one of my most favorite scenes in the entire series




First off the legendary, iconic Sasha Pieterse aka Alison DiLaurentis who was running this show at only 14 years old. Even though most the series she was either dead or kind of out of the inner circle, she constantly found ways to steal the moment. Even when Alison could’ve been a total bitch, you found yourself rooting for her (well if not her then Sasha because damn girl you can act lol)

Heres my list of dramatic Ali faves (it is in order from least to most):

1. Episode 3x17 (I still have no clue who Beach Hottie is for sure)

2. Episode 3x23 (Which is one of my favorite episodes in the series. I just always loved this moment.)

3. Episode 7x02 (This was so hard to watch, I felt bad seeing my baby like this)

4. Episode 5x24 (YALL… When I tell yall I was in TEARS!!! I thought they were really really going to jail. I was really telling people ‘free my girls’ that’s how invested I was)

And my very favorite emotional, scene stealing performance by Sasha was THIS….

5. Episode 4x24 (I FELT this entire scene. I didn’t see Sasha in this scene I saw Ali. I was crying. I felt for her so much. I lost it at ‘Can’t you see me breathing?’)

Tell me some of your favorite dramatic Sasha/Ali scenes that didn’t make the cut!!!! 

swanscapitan  asked:

Favorite episode of each season?

 It always depends on what day you ask me.

Season 1 – Snow Falls. Honestly it’s the only one I remember, but I did really enjoy the meeting between Snow and Charming, definitely a stand out for me.

Season 2 – Tallahassee –  The truth is that I haven’t seen every episode of S2, however even if I have I suspect this would still be tops. Because… Beanstalk!  Talk about a swash-buckling, epic romantic adventure to set the tone for how Hook and Emma would relate to one another for the rest of their lives.  It’s also super fun to rewatch and talk to the characters, “Hey, now, that’s your future husband!” or  “Slow your role, sir, you’re talking to the future mother of your children.” Love it.

Season 3a – Dark Hollow. Honestly, it all comes down to one scene, “When I win your heart, Emma, and I will win it, it will not be because of any trickery, it will be because you want me.”  I seriously wanted to punch anyone in the throat who took issue with that line. He was NOT stealing her agency, he was giving her full agency by stating his feelings truthfully, being transparent about his intentions and telling her it was all going to be on her terms. Swoon. One of my favorite scenes ever.  

Season 3b – Snow Drifts. I talked about this episode recently, it might be one of the best this show ever produced.  It had humor, heart, romance, action, a clever plot and excellent pacing. Not to mention the incredible acting and technical work by everyone behind the scenes. It’s gorgeously shot, expertly scored, perfectly costumed and one of the best all-around hours of OUAT.

Season 4a – White Out. This one is a bit of a toss-up between it and The Apprentice.  However, White Out usually wins.  Of course, I love the end. The first hug, the first snuggle, the first real displays of affection in front of her family.  But I also love Warlord Bo Peep, Charming with the flowing hair, Regina being confirmed as the worst mother on the planet, Elsa and Emma meeting, and loads of Captain Charming working as a team.

Season 4b – Poor Unfortunate Soul.  It’s hard to get better than the “it’s you” scene. In fact, I have an entire tag on my blog devoted to “it’s you.”  One of my favorite declarations between them. And Jennifer Morrison! That single beautiful tear rolling down her cheek as Emma kisses Killian, this has to be one of the most emotional and expressive kisses that they share.  The episode also had lots of good stuff, Hook making amends with not only Ursula, but Ariel, and Emma standing up for her man with her parents.

Season 5a – Birth. Sometimes I lean towards Broken Kingdom, but for CS focus, angst, romance and heartfelt devotion, almost no episode of the series comes close to this level.   It’s a rollercoaster going from thrills when Arthur has them all cornered, to iconic moments such as lighting the eternal flame with their kiss to dark devotion when Hook jumps off the roof to get DarkSwan’s attention to sheer shock when we find out Hook is also the Dark One.  

