shortened clip here, around 43 seconds in, it swallows hard and is obviously worried Georgie might leave: https://www.youtube.com/watch?v=1jwlbgSHZgk)

It’s unnerving.  It makes you shudder even when it makes you laugh.  And Skarsgård puts that much uneasiness into a scene showing just his head, shoulders, and occasionally his hand.  In the scenes utilizing his whole body, it gets even more eerie.

It’s a fantastic performance.  And even more so because some of these things were not entirely under  Skarsgård’s control: He couldn’t choose to have strabismus and the drooling was caused by his prosthetic teeth.  But rather than trying to hide anything, he embraced it, and managed to make things as human as saliva and wandering eyes seem utterly monstrous.

I really hope the sequel gives Pennywise more dialogue and still scenes, because it’s a thousand times more disturbing there than it is when it’s darting at the camera.

I NEED 100 PROMPTS THAT WILL MAKE YOU CRY.

Take a minute. Think of all the times you cried. How did it feel? Why did you cry? Now take that feeling and use it to ‘forge’ a prompt that will make us cry. Share your sadness. We got your back. 

Leave a comment below and start with a * if it’s a prompt. That way, it will make it easier for me to tell prompts and comments apart.

So, do you have a prompt for us?

Here’s All the New Mass Effect: Andromeda Info from the Press Embargo

SOURCE: https://www.reddit.com/r/masseffect/comments/5vq0qp/embargospoiler_discussion_thread/de4a760/

RANDOM BITS

  • Shepard’s gender affects Andromeda’s story somehow.
  • According to a Bioware rep, ‘Eagle eyed players may uncover a few narrative morsels related to Shepard’s story’.
  • No importing of the trilogy’s save files.
  • Character customisation contains ‘unconventional and bizarre hairstyles’. Makeup, scars and tattoos are also available.
  • You can choose the training Ryder received. They are: Security, Biotic, Technician, Leader, Scrapper and Operative.
  • Game starts out quickly with the introductory sequence takes place on a toxic planet.
  • According to IGN and Gamespot, the game has performance issues, with visual glitches, audio and framerate drops.
  • Clunky and jarring Bioware animations on characters. Awkward faces and movements.
  • ‘Eyes, eyelashes and mouths look particular cartoony’, according to IGN.
  • Gamespot’s reviewer feels that ME:A is a more polished version of Dragon Age Inquisition.
  • PS4 Pro will support higher resolutions and HDR features.
  • It feels like Mass Effect.

COMBAT

  • The game opts for flexible skill profiles that can be changed to suit different challenges.
  • Combat is ‘engaging’ with a variety of skills and combat encounters. In addition, the skill tree is ‘massive’ which can be mixed and matched.
  • Skills trees are Combat, Biotics and Tech.
  • Once you hit rank 3 of a skill, you get to choose between 2 separate varieties of the same power and specialise in 1.
  • Classes are still present. They are Soldier, Engineer, Adapt, Sentinel, Vanguard, Infiltrator and Explorer. They have no unique skill trees but rather, they give you a boost in things such as health regen or access certain items that might help you in combat.
  • Combat is faster with tighter gunplay and more responsive handling.
  • Gun feedback has been greatly improved.
  • Most offensive abilities are considered ‘primers’ or detonators’. Deploying a primer skill followed by a detonator inflicts more damage on your target.
  • Jet pack allows for more combat strategies and can be used to access higher, out of reach places.
  • Skills and abilities can be saved and favourited. You can switch between different set-ups mid combat.
  • Some enemies can apparently kill you in one hit.
  • Cover system is sticky and a little finicky, according to IGN. Automatic clipping into cover when the reviewer did not want to get into cover.
  • Squadmates’ AI seem to be more competent.
  • You cannot control your team mates like in the Dragon age games but you can tell them where to go, like in the previous games.

CRAFTING

  • Armour is customisable and can be changed on the ship.
  • Elemental ammo (fire and cryo) are no longer powers but consumable items.
  • Powers can be combined to produce devastating results to your enemies.
  • Autosaves seem generous and Ryder respawns 1 to 2 mins before they he/she died.
  • Blueprints for armour and weapons using RD (research data). You can obtain these by scanning environments and creatures.
  • Blueprints are colour coded. Bronze (common), sliver (uncommon), gold (rare). The rarer it is the more RD they cost.
  • Crafted items can be named.
  • You can add augmentations to your armour.

DIALOGUE

  • Paragon and renegade choices are gone, replaced with more open ended dialogue allowing for grey areas.
  • Dialogue choices are emotional, logical, causal and professional which will influence the direction of the conversation.
  • There is A LOT of dialogue now.
  • Interrupts are now called ‘Impulse Actions’. Interviewer did get the chance to experience it.
  • After completing a mission, you can look at a summary of the events as well as see how you responded to any choices.

EXPLORATION

  • Exploration is ‘exciting and not a chore’.
  • The Nomad controls like the Mako but less rubbery. No bouncing and no weapons on it. You can also return to your ship any time by holding down the Evacuation button.
  • The Nomad has a booster and a shield that, when destroyed, knocks enemies back during combat.
  • Nomad has mining drones to help you retrieve resources.
  • Environments are ‘gorgeous and varied’.

COMPANIONS AND CHARACTERS

  • Interactions between characters are similar to where ME3 and the Citadel DLC left off, more friendly and light banter.
  • You can interact with Dad Ryder.
  • Companions are sectioned off into their own rooms like the previous games.
  • There is a whole menu detailing your relationship status with your crew. Relationships are obviously going to be a huge part of the game.
  • Party members as well as non-party members (eg. the pilots, engineers and doctors) have been fleshed out, with equal care put into each. For example, your crew interacts with each other over the intercom.
  • All squadmates can be flirted with but a relationship might not be necessarily possible. (Think Samara’s romance)
  • You get Cora and Liam at the start of the game.
  • Cora and Liam are ‘fun, passionate people who want to get away from the life they lead but also want to talk about it.
  • Cora is stricter and trained to be your senior but has to deal with the fact that you now outrank her.
  • Liam is cool, upbeat and cockney.
  • Kallo, the new pilot is a bit more serious than Joker.
  • Asari doctor, Lexi T’Perro is voiced by Natalie Dormer from Game of Thrones fame.
  • There is a Scottish scientist called Suvi and a chief engineer called Gil Brodie, who enjoys Male Ryder’s flirting.
  • Vetra is like a ‘stern mother’ and warmer than Garrus.
  • Drack is a bit like Wrex with his dead pan humour but also has a more mature point of view.
  • PB is impulsive and flirty and lives in an escape pod.
  • SAM (Simulated Adaptive Matrix) is like a combination of EDI and Legion and was created by your parents. He can eventually bond with your brain and you can engage in philosophical debates with him. It is hinted you can uncover more of your family backstory though him.
  • Sloane Kelly is an ex-Andromeda Initiative officer who defected.
  • Companions are as engaging and interesting as the ones in the original trilogy.
  • Banter is back. They can be triggered during exploration and while driving in the Nomad.