opening and closing scenes

Okay but like the thing that Wonder Woman explores so beautifully is the root of the Diana-Bruce dynamic in BvS and Justice League. 

Like, listen. Steve Trevor taught her how to love, but he also taught her what being human meant, that they screw up some times, that they can be mean or cold or cruel but that mixed up with all that darkness they have love and a wish to do better and they are so much more and by the end of Wonder Woman she believes this fully. 

But then, how did we get to BvS’s disillusioned, distant, not-getting-involved Diana? She says it herself: she witnessed “a century of horrors”. She saw World War II just after stopping the first. She saw men throw the Atomic Bomb. She saw the cold war, Vietnam, terrorism. All of this. And heart broken, eventually, she walked away, because Steve is gone and maybe so is the humanity she believed in. 

So come BvS she tries to stay away. She really tries. And it’s only her commitment to helping and protecting innocents that brings her back because suddenly this isn’t a human-on-human conflict, it’s a motherfucking monster of godly proportions and okay maybe that she can deal with. Okay, she’ll put up with the boys and their dick-measuring contest. 

And it’s only in the end, when she’s standing next to Bruce after Clark’s funeral that everything changes. Because she just saw this two men put aside their differences to protect the world. She saw Clark give up his life to save everyone else. She saw Bruce radically change his views and accept he was wrong. 

And then, AND THEN, after seeing all this darkness in them —in humanity— comes this man full of darkness and pain, who is tired of being disappointed by humankind just as much as her, and he says: “men are still good.”

And THAT is the whole thing about her motto, about her core belief, about what learnt from Steve and what she so truly believed that she could defeat the god of war itself. And here is this man, a century later, reaffirming that belief, understanding her core without even meaning to. So she stays. And she works with him. And they form a league. 

It’s just so important to me that if you put Wonder Woman and BvS together and the opening and closing scene is related to Bruce helping her recover a part of herself she’d lost and helping her remember who she is and why she fights and i’m so emotional fuck fuck fuck


You remember this? My dad and I used to build model airplanes. And this, this was my absolute favorite. Tenth birthday. This is a Nieuport 28. It’s the same plane Quentin Roosevelt flew in World War I. When you were about two years old, you got your hands on this, and you broke off one of the wings. I spent about an hour with a hot glue gun trying to fix it. It ended up in about 20 pieces instead of 2. Quentin, sometimes trying to fix something only makes it worse.

How to Keep Your Readers EMOTIONALLY Involved

Why is it that sometimes a book or movie can make you THIS emotionally invested  … 

And sometimes it’s more like this? 

My stories used to inspire a reaction similar to Hermione’s in my readers. And in me.  At some points I’d be reading my work, and a little honest voice buried somewhere in my head would say “I wouldn’t care if this character was hit by a bus right now.” Then I’d heap some denial atop the voice, silence her unwanted mutterings, and go back to trying to enjoy my story. Problem was, my readers appeared to have this little honest voice as well. And if she told them “Cartoon bus. Hitting this character. Wouldn’t that be funny?” they had a tendency to listen to her.

What was the problem? My scenes didn’t connect to my reader’s emotions. They didn’t change those emotions throughout the scene. They started out sad and they ended just as sad or even more so. And what came after that? Well, another scene that began with the main character feeling horrible, which ended with him just as downtrodden as before. Or worse: The scene began positive and just got better. The next one would start out absolutely giddy and ended effervescent. And this kept going until the characters were almost singing with joy. (Okay, maybe I’m being slightly snarky about my past self.) But after that, I’d follow it up with a long sequence of sadsadsad scenes. 

So what happened? My readers had only two emotions while enduring this: frustration and impatience. 

The scenes weren’t keeping my readers emotionally engaged. The scenes weren’t changing emotionally. And that is what needs to happen: The emotional charge of the scene has to change. Switch between negative and positive. The flow of the reader’s emotions has to be taken into account, and consciously adjusted. It’s that simple. 

How can this be accomplished? 

1) Determine what’s at stake in the scene. To the characters, something important is being threatened, something emotional or primal. Love? Safety? Friendship? Justice? Make sure the scene means something for the characters. (If it’s not emotionally significant to them, connected to the A Story, B Story, or Character Arc, it’s not a scene and the reader won’t care.) And since the readers are emotionally connected to the characters, the readers care about what’s at stake, and are conscious of what it means. 

2) Beats. The exchanges of action and reaction between characters and forces of opposition in pursuit of the goal … these carry that emotion, these are how emotions shift within the scene, gradually taking it from one to another. 

3) Emotional Charge. If the scene starts with what’s at stake in positive way, then it’ll switch to negative by the end. If if starts negative, the scene will change to positive. 