Season 5b – Last Rites. At times I might be tempted to name The Brother Jones or Firebird, but I’m always swayed by the reunion scene. Plus, I love them separated by life/death, dimensions/realms and still managing to find a way to work as a team.

Season 6a – The Other Shoe. This is one of the easiest to pick. It’s one of the only episodes from 6a that is excellent from top to bottom and so much good CS to choose from. Captain Cobra Swan working a problem together, and Emma leaning on her boys and the moving in scenes is one of the most romantic of the season. I enjoyed the Cinderella bits as well.

Season 6b – The Song in Your Heart. I was super skeptical about a musical episode and used to cringe like crazy when fans would ask for one at cons, however, I believe that OUAT produced one of the best musical episodes of TV ever done.  The story flowed, there was a reason for the music, the songs were well done and relevant and of course the wedding. Emma Swan marrying her pirate prince in front of their friends and family in a dress fit for a princess, a fairy tale beginning if ever I saw one.

@shadowtearling’s August Selfie Challenge - Day 3 - Favorite Book

I adore Neil Gaiman’s Neverwhere. I have a couple different editions, but this is the most recent that I added to my collection—part of a series of vintage Gaiman covers illustrated by Robert McGinnis. Neverwhere was the first novel I read by Neil Gaiman, and now I have a huge collection of his books—it takes up an entire one of my bookshelves—and he is one of my all-time favorite authors. 

There are many things I love about Neverwhere, but here are just two. First, it has one of the most impactful scary scenes I’ve ever read—as they cross the bridge to go to the market, and the darkness comes alive. Second, I think it does the “hapless character dragged into a fantasy” better than any book I’ve read. In most of those stories, the character suddenly becomes brave, the chosen one, the hero of this world. Richard isn’t like that. He’s terrified. He’s confused. He kind of just wants to go home. The reason he gets dragged into this is because he stops to help a girl who is bleeding on the street. An act of normal human kindness drags him into an underworld he doesn’t want to be part of, and it is that ordinary, frightened, realistic kind of heroism that Richard embodies. 

“You’ve a good heart. Sometimes that’s enough to see you safe wherever you go. But mostly, it’s not.”

anonymous asked:

I hope it's not a bother but- Mind telling us why Byakuya Togami got so high in you DR ranking ? I like this character a lot, so I would be interested in what you think of him, as I love your metas and writing so much!

It’s absolutely not a bother! I don’t think I’ve ever had a chance to write much about Togami before, so this should be fun.

I would honestly consider Togami one of the DR characters who has grown the most over the course of the entire series. His arc of character development is consistent while remaining believable, and I honestly find myself enjoying all the new content that’s been provided on him—even his scenes in dr3, while short, were enjoyable, and I’m incredibly interested in keeping up with the DR: Togami novels and finding out more about the Togami family in general.

Honestly, it was a surprise when I first realized just how highly I would rank Togami’s character. I hadn’t really thought of him as one of my favorite characters before—certainly, I didn’t think he would be when I started dr1. He’s rude, blunt, absolutely merciless towards others’ feelings, and it didn’t seem like the narrative would be able to pull off him achieving any development or growth without it feeling stiff and unrealistic. However… really, he just grew on me at some point.

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Hakumyu Saitō-hen - The Experiment

Here in lies my rather extensive thoughts on the first of the Hakumyu shows. I’m warning beforehand that this post IS NOT spoiler free! If you haven’t seen any of the shows yet and don’t want to be spoiled, keep on scrolling. Don’t worry, I won’t be offended. 😉  I’m sorry that this post is going to take up your dash. I attempted to add a cut, but it doesn’t work at all. I’ve tried every trick I found. Every time I clicked keep reading, it would send the reader to my blog but not open the post. I apologize!

