non moving

why are non-offensive moves even an option in pokemon?? im here to kick ass. have fun wasting a turn with your swords dance mirror shield whatever the fuck while i beat the shit out of you. hope you can still enjoy that raised sp attack stat in poke-hell

Okay, this is a whole new level of ridiculous

The Frozen Cinestory: a “comic adaptation” which in reality is just stills of the movie with word bubbles and sound effects (and extra exposition narration) pasted over them. Oddly, the song lyrics are not in this book, those scenes are just given extra dialogue.

For $15, instead of the DVD, why not get the non-moving picture version?






Pyrrha being really bad at throwing non-metal things. Like she turn around and throw a wrench into a basket on a moving target. She can flip a ring with two fingers while blindfolded onto the bottle tops to win the grand prize at the fair. She throw a dart under one arm and make a perfectly good bullseye six times in a row. Team JNPR has a vine account dedicated for this reason only.
But she cannot coordinate non-metal things. It’s like a bad infomercial. She’ll toss the pancake mix to Ren and it’ll explode all over him. She’ll pass Nora her scroll charger and it’ll land five feet away from her. She’ll toss Jaune a snack after training and it’ll land on the roof. Team JNPR has dedicated a vine account for this reason only also.

Doesn’t matter what the press says. Doesn’t matter what the politicians or the mobs say. Doesn’t matter if the whole country decides that something wrong is something right. This nation was founded on one principle above all else: The requirement that we stand up for what we believe, no matter the odds or the consequences. When the mob and the press and the whole world tell you to move, your job is to plant yourself like a tree besides the river of truth, and tell the whole world - ‘No, you move.’


Stiles x Reader

“I don’t understand how you’re not excited about this!” Stiles sighed at Scott who glanced at the others when they twisted in their seats to see him.


“Who is this girl, I mean, I know he’s being going on about her for like a week but all I got was cute pancakes?” Liam asked and Mason hummed in agreement.


“She’s our best friend, left town a few days before I was turned.” Scott groaned, still half asleep despite the coffee Stiles had almost drowned him in.

Keep reading


Song: Breath of Life by Florence + Machine

Movies (In Order):

Moana- Disney
Aladdin- Disney
How to Train Your Dragon- Dreamworks
Zootopia- Disney
Mononoke Hime- Studio Ghibli
Atlantis: The Lost Empire- Disney
Brave- Disney
Big Hero 6- Disney
Beauty and the Beast- Disney
Rise of the Gaurdians- Dreamworks
Mulan- Disney
The Lion King- Disney
Tangled- Disney
Howl’s Moving Castle- Ghibli

a gift for @jared-padaleski-is-polish-now because I love her and don’t do enough for her. SURPRISE!

Queer Coding (post 1 of ?)

So I decided to go read some Sherlockian/Holmesian non-fiction to move on from the disappointment and frustration of TFP. And have by selecting Chris Redmond’s In Bed With Sherlock Holmes (1985) found myself wondering repeatedly, “did Moffat have this book open at his side when he was writing?”
I have been reading it chronologically, refusing to skip ahead. And so, having reached the penultimate chapter which deals specifically with homosexual subtext and key arguments made by Sherlockians, I am now asking myself:
Is this chapter the inspiration for much of the queer coding in the show.
More specifically is this chapter the inspiration for the three Garridebs scene in TFP, making it a very layered canonical queer joke?
Is this chapter, and specifically Rosenberg’s “Conan Doyle Syndrome” a template they have used throughout this show for the structure of the episodes?
Is this chapter not in essence a direct parallel to fandom and queer exploration of the show. It’s like watching someone prophesy that if one codes the show using the specific canonical data from the book you will create a discourse about your own show that replicates the debate in historic fandom of the 20th century. I appreciate that that is something of a circular argument. But so dense are the reference points I am struggling to see how to distill them rather than just screenshotting page after page after page.

I have a copy of Rosenberg’s Freudian analysis arriving tomorrow. I don’t know what to expect. Perhaps nothing or maybe the Rosetta Stone. But there are hints in Redmond’s text that this is going to be very relevant to TFP. Not least that Rosenberg discusses Wilde being reference in The Empty House - and I note that someone on here (i shamefully forget who) made the brilliant point that what we got in TLD is what we all wanted to get in TEH and didn’t. Precisely, I’ll note, because rather than being dead as in ACD, Mary is inserted into the story. She interrupts their reconciliation. In the restaurant but also in the canonical timeline. Sherlock cannot - like in ACD - ask John to quit his job and move back in with him. It’s in essence a narrative cock block.