Anyway! How does this work?  

To illustrate it, because I’m having a lot of fun reading the screenplay, here are five scenes from Zootopia. 

Let’s start with the scene right after this happens: Manchas has gone savage, and Judy and Nick are running for it.

Scene 1 

What’s at stake? Life

Opening Charge: Negative (They’re being chased by a jaguar who is about ten times bigger than either of them, and who seems quite keen to tear them apart. To the characters, this scene opens with a 95% likelihood of imminent brutal death. To the audience, this scene opens with two characters we’ve come to care about in this dangerous situation.)

Closing Charge: Positive (They manage to call backup. Judy manages to handcuff Manchas. Nick stays to help Judy, rather than hop on the gondola to safety. They fall but manage to survive. They fall again, but are caught by a vine just before impact. Bogo and the rest arrive, and Judy is full of confidence about her discovery in the Otterton case, and eager to show them. Everything in this scene ended in Judy and Nick’s favor.)

How has what’s at stake changed? They lived.

Scene 2

What’s at stake? Judy’s lifelong dream, the goal she’s worked towards since she was a child. 

Opening Charge: Negative (Judy tells Bogo that this is way bigger than a missing mammal case – Otterton and Manchas went savage. He scoffs at her. In response, Judy confidently sweeps back the leaves to reveal the wild jaguar … and he’s gone. With her proof nowhere in sight, what she’s told Bogo sounds insane and ridiculous. Which provokes him into demanding her badge.) 

Closing Charge: Positive (Nick stops Bogo from taking Judy’s badge. Nick also bluntly tells him that he’s been an unfair little jerk to Judy, they have time to solve the case, and they have much more important things to be doing than standing around dealing with these idiots. He even calls her “Officer Hopps” instead of Carrots. They’re back on the case.) 

How has what’s at stake changed? She still has a chance to achieve that lifelong goal. And Nick was the one to buy her more time. 

Scene 3
What’s at stake? Truth

Opening Charge: Positive (Judy, and the audience, are feeling thankful and closer to Nick.)

Closing Charge: Negative (But even though we are in a good place, Nick looks far away … he starts thinking back … and we can sense that this memory lane doesn’t end anywhere pleasant.)

How has what’s at stake changed? He’s about to share something significant.

Scene 4
What’s at stake? Innocence

Opening Charge: Positive (We see little Nick! Looking happy and excited. All he wanted to do was join the Junior Ranger Scouts, and his mother scraped together money to buy him a uniform. She’s even adjusting his tie for him, lovingly.)

Closing Charge: Negative (Nick, who had been so happy at the beginning of this scene, is now hiding from the evil kids,  struggling to pull the muzzle off, panicked, crying like his heart’s broken.) 

How has what’s at stake changed? Traumatized

Scene 5
What’s at stake? Closeness

Opening Charge: Negative (Well that was a horrifying story. And now Nick is avoiding eye contact, while revealing the takeaways he got from that childhood episode, which have shaped his decisions from then on. Suddenly Judy, and the audience, understand Nick a lot more. We empathize and sympathize with him.)

Closing Charge: Positive (The traffic cameras would have caught whatever happened to Manchas! And Judy has a friend that can help them access those cameras. They’re back on the case.) 

How has what’s at stake changed? Nick dodges out of further vulnerability BUT they’re back on the case – this time, together. 


As you can see, the emotional charges of these scenes fluctuate smoothly, from a scene’s opening to its closing, from one scene to the next. In every moment, in every beat, we’re feeling something. And when the scene turns, we (and the characters) are feeling the opposite of what we were at the beginning of the scene. Our curiosity and minds are linked to the story by the question “What’s going to happen next?”; our emotions are connected to the story by the conduits Judy and Nick, these two characters we care about, as every emotional change pushes us closer towards the answer to the question “What’s going to happen to these two? Is everything going to end up alright for them?" 

Now, let’s see what happens when you stop paying attention to the emotional changes of your scenes. 

Scene 1: Manchas is gone. Bogo is berating Judy. Nick stands there and watches. Judy ends up handing over her badge. The real cops leave, and Judy stays behind, figuring she might as well try and complete the case anyway. All Nick wants is that carrot pen, so he tags along.

Scene 2: Judy has nothing to feel thankful about, and certainly doesn’t feel closer to Nick. He’s thinking back on his childhood, but doesn’t share anything with Judy… 

Scene 3: Instead of the flashback opening on a happy Nick, it opens on him getting beaten up by the evil children, and ends on him weeping with the muzzle strapped to his face. 