Full Disclosure: I haven’t completed an entire playthrough of any route of any of the Hakuōki games (I’m working in it, I swear!). I have seen the entire anime several times as well as both movies, which means that most of my Hakuōki knowledge is really of Hijikata’s route. With that said, I’m not an expert on the individual routes, so I won’t be commentating on the accuracy of the story itself as it compares to the games.

Okay, my method while I was viewing was pretty straight forward. I realized that not all of the musicals have been translated (and I’m nowhere close to being a fluent speaker/understander of Japanese), and obviously, my ability to understand the dialogue would sway my opinion of the show, so I decided to watch all of the musicals without subtitles. That way, all of the musicals are on equal footing when it comes to my ability to comprehend what is going on. I had to rely on my severely limited knowledge of Japanese and the acting. I also did not watch any behind the scenes footage or extras, so everything is based off of what I saw on stage. I’ll also use screenshots and an occasional gif to illustrate my point and to break up the walls of text I’m certain are going to happen.

Okay, so let’s get this show on the road!

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Ramon was probably my least favorite character from The Get Down. But this scene was incredibly well crafted. The man genuinely believes his life has come to it’s end. Everything he knew and cherished has been taken from him and in his heart of hearts he believes that the Devil is to blame for this. Ever the strong pastor he heads to his sanctuary, his Church and delivers his most powerful sermon. To a crowd of no one but God. 

My review of Despair Bear

Before anything else: I’m disappointed we didn’t learn the butler’s actual name. So in this post (and from here on out on this blog), I’m just going to refer to him as Jean Valjean. So be warned.

The basics: 8/10. Everything I wanted out of a filler episode. Excellent writing and great character moments, as well as some wonderful satire of the fandom. Hampered only by a villain whose powers and motives make no sense.

(I’ve tagged this as #mlspoilers and I’ve made it very clear that I won’t be holding back on here, so I hope this is sufficient warning.)

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Thoughts on the Whomping Willow incident

Here’s a thing that bothers me from Deathly Hallows (in fact, maybe the thing that bothered me the most in the entire overall series):

The Whomping Willow incident, built up so well through the early Harry Potter books (the ones of my childhood to which I have the strongest attachment, so integral in particular to Prisoner of Azkaban which remains my favorite), being rendered entirely moot to all parties involved.

It’s made explicitly clear it’s before the lake scene, first when Lily says:

“You went sneaking down that tunnel by the Whomping Willow, and James Potter saved you from whatever’s down there-”

And, then, of course, when Harry’s next chronological step through Snape’s memories is to the same lake incident he observed in his fifth year.

First: wait, since when does the entire school know there’s a tunnel under the Willow? Because this is supposed to be a closely-guarded secret, set up to conceal Lupin’s werewolf-dom, and students at the time played a game trying to touch the trunk (Davy Gudgeon nearly lost an eye!) not trying to get in the tunnel. It certainly doesn’t travel down the grapevine of time: or the Weasley twins would have found their way into that tunnel long before.

But most importantly is how this switch affects characterization (and for the poorer).

Putting it before the lake scene? 



Because when there is one other person in the school who knows your friend is a werewolf – and who, as an adult, proves he is not above letting this information drop “accidentally” as revenge– you’re really going to hang that person upside down in the air and show his underwear to the school?

Just because you’re- or more specifically, Sirius is–  bored? After the last time he was bored, or something like, led to Snape nearly getting eaten by Remus, James risking his own life, Dumbledore definitely becoming involved, and everything nearly being ruined? 

And Remus isn’t going to say so much as “hey, Padfoot, remember last time you were bored, when you nearly got me expelled, and worse, discovered/possibly locked away by the Ministry/stuck with permanent indigestion from Snape’s greasy hair? Maybe think back for a sec.”

Instead, the only reference to a recent full moon is Sirius’ comment "Wish it was a full moon" and Remus’ reply “You would,” which, while nuanced enough to remind us that the transformation isn’t a fun adventure for Remus as it is for them, is not nuanced enough to suggest on a recent full moon an incident happened that they will still be harping on when they are thirty-three-year-old men

Which, if you remember, is exactly what they do.