I decided to read Redmond’s text because I was aware of much of the arguments in it second hand. It’s had me hunting out some of his source texts and going, oh! This is where *that* notion originated! It’s fascinating and it’s something I wish I had a long time ago.

But what I did not intend or suspect for a second is that I am now right back where I was trying to get away from and yet even deeper down the rabbit hole:

Is this queer coding a very elaborate kind of queer baiting or is this entire show a very queer coded trick in which they have landed us intentionally in a place of ambiguity that replicates the very “inside baseball” debate over sexual coding in the canon? That is, that they are indeed Doyle - we are all left not knowing what was conscious and what was unconscious. We are all forced to go back to the stories and wonder - & no one gets the last word. Except the straight reading will rely on the surface while the queer reading has to rely on the subtextually and a pattern of weirdly coincidental parallels between specific canonical stories.

Are they THAT clever? Because I am faced with the question, despite all their comments of the past week that would suggest otherwise, of seriously wondering if this was indeed all coded but to an even greater detail than we suspected. And that the code is a specifically queer one. Or is this all an unconscious coincidence that arises from them having read these same texts and throwing in references that have the unintended consequence of appearing to be a plan?
What is troubling is that the status quo straight reading of the text and indeed of TFP closing montage is what wins the day every time. Is TFP opening a door to a gay Sherlock and bi John living together with a daughter in 221b or is this bi-erasure and a tragic queer story of unrequited love? We do not read these stories in a cultural or social vacuum. Redmond clearly attempts to avoid homophobia and encourage an open mind and then ends the chapter with the lines,

“As the first chapter of the present book said, “Freudian” readings are not popular with many readers, who prefer all the meaning of a story to be on its surface. Often, too, they prefer its meaning to exclude anything sexual. But there is no reason beyond prejudice for such an attitude to persist in the face of accumulated evidence that sexual meanings are there, and that details are piled up in a way the meaning of which would be clear to Freud. This chapter has found motifs of homosexuality and effeminacy in half a dozen stories that are not, on the surface, about anything of the kind. Such a conclusion should not lead to any disgust, or to an impression that there is a powerful strain of homosexuality in Doyle’s writings, let alone in Doyle himself. That would not be true. What is unquestionably true is that Doyle used characters, and set scenes, to express human life in all its complexity.
The final chapter turns from the less pleasant sexual topics of this chapter to the most pleasant sexual topic of all: successful, even sometimes happy, heterosexual love and marriage.“

I will try in later posts to distill down as many of the points of intersection between the book and the show as I can. It may have to be in list form given their numeracy.

I think I will start with the three Garridebs scene though. Because the penultimate chapter, "A World Without Women” is truly remarkable. It reads like a blueprint for so much of the show. And the chapter is not even trying to make an ultimately definitive queer reading. Yet there it is. Giving massive supporting arguments for what many of us have argued all along about queer coding in the show.

What is strange is that the potential arguments it provokes about TFP are not the arguments being made by either TJLC or the tin foil hat secret 4th ep theories, which both rely heavily on a self-referential code within the show. This book suggests to me the possibility that Mofftiss are (consciously or not) drawing instead on the historical debate about queer readings of ACD canon itself. But it doesn’t refute the ultimate conclusions of other fan theories. It gives them weight. But it pushes the fan back to ACD’s original stories. That the solution is in the books. All roads lead back to 221b. And that if fans have made an error it is that they see the mirroring in the show but that they miss the mirroring in canon. That the Garridebs scene in TFP is at this moment to me reading like a giant arrow pointing back to canon and to a specifically queer pattern in canon. But I can’t tell the motive on the part of Mofftiss.

I say all that as someone who remains highly doubtful of a secret queer or otherwise yet to be revealed. And yet feeling like I have just found the opening to a secret mine.


“I’ve aged a bit.”

3. Make me

J had his hands tucked behind his head as he whistled, laughing quietly at the other patient’s complaints. He heard a commotion down the hallway and scrunched up his face, who would dare interrupt his whistling? IT sounded like guards moving a non compliant prisoner into the cell across from him. He rolled his eyes as he saw her familiar hair. When the guards left, she hesitated to speak.

“So, uh… hey.” J growled and glared at her. He started twitching, a sign that he was extremely angry at her and probably Frost too.

“Why isn’t Frost watching you?” She struggled to meet his stern glare.