Scene 4: We snap back to the present. Judy staring, beyond tears at this point. Nick looking traumatized and bitter. He remembers he needs the pen. He thinks about the reward money if they had found all those missing mammals. He has the traffic camera revelation! He drags a dejected Judy into his scheme, which she doesn’t care about, but why the heck not? 

In this horrible alternate universe version of Zootopia, this sequence of scenes is negative from beginning to end. And what would have happened to the audience if the scenes had played out in this depressing way? 

They would have emotionally checked out.

The connection between emotions and story would have snapped.

We would have forced our emotions to abandon the story, and watched the rest of the movie feeling betrayed and cheated. 

Because in the end, all we care about are these characters. All we care about is story, and character is story. It’s no coincidence that removing the emotional changes of the scenes equated to removing Judy and Nick’s relationship in the scenes; that relationship, that B Story, or Love Story, function (oddly enough) as the heart of the movie: it keeps the story alive, it keeps us connected and invested in the narrative, it keeps the scenes emotionally turning. Before Nick showed up, and we had two characters to care about, what kept us emotionally involved in the story was our relationship with Judy, this plucky bunny that we really wanted to see succeed. Establishing that connection is a subject for another post, but in regards to scenes, this manipulation of the audience’s emotions is how you keep that connection going strong.

I just said to manipulate someone’s emotions. How villainous.


broadwaycom: Have an incredible final performance to everyone at @greatcometbway! Swipe through to re-live some of our favorite moments during its run! || 📷: @caitlinmcnaney @emiliomkGetty @murphymade


KK so I know everyone likes these, so let’s get it poppin’ and pump out some more!

-Kirigiri’s ‘death’ scene took forever because Kirigiri kept moving in some way or another (I.E. her keg shaking, her mouth opening and closing, her chest rising/falling, etc.).

-Iruma and Kiibo’s 'sex scene’ also took forever to film because Iruma kept laughing and crying that this was too dirty and Kiibo kept crying bc he was being 'Deflowered’.

-Souda finally telling off Sonia for ignoring him 24/7 and then crying and apologizing with the others in the show laughing.

-Oogami’s 'ASAHINA’ yell takes popping up every 5 minutes of the blooper reel with everyone laughing and giving their input.
-Bonus: Imagine Togami yelling 'NAEGI’ to show Oogami how it might sound like.

-In Akamatsu’s 'execution’ scene, you can hear Saihara screaming 'MY WAIFU, NO!’

-This vine on Sayaka/Kyouko’s vine channel:
Hinata: Is that a hamster in your pocket or are you just happy to see me?
Komaeda: *Takes out knife*
Hinata: Oh, shit, nope! Its a knife! *Runs away*

-Or this one:
Mikan: *Strides up to Junko with a flirty smile* How old are you?
Junko: *Looks up from her phone* 15.
Togami/Syo/Hinata/Komaeda: *Screams no and drags her away*

-Souda, Fuyuhiko, and Akane chanting 'One of Us’ when one of the other actors are running late.

-In the scene where Fuyuhiko’s holding Peko while she’s beat up, they kiss on camera and everyone screams in joy.

-Syo and Komaru having an argument bc 'Listen, Dekomaru, I’M Deadpool! You can be Captain America!’ and Fujisaki just shrugging and saying that she’s Spiderman.
-Bonus: Syo yells that now she’s definitely Deadpool bc Spideypool’s fucking canon.

-In Celes’s execution, one of the pop-up flames fall and hit one of the costumed Monokumas in the audience. She unties herself and helps them with Togami (The camera man) laughing loudly.

-Hinata and Souda arguing over which cereal is 'Bomb’ or 'Lit’, with Hinata on Fruit Loops’ side and Souda on Frosted Flakes’ side
-Bonus: Komaeda being on Hinata’s side and Gundham on Souda’s side

-Fujisaki filming Fukawa and being like 'Look at this cute thing, she is the most beautiful thing on this planet omg’.
-Bonus: Fukawa doing the same thing when Fujisaki’s in the screen.

-Naegi calling Togami 'Dollface’ and Togami calling Naegi 'Tough Guy’ behind the scenes.

-Sayaka filming the actors and saying things like 'My brother’, 'My sister’, or, for Kyouko, 'My sweet girlfriend’.

-Togami filming the episode on his TV, thn switching to himself scowling in an exaggerated scowl when a Naegiri scene pops up.

-Every actor- even the stoic characters- doing the 'Eh eh eh’ thing where they wiggle around every time their face pops up on the TV.

-Natsumi and Sato glaring at each other, but once the director calls cut, there’s a lot of cute pictures Sayaka and Chiaki took of them eating ice cream together and watching the scenes laughing together.

-Komaeda running away with Hinata’s shirt screaming 'Sugar Honey Iced Tea!’ as Hinata screams in an exaggerated way after running after him.