“So that’s why Snape doesn’t like you… because he thought you were in on the joke?” (Harry).

“That’s right.” (Snape’s entrance line.)

Later, from Lupin: “Is a schoolboy grudge worth putting an innocent man back in Azkaban?”

Since Snape’s reply is to silence Lupin, the implied answer is yes.  

The thing about the Willow incident, and its importance, is that we get it back in Book One. It’s there from the beginning at the end of the first book, as part of that book’s reveal (just as Sirius Black and his motorbike are, right in the first chapter, and man oh man do I love when the pieces are there all along).

And then it’s a two-book wait to figure out HOW James Potter saved Snape’s life, and it is an excellent reveal, involving his friends, at a key moment of tension; after seeing so many harmless pranks from the Weasley twins it’s the ultimate Prank Gone Wrong that almost cost them everything and which, again, they are still talking about at thirty-three.

In fact, it has forever colored how Snape sees Sirius; he considers it important enough as an adult that he is still reminding Dumbledore about the whole prank:

“Sirius Black showed he was capable of murder at the age of sixteen. You haven’t forgotten that, Headmaster? You haven’t forgotten that he once tried to kill me?”

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Things I Love About LoK

Goal: Write 1 thought every day re: why I love The Legend of Korra until I finish rewatching the series.

#94: Wan’s death scene in “Beginnings Part 2.”

Book 2 is generally considered the most-hated season of LoK (at least based on my read of the ATLA Subreddit). For me personally, I do agree that it is the weakest in execution of the four LoK seasons (if only because it was so ambitious in scale). But honestly, when I think back to the scenes in the entire series that resonated with me the most on an emotional level, a bunch of them come from the second half of Book 2. 

In particular, I think the scene where Wan dies at the end of “Beginnings Part 2″ is PERFECTION. It’s one of my favorites in all of LoK (even though none of LoK’s main characters is in it). 

We see that Wan’s act in closing the spirit portals and separating the spirits and humans is a cataclysmic, world-changing event. He started a new age: the age of the avatar, thus ending the age of the Lion Turtles, who recede into the background. And then the humans emerge from their lion turtle cities and immediately descend into conflict: 

Wan:  Different groups of people must learn to live together. This is my mission- to use Raava’s Light Spirit to guide the world toward peace.

Wan attempts to use his avatar powers to keep the peace between the humans: 

But ultimately he fails:

And he dies on the battlefield knowing that he failed: 

Old Wan: I’m sorry, Raava. I failed to bring peace. Even with Vaatu locked away, darkness still surrounds humanity. There wasn’t enough time.

But he also dies knowing that the avatar spirit will live on and continue striving for balance in the world: 

Raava: Don’t worry. We will be together for all of your lifetimes and we will never give up.

I love that Wan fails, and that the avatar cycle is essentially an eternal struggle to find peace and balance despite the “darkness” that surrounds humanity. I also love the idea that no avatar solves all of the world’s problems (because the world’s problems are too many, and too complex for one person to fix). 

Rather, each avatar makes mistakes and leaves things unresolved for the next one.  (Thus, we see that Roku failed to stop Sozin, which bled into Aang’s time.  And Aang’s actions against Yakone led to Yakone breeding his sons for revenge, which bled into Korra’s time.) Like Raava and Vaatu, who could never destroy each other, but fought in a never-ending cycle, the avatar cannot vanquish all evil and darkness because of human nature.

But the avatar never gives up. And I just think that is incredibly moving and beautiful.

As somebody that (sometimes) spends a lot of time writing Aomine, I’ve had to think a lot about his characterization and how his thoughts and emotions work in order to write him. From what I’ve noticed, my characterization is a bit…different, and less aggressive than most, mostly because of the way I view Aomine’s character progression and where he would be some time post Winter Cup. I suppose this is an analysis post on Aomine’s character?? Anyways let’s get started.

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francesca-mercedes  asked:

what character do you think has the best character development?

