-Tony introduces the Grandmaster to crocs as a joke at the Grandmaster’s expense. Little does he know, the Grandmaster genuinely enjoys wearing the most tacky, neon crocs he can get his ring-bedecked hands on, much to Tony and Loki’s public embarrassment
-Their alcohol tolerances are at three vastly different levels, and their drinks of choice are no more similar. Tony prefers Scotch; Loki prefers red wine; the Grandmaster prefers the most obnoxiously decorated (multiple umbrellas, a bendy straw, etc) fruity vodkas. Loki and the Grandmaster enjoy watching Tony attempt to keep up with them, and they’ll trade fond glances over his barely conscious form slumped over the table
-The Grandmaster, bizarrely, loves soap operas. Tony and Loki like to leave him on his own to watch his favorite shows, and when they return, more often than not, they find him clutching a pillow, eyes glistening
-They would all sell each other to Satan for a corn chip, yet they all have deep bonds. Not one of them is comfortable with the words “I love you,” and the closest they get to genuine expressions of affection is the Grandmaster constantly praising Loki and Tony. They would loathe to admit it to anybody, but each of them cares sincerely for the other two.
-Tony does not have to worry about the Grandmaster ever dying, but he does fear for Loki, and he suspects Loki’s death would come as a punch to the gut, something for him to drown in alcohol and suffocate in the pretense that he never gave a damn.
-Loki does not have to worry about the Grandmaster ever dying, but he sees Tony’s death in everything, in every moment he spends with the man. His lifespan exceeds Tony’s wildly, and he hates himself for succumbing to what he feels for the mortal. For not having the strength to excise these feelings from himself before they will inevitably come back to burn him. One day, he will stand solemn over Stark’s grave, and beneath every kiss they share is the promise that one day Loki will feel this emptiness.
-The Grandmaster accepts that Tony will die in what feels like the blink of an eye to a being as primordial as himself. He has made his peace and resolved to hedonistically enjoy every moment he has with this brilliant man that Loki introduced to him. But Loki–Loki is the one that he refuses to think about. Tony Stark is something fleeting and wonderful. Loki will cut a wound into him to fester for all eternity if he continues to indulge his feelings for the god. As much as the Grandmaster plays at tricking himself into believing his emotions do not run that deep, Loki has wormed his clever, charming way beneath the Grandmaster’s skin. That death will sting, and the Grandmaster will convince himself that he never cared, that Loki was nothing more than a drawn-out trifle. He will not mourn Loki because if he does, it will haunt him into the depths of eternity.
Jack, the god of the spring, is the son of Alicia, the goddess of the harvest, and Bob, the god of the sky. Having spent his entire life on Earth with his mother, he cannot shake the feeling that there is more than just his duties to the land. There are whispers of the god of the underworld, the ruler of a place full of horror, but Jack finds himself inexplicably drawn to it. Who is the god of the underworld and why is he so terrifying? Why won’t anyone answer Jack’s questions?
anyone else kinda mad that S2 Quincy was a voice of reason and pointed out to Toby that he had been really bad to Amy (a realization that, I feel at least, was an important step for Toby) and S4 Quincy is nothing more than a grade-A jerk?
Medic!Jack Au that I’ve been doodling in twitter. Basically Jack lived peacefully in Indiana until the omnics came and destroy his home; Gabe and overwatch came a little too late to safe his family. And thats how Gabe met his bf and future field medic.
Made a little Screen Direction 4 Beginners thing in a twitter conversation today, figured I could post it here too. Obviously it gets more complicated than this when you’re in the trenches and there are reasons to intentionally break the line or establish new lines via things like eye direction if you’re doing something that requires a new composition, but this is the most basic possible way to explain using the 180 line to keep harmonious screen direction that won’t look jarring to your audience.
A thing that can help if you’re having trouble getting your head around composing a scene without crossing the line; “pretend you have to work around a live studio audience”. Alternatively; “pretend you have a shoebox diorama you’re posing out dolls in”