-Souda filming Gundham on break and narrating his actions like the crocodile hunter.

-There’s a lost video of the DR1 cast and DR2 cast doing a music video for 'I don’t dance’ from HSM2.

-Asahina filming Celestia sitting in Yamada’s lap and doing his bloody makeup for Naegi’s hallucination with them laughing and Yamada booping Celes’s little nose.
-Bonus: Yamada curling Celes’s drills for her while she irons his jacket. Asahina films all of this in full detail.

-Hinata and Komaeda swapping clothes for an episode and all of the fans noticing so the directors had to reshoot the whole episode with the correct outfits.

And that’s pretty much all I can think of rn! I hope its good!


“…what’s wrong with your face, Izumi?”

“I just remember when Sasuke was a baby and-”

“I get it.”

“Stop it, niisan!”

“I just want to play with her….”

I lost my WIP for upcoming fanbook after my Manga Studio didn’t respond (hadn’t saved the progress yet). Frustated, I closed the MS and opened the Photoshop to draw this scene instead. I’ll deal with my unfinished fanbook later (ノ´ー`)ノ


Commish me ♥


These opening and closing scenes are two of the most brilliantly written scenes in Gone Girl, at least to me. I really like the idea of these scenes. I think the main idea of starting and ending the film with these scenes is to show us how different Amy Dunne is, how extreme her change is, or I should say; how her husband and all the things happening throughout the whole movie can change her tremendously. We can see in the opening scene, just like how Gillian Flynn describes it, that Amy is giving a look of alarm. That probably means that Amy is under her husband’s control, that Amy might be frightened of her husband because her husband uses her for some inappropriate purposes which makes Amy sees her husband as some kind of threat.

Then look at the closing scene where Amy gives a very different facial expression and movement compared with what she gives in the opening scene. She gives her husband a haunting smile, which means that she has changed into a kind of psychotic woman who is now no longer under her husband’s control, in fact she is the one who’s controlling. She might be a threat for her husband now, and that happens because of her husband himself, because of what he did and has done to his wife, because he didn’t treat his wife well. In other words, he has created himself a villainous wife.

Guys, the trailer for Padmavati is breathtaking. It’s majestic and beautiful and every frame is a work of art with the most ethereal music backing it strongly, the mere meanders in the music are so well edited. Nearly as great as the visual appeal and cinematography of it all.

Deepika is beautiful as Padmavati, I particularly like how they drive the point home that the movie is neither about the Rana nor Khilji by putting Padmavati’s shots in both the opening and closing scenes.

Shahid looks glorious and true to the portrayal of Rajputs we have had over the centuries. The dialogue that he spoke was powerful and explosive. He seems like a just, sensible and stoic king and yet where it concerns Padmavati, I can sense and just feel the tenderness, the love, the happiness they share between them.

Look at the intensity of that stare, the imagery and how it’s pearls that she’s sewing on to his turban. Like I can feel myself cramp with this terrible ache at how lovely this whole thing really is. Their chemistry is off the charts good.

Now, coming to the antagonist, can’t you just feel how menacing Ranveer Singh is in the movie. He comes across as a mix between Khal Drogot from GoT and Scar from Lion King. Self-obessesd, barbaric and cruel. All the sets capturing him are framed by darkness.

And I actually like how not many people notice that he portrays the seven deadly sins in the trailer without managing a word. Sloth in the gif above and Gluttony in the closing with him devouring meat in an utterly barbaric manner. If you notice here it’s Malik Kafur, Khilji’s alleged lover, showering the rose petals on him. I love the details spewed through it all. Also, the fact that Bhansali retained a clean shaven Kafur which was Khilji’s actual preference in men. Gotta commend Bhansali for his eye for detailing.

No wonder, they called it Bhansali’s magnum opus because it is. It really is, and I will have a difficult time waiting for it all cause it’s just absorbing and breath stealing and everything in between. You go, Bhansali!

anonymous asked:

Hello, I don't know if this was asked before but, any tip on describing setting? For example, when I describe a room it usually goes with the furniture and sometimes I add the floor. If it's the open air I tend to have more troubles.

For both open or closed space, try to put yourself in the scene and use your senses

  • What do you smell? Perhaps there is a bakery nearby and the smell of freshly baked pastry’s carries over to you or a drainage pipe broke and it literally smells like shit?
  • What sound do you hear? Is there a busy street nearby, or is it peaceful with birds chirping away?
  • Are there any weird/distinctive objects around? Like a monument that is tied to the place you are trying to describe? Or there is a house with a bright colour that is hurting your eyes when you are just looking at it ?
  • What do you feel? Is the railing from the train station to whatever destination you´re ending up rough and cold while everything else topside is boiling hot?
  • The taste is a detail that I think doesn´t always have to be mentioned unless it´s very important to the scene. But you could describe things like the smell of blood in the air if you, or in this case you character, is a warrior on the battlefield or something like  a forensic expert like Dexter

I hope this helped you in any way. If you have any other questions you are very welcome to either send another message to this blog or any of my lovely colleague affiliates. 