That’s a really good question.

For one, I think MTMTE and RiD  in general have amazing characters with good, subtle development. I think Tailgate and Cyclonus are really well done, and I actually like what Barber did with Prowl. I like how Roberts turned Drift into a very likeable, sweet character, I like the constantly growing pile of regrets Rodimus is collecting, I adore Chromedome and Rewind and how what happens to them is dealt with.

But I think outside of IDW, I’ll have to go with TFA Prowl. Because (massive spoilers for all of TFA, don’t read if you haven’t watched it) at first, he is so annoyed by his team, which isn’t even actually his team, he just got there by accident. He thinks himself better than all of them and even for the rest of the series, there is always that sense of him feeling at least slightly superior, just not as obvious and cocky as in the beginning. So when (SPOILERS FOR THE ENDING) he realises that there is only one way to gather all the fragments in time in the final battle, he sacrifices himself without hesitating even once. And you know what the most amazing part about it is? He doesn’t do it to be a hero. The only guy there to witness his sacrifice is Jazz, a guy who, while not being a complete stranger, hasn’t been part of the team for very long and is probably the most distant ally in the fight. He doesn’t do it to show off how superior he is, he doesn’t get any heroic last words, he just knows he has to do this and he does so to save the exact people he didn’t like at the beginning of the show. Hell, he doesn’t even get to say goodbye, his friends don’t know what is going on with him, they think he’s doing fine. His only goodbye is a sad smile, and that short moment is so powerful that it actually moved me to tears. It doesn’t look like he’s sad about dying, he looks sad that it’s over. Those are two very different things in my opinion. It’s so great because during the show, he rarely smiles or openly shows sadness, and I think this is the most emotional he gets in the entire series. It’s a perfect moment, a heartbreaking moment, and I can only pity anyone who says TFA was too silly and stupid, because they missed what is one of the most beautiful, soul-shattering death scenes in cartoon history. Yes, I will go that far. I am dead serious.

Also, shoutout to Starscream from Armada, probably the only thing I genuinely loved about that series, but he’s not my favorite because there was some hilariously strange things in between. The end of his arc was fantastically tragic, though.

anonymous asked:


17. Favorite G/T books, movies, games, etc.

my top favorite is The Pirate Fairy. it’s in the Tinkerbell movie series, and it’s amazing, I’m a huge advocate for the series and the g/t in it as a whole but this one is So Good and has some prime fearplay/handheld scenes/size differences. I’d highly reccomend it. actually just check out the entire Tinkerbell movie series. Most of the movies just focus on the fairies, but there’s a TON of g/t stuff with how the interact with objects/work/make things. The Great Fairy Rescue and The Pirate Fairy have the most tiny/giant interaction and it is So Good A+++++ I could scream about this series for forever

along the same lines Peter Pan is one of my favorite books of all time, and they have a ton of prime tiny stuff going on with the fairies. where else are you going to read abt fairy orgies. Barrie did some awesome stuff with fairy concepts and their relation w/ being small, and a lot of movies/spin-offs/related books have some rlly great g/t things too

it’s not solely g/t but the 31st (I think? I haven’t checked in a while) episode of TAZ has some great shrinking stuff going on

uhhh as for games, anything Mario lmao. SPECIFICALLY:
-Mario & Luigi: Bowser’s Inside Story. the plot is basically that Bowser winds up inhaling like half the shit in the Mushroom Kingdom, so through the story you play as Mario and Luigi doing stuff in Bowser’s insides and guts and stuff, while also occasionally switching over to play as Bowser. If you like internal stuff and the thought of tiny ppl inside a body manipulating it, I can’t recommend this enough
-Mario Party DS, I haven’t played this one as much bc I lost my copy, but it’s basically a Mario Party game with the overarching plot being Bowser having shrunk the gang and them trying to get to regular size
-Super Mario Galaxy 2, Bowser basically got HUGE and kidnapped Peach, there’s not a ton of g/t but all the cut-scenes with Bowser and Peach are so good
-Super Paper Mario, this is my FAVORITE GAME OF ALL TIME I could scream about it endlessly. G/t isn’t a main theme in it, but without spoilers, there’s a romance between a ‘kind of fairy’ (she appears as a butterfly in game) and an average size person, so there’s some good interaction. You wind up picking up a companion who can shrink you, so there’s some puzzles and stuff dedicated to being small. inversely, there’s some power-ups scattered about that can turn you into a giant pixelated version of yourself. a lot of the bosses are huge. the main draw is the plot, which involves that fairy/average person romance, and a ton of the lore and stuff is focused on that. honestly I could talk about this game to the end of time, it’s so good, you should play it for a billion reasons, if not just for the g/t