“Um, because I might have- I may have, accidentally, snuck out? But J I had a perfect plan! And I thought maybe Frost might like me if he could see me handle myself and get you out.”

“And look at what a great job you did.” J said in a monotone voice.  Y/N rolled her eyes and was thankful there were two glass walls between them when she saw J clench his fists.

“Hey, it’s my first run. I actually think I did pretty well.” Her eyes narrowed when J scoffed. “ But if you had Frost glaring at you all the time, you’d feel pretty bad too.”

“Really? Do you hear the way you talk to him? ‘Nice comb over Frost’?”

“Hey! It was a compliment!”

“You laughed as you said it!”

“Shut up, clown!” Harvey Dent yelled from one cell over. Y/N gave a bright smile in his direction.

“Hey, Harvey.” J rolled his eyes when Two-face’s voice softened a reasonable amount. “Hey, darlin’.”

“Sorry to interrupt your little flirting session, but can you explain to me how you got in here?” J glared at Two-face who only rolled his eyes and went to lay down on his cot.

“I told you, I snuck out. Don’t blame Frost by the way. Do they have pizza here?” Her attention span was like a three year old’s. He snapped his fingers in front of her.

“Focus. I-”

“I think you should be nicer to Frost, he looks depressed.”

“I’ll be sure to kill everyone he knows when I get back, don’t worry. Now-”

“Like he legitimately looks like he wants to kill himself every time he’s around you. Every time I see him, honestly. We should get him a date! Or at least take him on one.” J shot himself with a finger gun. Y/N widened her eyes and nodded.

“Yes, good job, J! You know what ‘killing yourself’ is. Don’t worry, being around people with a significantly higher IQ than yourself is likely to raise yours.” J glared at her. Y/N giggled and felt a sense of pride when the other criminals around them laughed. She knew she would pay for this, but it was fun while it lasted.

“So….they serve pizza?”


“F-f-focus on me. Focus.” She started singing. J cringed at her terrible voice.


“You told me to focus earlier. It made me think of the song. Ariana Grande? No? Youuuu maaaakke me feel like a dangerous woman, somethin’ bout, somethin’ bout, yoouuuu-”

“Y/N, when I get out of here I’m removing your voice box.”

“And I’ll remove your birth canal.”



They got several shouts from the other inmates as they argued all night.


“50, 51, 52, 53, 54, 55” Y/N counted J’s push-ups with boredom, her head resting on her hands and her body lying on the ground to get a better view. Her boredom increased so she rolled onto her back and continued to count without looking. J paused when her numbers were off, and looked over at her while blowing a piece of hair from his face. He stayed in a planking position while staring at her from his cell. He whistles to get her attention.

“Get off that floor, it’s dirty.”

“Make me.”

“Oh, I’ll make you, you little brat.” She blows a raspberry at him and looks at him upside down.

“How long does it usually take Frost?” J resumes his push-ups.

“He’ll be here soon. But I’ll make sure to leave you for a couple more weeks.” She rolls her eyes and fake laughs.

“Ha ha, very funny. You’re hysterical.”

“So I’ve been told.” He resumes his push-ups, but pauses as she makes a sly comment.

“Good, you need to work out. You have like, no abs.” He stops mid push-up and glares at her through his lashes.

“You’re lucky there’s bars between us, little girl.” Y/N stifles a smile.

“Bars? No honey, this is glass. Y’know a hard, brittle substance, typically transparent or translucent, made by fusing sand with soda, lime, and sometimes other ingredients and cooling rapidly-” She talks to him like a five year old and J pushes himself off of the ground, his chest glistening with sweat. He looked feral and beautiful, but she’d never tell him that.

“Go away.”

“I-” She screams as an explosion is heard from down the hall. J doesn’t even flinch. Instead, he stares at her like a tiger being ready to get out of it’s cage and attack. She gives him a nervous chuckle.

“Hey, buddy, you know I was just playing, right? Your abs are so much more prominent now, those push-ups really came through.” He continues to glare at her. His glare turns to Frost as he comes down the hallway.

“Frost.” J greets, a threat laced in that one word. Frost seems to know and gives him an apologetic glance.

“She snuck out of the window.”

“Jeez, way to rat me out, Frost!” They both ignore her. The cell door opens and Y/N no longer feels the sense of security she felt behind that glass. Two henchmen offer their hands, and Y/N gives them a grateful smile while Frost wraps J’s croc coat around his shoulders.

Y/N mutters a, “Diva.” and her heart jumps when J glares right at her.

“What was that?”