John and Sherlock are still not together, but they’re rebuilding their lives. They have finally gotten everything in the flat back to normal, and things are finally starting to go back to the way they used to be. Before…

Well, before all that.

Except now they have Rosie, and Sherlock worships the little girl. He’s spent his days with her teaching her about deductions, helps her learn to walk, tries to teach her how to speak. John will come home and catch him in the act and just smile.

One day, as they’re sitting in their chairs watching the news, Rosie on John’s lap, Sherlock asks John something that’s been on his mind for a while.

“John, what if we took a holiday?”

John looks away from the telly to look at him. “A holiday, huh?”

“Yeah, a uhm… A family… Holiday. Because you and Rosie are my family, and there’s been a lull in cases, so…”

John smiled. “Sounds nice,” he said, then bent down to kiss Rosie’s cheek. “What do you think, baby girl? Does that sound like fun? Can you say ‘yes’?”

Rosie looked at him and then over to Sherlock as she chewed on a fabric doll, not saying a word. John sighed.

“She’ll get there, John.”

“I know, I know, and a break sounds wonderful. Where were you thinking of going?”

“My family has access to a remote island not too far from Italy. We could go there for a few days; we wouldn’t be bothered.”

John smiled. “Sounds bloody fantastic.”

So they leave a few days later. They fly to Italy and take a boat to the island. 

“It’s gorgeous,” John says as he takes Rosie out of her seat. Sherlock collects the luggage and brings it inside. 

“I thought you’d appreciate it,” Sherlock said with a smile. “Come on, I’ll show you Rosie and your rooms.”

“I get my own room for once? This really is a wonderful holiday” John chuckled. 

Once they’re unpacked, they sit on the floor and play with Rosie. They jingle soft toys in her face and Sherlock voices one of her dolls for her, both smiling as the baby laughed. They tried to get her to speak every once in a while, but to no avail. 

The night before they leave, Sherlock takes them around the island one last time, and to the top of the small cliff that overlooks the ocean. “It’s beautiful, isn’t it?” Sherlock murmurs.

“Very,” John agrees. Sherlock doesn’t realize that John is looking at him as he says it. He doesn’t realize until he looks over to him and catches his gaze, unable to look away. 

After a few moments, John clears his throat and whispers, “I’m glad we came here, thank you, Sherlock.”

“Of course, John,” Sherlock says softly, “thank you for coming.”

John smiles. “Of course, it’s like you said; we’re a family, the three of us.”

“A family,” Sherlock repeats with a smile. He hadn’t noticed how close he and John had been standing until now; they’re close enough that Rosie is pressed against his side. 

John’s eyes only leave Sherlock’s for a moment as they travel down to his lips before returning to his eyes. Sherlock seems to take the hint because the next thing John knows the detective is leaning his head down towards him, and he’s tilting his head up. 

When their lips touch, it’s like a spark of electricity. John had imagined what it would be like to kiss him several times but it’s so much better in reality. Sherlock’s lips are soft against his own and he takes a moment to lock the feeling in his mind before he begins to move his lips against the detective’s.

This is better than Sherlock ever could have imagined. He’d imagined several scenarios that could have lead to this moment but none of them even remotely compared to the real thing. John’s chapped lips resting against his own, then moving in tandem with his own was… magical. He knows it’s cliched, the term and the scenery, but he doesn’t give a damn. He raises his hands up and placed them on John’s waist, pulling the doctor and the little girl he cares so much for closer to him. 

When their lips break apart Sherlock keeps his eyes closed for a moment, afraid that if he opens them, the scene would disappear, and it would have all been a dream. When he does open them however, John is still there, Rosie the only thing keeping them from being completely pressed against each other. For a moment, they just looked into each others eyes, then Sherlock clears his throat. 

“That was…” he starts, his voice a bit faulty so he clears his throat again. “That was… good. Very good.”

“Yeah, John murmurs with a content sigh, “That was really wonderful.” He smiles at Sherlock and slowly raises one hand to the man’s cheek, giving him space to back away if he wants to. When he doesn’t, John places his hand on Sherlock’s cheek and Sherlock nuzzles it a bit before placing his own hand over John’s, turning his head to kiss the doctor’s palm before resting his cheek against it again. 