fhjdkgsdk I rambled for forever sorry im just trash for Tinkerbell and Mario

Writer’s Notes: Deep Breaths & Gas Me Twice

Deep Breaths and Gas Me Twice were originally written as a single, mammoth Christmas Special/Season One Finale episode (we ended up splitting it up into two episodes in the edit) so I’m going to do one entry to tackle these two together.

Like I mentioned in the writer’s notes for Am I Alone Now?, this story was not originally meant to be the season finale. The crew discovering that the transmissions were not coming from Earth was going to be another one of our standalone episodes, but it quickly asserted itself for what it really was: the first great elemental shift in the series’s narrative. It quickly became apparent that this story should be the capstone for the first season, and that once it started there would be no turning back. Wolf 359 was always going to shift from individual stories to a highly serialized format, but we originally thought it was going to be a gradual change. But this? This wouldn’t be gradual - it’d be a very violent gear shift. Needless to say, we were all a little intimidated by this step, but it really did feel like it was the one that the show’s narrative wanted to take.

Partly because of that, partly because it was going to be the capstone to our first season, I made a point of bringing as many elements from earlier episodes into this story as I could. This is a trick that I stole learned from Farscape, which caps off a fun but undeniably lightweight debut season of unconnected adventures with a significantly darker story that brings together plot threads from six earlier stories that seemed to be inconsequential standalones. It gives the proceedings a very elegant, very scary sense of sneaky architecture. (And by the way, for anyone looking to trace the DNA of Wolf 359, Farscape should be your first stop. Our series very much started as me trying to fill the void left by that show by making something that mimicked Farscape’s unique melange of tones, humor, genres, and dialogue.) I don’t know if Deep Breaths/Gas Me Twice does anything quite as powerful as that, put it was a lot of fun to bring together elements from the first series.

If memory serves correctly, we got:

  • From Little Revolution: Hilbert’s knockout gas, the acid dissolving the door to end the conflict, and Pryce and Carter 614 getting spat back at Hilbert.
  • From Cataracts and Hurricanes: the receptor dish that Minkowski goes out to adjust.
  • From Cigarette Candy: Eiffel gets confirmation that Hilbert was experimenting on him.
  • From Super Energy Saver Mode: Eiffel’s impersonation of Minkowski, which becomes his “Man From Command” voice.
  • From The Empty Man Cometh: The pulse beacon relay as a way to communicate with Earth, plus Command as a general nefarious entity.
  • From Extreme Danger Bug: the oxygen mask that Eiffel uses to save himself from Hilbert’s gas.
  • From Am I Alone Now?: Hera’s emergency Protocol Emergency Override 34-Stroke-C, and ability to flood rooms with liquid nitrogen.
  • And, of course, from Succulent Rat-Killing Tar: the deep space transmissions and Eiffel’s cigarettes starting a fire.

It might seem like it’s a lot to bring all of that together not just with the major shift in the story, but also with the idea of doing a Christmas Episode and Eiffel’s birthday. Weirdly enough, I think that having some many checkboxes to tick made outlining and writing this episode easier - the way all the pieces fit together came together in my head in about an eighth of the time it took me to write Am I Alone Now? I keep saying that restrictions are your friends when you are trying to write something, and this is definitely an example to support that hypothesis.