“Nothing, my sweet prince.” She fist pumps when he lets it go, and she earns a glare from Frost.

“What?” J grabs something from Frost and walks up to her. He turns her around and wraps something collar-like around her neck.

“Hey! What is this?”

“A choker with a tracker device.” Is Frost’s short explanation.

“What? That’s a violation of my privacy!” She shuts her mouth as J gives her a look.

“Now that I have two people to babysit, it’ll be easier to keep track of the one that likes to run off.” That was the most she heard Frost say, and her eyes cut to J to see if he reacted to the ‘babysit’ part. He didn’t, and she assumed Frost was the parent in this relationship. Or the stoic uncle.


Y/N felt bad that she put Frost through so much stress by leaving. She took her own advice and started being nicer to him. She even got J in on it too.

“Well you don’t look entirely terrible today, Frost. You actually dressed like a human being.” J purred at Jonny who was reading the newspaper. Frost blinked.

“Thank you, sir.”

Y/N cheerfully skipped in, throwing a bright smile Jonny’s way.

“Newspaper? I didn’t know that still existed.” She sat down next to him and offered him a piece of her gum. “You know, Frost, you look good for a man your age.”

“I’m 35.” Y/N gives a laugh and nudges him with her elbow.

“Frost, you’re so funny.”

“No, really-”

“Frosty, do we treat you right?” J now spoke, walking up to Frost like a tiger ready to pounce.

“Uh, yes-” Frost tried not to pull back as J caressed his arms, running his hands up and down them.

“You seem so sad. We just want to let you know we appreciate you.” Y/N gave him a reassuring smile. Jonny was nervous, he didn’t like being the center of attention when it came to them.

“And who knows, maybe there is a girl out there your age that would like you.” Frost sighed. He knew she meant well, but she couldn’t compliment someone to save her life.

“Thank you. But I’m fine-” Y/N opened her arms and pulled Frost to her. He didn’t know how to react with J standing right there. She pulled away before he could do anything.

“We love you Frosty.” Jonny nervously turned his eyes towards J.

“Yeah, Frost. We loooove you.” J was obviously doing this for Y/N’s benefit more than Frost’s. To sell the whole performance, J wrapped his arms around Frost, squeezing tight enough to hurt. Frost cringed, and figured J was enjoying himself. When J pulled away he looked Frost right in the eye, and then pressed a sloppy kiss to his cheeks, making sure to make it sound as gross as possible. Frost drew the line when J leaned in to kiss his lips. He jolted back, and J laughed his mad laugh. He sat in his lap the rest of the morning.

 Frost made sure to never look depressed again.

The need for communism transforms everything. Through the need for communism the need for non-work moves from the negative aspect (opposition to work) to the positive one: the individual’s complete availability to themselves, the possibility to express themselves absolutely freely, breaking away from all models, even those considered to be fundamental and indispensable such as those of production.
—  Alfredo Bonanno // ‘Armed Joy’

unkn0wnu5er  asked:

Now that you've seen it, imagine that scene in TFP where sherlock had to shoot john or mycroft and you're there too and he goes to shoot mycroft as per the episode and you legit have a break down and are screaming at sherlock and you move infront of mycroft so he can't be shot and you're distraught and mycroft is trying to sooth you and move you out of the way and john is yelling at sherlock to lower the gun and its all messy and nearly everyone's crying and then it continues as per the episode

Originally posted by fraddit

Originally posted by gifsme

BTS stuck in a traffic

yoongi: *is honking non-stop* “FUCKING MOVE OUT OF THE WAY MOTHERFUCKERS” *trying to move*

namjoon: *gets hit by yoongi* “YO BITCH WHAT THE FUCK”



yoongi: “oh, but I DID.”

hoseok: *is trying to keep the two from fighting* “guys please…it’s all just adding to the stress”

jimin: *was taking a selfie but noticed yoongi and namjoon are fighting so he records it* “YAS I WILL GAIN MORE SUBSCRIBERS WITH THIS”

jin: *fixing his make-up in the car but runs out of bb cream* “OH MY GOD, NO. NOT TODAY. LORD, NOT IN THIS HELL. PLEASE. WHAT HAVE I DONE WRONG”


jungkook: “oh…well…got a lot of time to clean my car” *even though he had just cleaned it yesterday*

jimin: *realizes jungkook is there so he tries his best to get close to his car and low-key takes pics of him*


♡ ♡ ♡

app: wattpad
user: jiminsidekookie
book: Totally Bangtan


Sam/Jack + in unison/mirroring