John smiles and slides his hand back to tangle it in the detective’s dark curls, pulling him closer to kiss him again. Right before their lips touch however, Rosie interrupts them by shouting “Dada!”

The two men freeze and look at the little girl, who is smiling proudly. “Dada!” she said again, looking back and forth between the two of them.

Sherlock and John look at the baby and then back at each other. Once they register what had happened, they smile at each other before looking back to Rosie. John pulls Sherlock close and kisses him once more. They pull apart with smiles and John brings Rosie up higher so they can kiss her cheeks, which sends the little one into a fit of giggles. 

“Good job, baby girl!” Sherlock praises, kissing her cheek once more. “Good job! Your dada and I are so proud of you!” 

John smiles and presses a kiss into the baby’s blonde curls and feels Sherlock push a kiss into his own hair. John looks up at him and smiles wide. Sherlock smiles back. “See? I told you that she would speak eventually.”

John chuckles. “Yeah, you did. That’s why you’re the genius.”

Sherlock snorts. “Please, John. That’s not the reason I’m the genius.”

John rolls his eyes and shoves him a bit. “Alright, that’s enough you.” He looks back up at Sherlock. “This really has been wonderful, Sherlock. thank you for bringing us here.”

“Of course, John,” he says, eyes bright. He leans his head down and places his lips gently over John’s once more. 

It really had been a nice vacation, though if either of them had been asked, they would have said that that last night had been their favorite part.

I’m still upset about B99′s Season 4 finale, so here’s my fake opening scene of Season 5. Enjoy!

The scene opens with a close-up of Jake.  He’s wearing an orange jumpsuit and is staring through the glass lovingly at his visitor.  You can hear Amy’s voice, but can’t see her.  

“Jake, I don’t know what I’m doing without you.  I miss you every day.  I can’t eat, I can’t sleep.  I miss you so much, Jakey-poo.”  Amy’s voice stops and the camera pans out to show her staring down at the piece of paper she’s holding with a grossed out look on her face.

“Jakey-poo? He really went there?”  Jake’s face looks mildly concerned.

Amy nods and looks around nervously.  “Maybe I should keep my voice down?  I don’t want to ruin your prison street cred by reading Boyle’s love letter too loudly.”

Jake waves her off. “Nah, my street cred’s pretty solid. If I had to estimate, I’d say I’m pretty close to the top of the ladder here, socially.”  He nods unconvincingly.

Amy raises one eyebrow and waits.

Jake leans forward exasperatedly, giving up the charade.  “Fine!  My street cred’s in the toilet.  Word got out that Boyle applied for a conjugal visit so he could hug me for as long as he wanted to without getting tased by the guards again.”

Amy nods.  “There it is.  But seriously, Jake, I don’t know how much longer we can keep it together with you in here.  Captain Holt had to place Gina on Administrative Leave.”

“What, why?”

“We caught her in the air vents last week.  Apparently she used all her sick days to binge-watch Prison Break.  When we caught her, she said she was ‘just practicing.’” Amy stopped and looked off to the side thoughtfully.   “She was oddly quiet in the vents though… I’m not sure we would have caught her if her baby belly hadn’t gotten in her way.”

***Cut to Gina stuck in the air vent, trying to move left and then right, eventually giving up and taking her phone out to live tweet the 4 hours she was stuck in the vents before someone finally found her.***

Jake shook his head. “How is everyone else taking it?”

Amy rolled her eyes. “Well, Pimento had to be placed into a medically induced coma.  He said he would rather die than stop trying to break Rosa out of prison.”

***Cut to Terry walking in on Pimento practicing digging into concrete with a spoon in his bathroom.***

***Cut to Captain Holt shaking his head while holding the blueprints to the Rosa’s prison that he found in Pimento’s apartment.***

Jake shakes his head wistfully.  “Ah, young love.”

Amy furrows her brow.  “And it’s not just them.  Captain Holt used a contraction in a precinct-wide memo the other day.   I couldn’t tell him, he’d be devastated.”

Jake sighs.  “Oh, Captain Dad.  Well, let’s muddle through the rest of this letter then, shall we?”

Amy reads ahead silently.  “We’d better not.  He uses the word ‘irrevocably’ three times.  And that’s just on page one.”

Jake tries to bury his head in his hands, only to be stopped by the handcuffs binding him to the edge of the table.  He jerks back and falls off his chair with a loud bang.  After a moment of silence, you hear a muffled, “I’m ok!” and a cuffed hand gives the camera a thumbs up.

***Cut to opening credits.***

❝ I will never doubt you ever…❞

Plot: GD thinks you cheating but it is entirely a different thing 

Pairing: GD x Reader

Words Count: 2,2k+

Genre: Comedy, Angst and Fluff

For Anon, I hope you like it cutie! 

