movie texts



If you guys didn’t know, the trailer for s8(i think) was shown at a recent con, showcasing about a 2-4min clip of a new gang of somewhat? Ninja theives and Lloyd coming to stop them.

First of all, Lloyd looks completely like movie Lloyd now. Green eyes, hair and all.

Which is first of all, rude. There goes my red eyes headcanon.

Second, Lloyd got his new voice and I????????????????????????
It’s good but I just can’t get it through my head it’s Lloyd??

Also. Pixal refers to Lloyd as “Master Lloyd” now so uh. That’s a thing.

This season has actually got me hyped!! Especially since they’re changing all the ninja to look closer to their movie counterparts now.

Which is, imo, cool but at the same time a little concerning. I just don’t want to have to draw the ninja in a different way from now on lmao.

It would be more like watching a spin of series of the movie rather than the series on its own.


anonymous asked:

fic title: starlight eyes

Aw, fallen star AUs. please please please. I’ve read a few really good ones. 

Oh, but, holy shit. Dean Winchester as an updated version of Peter Pan, with the second star to the right glimmering in mischievous eyes as he sweeps Castiel away to a fantastical world, another life. And instead of returning home, he stays, lured in by Dean’s charm and “Neverland”s general allure. 

Send me a fic title!

Things I think about at 2:35am apparently -

The original High School Musical is the most consistent in terms of plot, characters, and story structure.

High School Musical 2 is the most fun to watch with the best overall soundtrack (even if its existence adds nothing to the overall trilogy).

High School Musical 3 is the most polished with the best production design and the best choreography of the trilogy thanks to a better budget.

All 3 films have their strengths and weaknesses, and honestly??? What an iconic trilogy???? Also, all 3 films pass the Bechdel test and have a diverse cast. Lord of the Rings who?????

What really sucks about the way Joss Whedon writes is that he sort of has this idea that if he writes about women being strong and confident, that is all it takes for women to appreciate his work. Like, even if the villain constantly belittles a woman for being a woman and people are constantly harassing her and sexualizing her, it’s okay because she’s strong and she can take it.

The biggest difference between Whedon’s version of Wonder Woman and Jenkins is that in Whedon’s version Wonder Woman is A Woman. She (and the audience) must be constantly aware that she is a Woman, that she is Sexy, that she is overcoming incredible odds because she has the terrible disadvantage of Being Born A Woman.

Whereas in Jenkins’ film Diana simply exists. There are some points made by other characters about her being a woman, like when Steve won’t sleep with her because he feels it’s improper, or when his secretary says, “Oh yes, put specs on her, like after that she won’t be the most beautiful woman you’ve ever seen”, but Diana is almost completely unaware of her status as a Dreaded Woman. Her excitement over a baby? She’s literally never seen one before. Her little makeover seen? Spends the whole thing looking for something comfortable she can fight in. She basically never mentions the difference between men and women, never even says that women are better or whatever because she was raised by them. 

Joss Whedon would have never let Wonder Woman forget she was a Woman. She would have constantly been making comments about it, wether positive or negative, as would everyone around her. In Whedon’s heyday that might have flown a lot better, but now women seem to be a little sick of grrrrl power. They just want power. They just want to exist, both on screen and in life, without constant reminders that they are Women and that they must pay for that at every turn.

what she says: i’m fine

what she means: “how far i’ll go” is a song about yearning, ambition, and the hope for more despite not knowing what lies ahead, and the inner conflict a young girl feels over the duties she has and the need inside her to know her real limits, a song written by lin-manuel miranda, accompanied by a powerful instrumental, sung with three times the vocal power that la la land could never even dream of by a fifteen year old hawaiian girl, and it deserved best original track at the academy awards 2017