And then, of course, there is the end of this episode. What happened didn’t come as a surprise to anyone who knows of my love for Farscape, and Joss Whedon, and Steven Moffat, and other writers who have made a name for themselves for a certain level of, *ahem*… shall we call it sadistic tendencies? But for a lot of others, Hera’s “lobotomy” at the end of this episode came as a major surprise. It was designed to be - this is the moment when the show announces its turn towards the realms of the more dramatic and the more serialized. Even though the good guys “win” at the end of the day, I needed to dispel any illusions that the show would return to the Season One status quo. And for that to happen, I needed Hilbert to do something that would not - could not - be easily forgiven, something that irrevocably altered how these people related to each other and broke the group in a way that couldn’t be repaired.

And thus endeth Season One. And oh, things would only get worse from here on out…

Assorted Notes:

  • While The Empty Man Cometh remains my favorite overall episode of the series, the scene between Eiffel and Hera at the top of Gas Me Twice might be my favorite thing that I’ve ever written.
  • One of the most interesting things in the show for me is exploring the issue of whether Eiffel is genuinely bad at his job or if it’s just a matter of him not putting in any effort. The entire plot of Gas Me Twice kind of revolves around Eiffel beating Hilbert by actually being pretty awesome at his job as a communications officer.
  • I love the contrast between the mock version of Command that we get from Eiffel in this episode and the real Command that we meet in the next episode.
  • Many thanks to @randomdraggon for sharing these awesome illustrations of key moments in Gas Me Twice! 

Moffat Appreciation Day Countdown:

November 16: Favorite thing about Doctor Who Season 8

Peter Capaldi as the 12th Doctor

With the Casting of Peter Capaldi as the Doctor, Steven Moffat made the best possible choice. The brillance of his character comes through both, Moffat’s writing and Peter’s acting.

The 12th Doctor is different from his past two regenerations, simply because he’s older. As Michelle Gomez said, Peter brings “maturity and gravitas” to the role, without losing the humour. 12 is a Doctor who can be both, hilarious and serious, extremely silly and incredibly darc and sad without losing his credibility.

Favorite scene: There are many scenes I loved, but in my opinion the greatest scene is the one, where he breaks down completely at the end of Death in Heaven. It’s so grounded, the fact we almost forgot through the series - that the Doctor is in fact incredibly sad and bitter because of his loss - appears so straigtly in this scene. With just one scene Moffat makes the Doctor more bitter, more dark and very, very aware of his situation. It’s the most moving scene in the entire series.!

“The difference is this. Pain is a gift. Without the capacity for pain, we can’t feel the hurt we inflict.”

anonymous asked:

ive been following you for a while, and after seeing ons so much on my dash because of you, i finally got into it!!! >///< i just finished the second season, and omg!!! all the mikayuu feels!!!! out of curiosity, which was your favorite scene for them??

Hmmm…my most favorite scene for them would probably have to be this one: 

Don’t get me wrong, nonnie; like most other Mikayuu fans, I gushed hard over episode 10 of the second season, but to be quite honest, the scene pictured above was the only one that actually…legitimately moved me tears. 

This scene for me was probably the most heartbreaking, yet touching out of the entire series. After all, most of the time that he’s shown in the anime, Mikaela is depicted as this hardened youth fighting to get his family back. He’s cold and apathetic to most of the other characters he interacts with, and for most of the time, he has one facial expression towards all of them. Going by this, and the fact that he’s been trained as a vampire guard and soldier, he’s probably not the type to show affection in the middle of a battlefield, let alone letting his guard down in front of people he perceives to be his enemies. 

All the more reason that this scene jumps out at me, because of how he’s been shown up until this point in the anime. The way he’s holding Yuuichirou so close, the way his embrace is both tender and protective at the same time, it only goes to show that underneath that indifferent nature of his, Mika is actually a very passionate character. For someone who’s longed to be with Yuu again for four years, the affection he shows in this scene seems almost unconsciously done, considering the fact that at this time, he was also thinking about the dead children of the orphanage. 