- kyu.

Gif isn’t mine, credits to the owner!

‘Fuck!’ You swore for the fifth time, ‘The code keeps on breaking!’

‘Did you add a dash?’ Another voice spoke up as you yawned.

You looked at the line of computer coding and face palmed immediately, ‘I did not… god what would I do without you, Seungri?’

‘I am just the amazing sense behind your amazing work,’ The younger chuckled, closing the laptop, ‘You need to sleep, Y/N. We have been at this all day and it clearly isn’t helping working late.’

‘I know, but I gotta get it done.’ You whined as Seungri looked over your shoulder

You and Seungri sat in the lounge of your apartment and coding a website. A website that would be for you boyfriend, Kwon Jiyong. The rapper had his own brand, and the website had been giving him some issues which should be fixed but he was so busy. You were a website designer by profession and worked at YG Entertainment, updating and making sure everything ran smoothly on the online world. Now the question is, why is Seungri here? Simple. The younger had the tendency of investing and buying business as if it was the most normal thing in the world, so the younger was familiar with online doing. Plus he was good company through the long days you wished to throw the laptop off the balcony.

‘Jagiya!’ A familiar voice rang as the door opened and closed, ‘I am ho…Seungri?’

Keep reading

Opening Scene of the TV Show

A close up of Doc Marten clad feet walking over wet grass. Slowly panning out to reveal a girl in bright coloured tights and what looks like a home made dress, and a hoodie with thumb holes in the sleeves.

Shes carrying a bouquet of flowers. We can see now she is weaving in and out of headstones, shes in a graveyard. 

She stops in front a grave, we only see it from the back, her looking sadly at the words the audience cannot see.

She kneels down and places the flowers in front of the grave. She wipes tears from her eyes and smiles sadly.

“I miss you all the time you know” She looks at her watch revealing the date April 25th. “I can’t believe its only been a year since this all began….and now its over”


Blue Sargeant wakes up in bed and the series begins….

Basically its like a shout out, all the fans of the books know who the grave belongs to, but the non-readers will be like wtffff who died?? Setting the tone for the series that SHIT IS GONNA GET REAL.

The show runs for 4 seasons, one for each book. The end of the last episode we end up back at the graveyard. The grave is revealed to be Noahs, Blue is joined by Gansey, Ronan, Adam and Henry. Adam and Ronan are holding hands. Gansey throws an arm around Blue and asks “Ninos?” And the five of them walk away together. There is a shadow of a character walking beside them…is it Noah?? Maybe! END CREDITS

By then Maggie will have published her new trilogy. The series is renewed for another 3 seasons. And its amazing. Thank you and Good night.

  • so I watched Annabelle for the first time yesterday and I went in all excited cause it was hyped up to be great and I love the Conjuring movies but holy shit:
    • Okay so right off the bat, they open and close the movie with scenes about the Actual Annabelle Case, but then create a fictional plot around the doll??? What??? Why???
    • “Their daughter ran away two years ago so we aren’t allowed to talk about my pregnancy”
    • As someone who used to have an impressive collection of porcelain dolls…the are usually not that creepy holy shit. I’ve only seen one creepy porcelain doll in my life, and it’s in my kitchen as we speak. Still not as overly-dramatic as they made the Annabelle doll. In the actual, real life case, the doll was a Raggedy Anne, and frankly? That would have been creepier to use? Something so iconically innocent? This was just trying too hard.
    • Satanists breaking into the house, that’s a very common and relatable problem
    • The dramatic drop of blood from the girl’s neck onto the doll’s face, the Satanic symbol smeared in blood… 5 Edgy 9 Me
    • Okay you wanna know what the God damn scariest part of this movie was???? When the doctor firmly puts her on bed rest, and then she just continues to walk around and work and do her job normally???? Are you lost on the concept of bed rest???? She’s out here hearing noises and shit and I’m just screaming at my tv “WHY WONT YOU TAKE CARE OF YOUR BABY???” bitch literally got stabbed in the stomach and thinks she can walk around like nothing’s wrong BYE
    • I was ranting about that literally all night
    • She tells her husband she wants to get rid of the doll, which is understandable, but then he just??? Throws it in the garbage???? Like 1) We know they’re having money troubles and 2) We know the doll was really expensive. Pawn it, you dumbass. You don’t have to tell the buyers a cult member held it in their arms after she slit her throat! That’s not information that needs to come up! This couple is just flat out exasperating.
    • All the zoom-in shots of her fingers at the sewing machine were 100% more nerve racking than anything else that happened in this damn film
    How the fuck did she not smell that fire
    • h o w