The way he grits his teeth is especially telling, because, at least to me, it looks as if he’s also holding himself back, as if he’s confirming to himself that Yuuichirou is with him at that moment. It’s like a spell he unconsciously doesn’t want to break, if that makes any sense, nonnie. XD 

Did I mention how beautiful the music piece was for this scene, nonnie? ^^ It’s my most favorite out of the entire soundtrack!

I also love this shot of them from the back:

Personally, I thought it was a wonderful touch for the production team to have added in. We didn’t get this angle from the manga, so I’m so happy to have also seen their scene like this. The way Mika leans his cheek on top of Yuu’s head, the way he cradles him on top of his lap…literally everything about this scene was pure elegance and beauty to me. Although Yuuichirou is unconscious, it was very much an intimate moment for Mikaela’s part, I thought. 

This scene gives us a good insight into Mika’s character as well, so it’s not just for the emotional value that I love it so much! XD It’s one of the few scenes that I thought the anime did a lot better, compared to the manga. Much as I love the art and the manga in general, there are just some scenes that are always better pulled off when it goes on the television screen, y’know? 

If you’re willing to gush with me, won’t you please get off anon, nonnie and send me a private message? ^^ Which scene was your favorite? 


Superman the Animated Series: Main Man

Episodes 9-10

Ruthless bounty hunter, Lobo, is hired by the Preserver to collect Superman, the last kryptonian. After a knockdown, drag out fight across Metropolis, Superman chases Lobo into space and they both end up prisoners of the Preserver.  Together, they escape and defeat their captor. 

Despite my general apathy for Lobo as a character, this is a pretty fun episode.  Two-parters are always pretty solid, as the story gets fleshed out more. But the story here consists primarily of punching and Lobo’s jokes. The contrast between Lobo and Superman is an interesting dynamic, and the Preserver is a cool, creepy villain.

The character designs really stood out to me in this episode. The aliens that populated Lobo’s bar and the Preserver’s “zoo” were all really interesting looking, and had a very distinct vibe to them.   

The episodes are pretty funny. This episode has one of my favorite scenes from the entire show, where Clark tells Lois he’s Superman and she doesn’t believe him. There’s definitely a lot of humor written into the episodes, with Lobo’s character being intentionally comedic. I found him a little obnoxious most of the time, but that’s just because I’m not an enormous Lobo fan to begin with. But it was still entertaining.

Overall, these episodes are action and humor focused and they really deliver, but my distaste for Lobo didn’t do the episodes any favors. Rating: B

My Top 5 Cobert Plot Lines

So, @devotedtodownton​ asked me what my top 5 Cobert scenes are, and I can’t simply answer that. I cannot. My favorite scenes are so intertwined with the plot line itself that it would be hard to explain why the scene is my favorite without its context. Because of this, and because I’m celebrating Downton until it’s officially over even in the US, I’m going to do a top 5 plot lines set of posts, and I REALLY would love it if others would like to share theirs, too! Below is a mess. It’s a bit of an essay - very analytical and quite poorly written - so I’m only doing one at a time. And most is under the cut.

No. 5 - from Series 1; Episode 7: Cora’s Unexpected Pregnancy and Its Tragic End

Firstly, I’d like to say that what I think our Uncle JFellz was doing here was not so much as building character/rounding character for Cobert, but more so propelling plot for the others. I’m not sure that this plot line was ever really about Cora and Robert (at least not at the start) but rather a plot device to further complicate the Mary and Matthew relationship. So what better way to complicate than a new pregnancy! Matthew may not be the heir after all! And as a writer, he had to be sure his audience had some assurance that Cora wouldn’t lose the baby by natural causes, that there would indeed be a baby (as it further cements the complication for Mary), by having Cora discover the pregnancy when she’s “about four months”- past the typical risk-zone for miscarriage. 

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