    • So this chick gets stabbed in her uterus and then falls on her stomach while inhaling smoke and you want me to believe this baby came out 100% fine?? K.
    • Why was their apartment literally bigger than their house had been
    • You know when I met John Zaffis and he was complaining that when every true ghost case his name is remotely attached to gets turned into a movie they never make a fictionalized version of him in the film but instead add in a priest that just looks like him, I thought it had to be an exaggeration…but they…they really did just create a priest and cast a guy that looks like him…why is this a curse he must bear…I don’t understand…Just put the man in your movies…
    • Literally what the hell was up with the kids on the steps did we ever get a full explanation for that????
    • Bookshop lady sees random woman outside, decides to run out and give her a free book for literally no God damn reason. more at six.
    • Okay so the doll somehow followed them to the apartment and that wasn’t a paranormal giveaway??? John, Mia, come on.
    • And okay I can respect her wanting to keep it and all but why would she put it in her fucking baby’s room are you kidding me. What sense does that make.
    • John was a Good Husband and I respect him but that boy was an idiot; Mia was a complete dumbass most of the film. So it was very hard for me to feel sympathetic towards them for most of the events??? idk
    • The ghost apparently couldn’t decide whether or not it wanted to be seen as 7-year old Annabelle, Adult Annabelle, or an Actual Demon…calm down? I get spirits like being dramatic but we need some consistency I’m sorry
    • Literally what the fuck was going on in that basement scene. Like…what
    • “You won’t mind if I just keep this one for myself then…” Um no Mia he should mind??? That’s a Literal Crime Scene Photo??? It’s evidence for the case??? You can’t just take it jfc
    • And the thing is??? She took that picture because she wanted to research the Satanic Symbol, but like??? We never actually did find out what that symbol stood for????
    • Local Woman Is Shown To Be Suicidal In The Past So We Won’t Feel As Bad When She Sacrifices Herself Later. More at six.
    • This doll just kept…deteriorating throughout the entire movie??? Like she collects porcelain dolls you’d think she be able to do something about that
    • Local Woman Figures Out Doll Is Possessed, Still Keeps It Right Over Her Baby’s Crib For A Bit. more at six.
    • When the John Zaffis Priest™ offered to take the doll I was just like…My dude. My dude. No.
    • Like FIRST OFF if anything fucking bless the doll and the apartment before you leave??? Come on??? You know this is a serious enough situation that you wanna call the Warren’s in but you’re not gonna actively do anything about it until morning? Bye.
    • “MAY GOD HAVE MERCY ON YOUR SOUL” calm down, Satan.
    • John Zaffis Priest™ : *literally sees the ghost/demon of a girl who used to belong to his church standing a few feet behind him*
    • John Zaffis Priest™ : *decides that’s not his damn business and tries to enter the church and ignore it*
    • I was so pleasantly surprised he survived that honestly
    • Remember kids: If demons need your consent to steal your souls, than you need consent to have sex. Don’t be worse than demons.
    • That whole scene where the baby was screaming but you can’t find her??? We get it, you’ve seen Poltergeist.
    • Ooooh girl when she was bashing Annabelle’s head into the crib and then threw her on the ground- I was waiting for a shot where we find out that had actually been her baby. They fucking let me down there. That would off been a great scene (fucked up, but it is a horror movie after all)
    • Dramatic Scenes Of The Husband Running Home. Will He Get There In Time? More at six.
    • Why do they have to hold the doll as they kill themselves
    • I like how both women were immediately ready to die for the baby but the man was just like “why don’t we all take a breather and discuss this further over coffee” while a demon is wrecking havoc in the room around him
    • Local Woman Believes Her Greater Purpose In Life Is To Kill Herself So A Baby Will Live, more at RIGHT NOW BECAUSE IM PISSED ABOUT THAT FUCKING SCENE
    • Like if you wanna ignore everything but the base of it- Evelyn was only suicidal in the first place because she wanted to see her daughter again. Something tells me if your soul is sacrificed to Satan you WONT BE SEEING YOUR FUCKING DAUGHTER AGAIN
    • W H Y
    • U G H
    • And then the doll just ~mysteriously moves away from the crime scene alone~ and ends up in a fucking antique shop okay
    • Why did it take like a full year for John Zaffis Priest™ to get that picture of Mia and the baby developed for them
    • About 20 minutes after suffering through this film I found myself in a parking lot of a TGI Friday’s and got jump-scared by an old man in a car staring at me and I experienced more true terror in that one moment than I did during the entirety of this shit film
    • Overall: Waste of time and I feel lied to 3/10 do not recommend unless you’re really easy to scare