I feel like an NPC character when...

I’m on register at work:
~waits patiently behind counter with absent smile until a customer walks close enough and/or shows necessary amount of interest
~has a set script of prompts in my head to follow during transactions
~cheerful yet non-descript customer service voice and can repeat same exact tone infinitely.
~breaking from prompts or skipping through parts may cause minor glitches, such as accidentally repeating the same prompt again or completely skipping necessary ones
~absentmindedly tends to my area using the same five or so actions in a continuous loop until new person arrives
~Abnormally knowledgeable in my craft
~wears same outfit every day
~Nothing unusual phases me
~walking away and coming back is like a brand new interaction. I have little to no memory of you

☣️ Dystopian AU Starters ☣️

Send a symbol to see how our characters suffer. 👌

📺  Nineteen Eighty-Four - Our characters live in a world where their every move and every thought is watched by the government. Informants and spies known as the Thought Police are everywhere, and dissenters are taken to the horrifying Room 101. There is no escape. You can only survive.

🔥 Fahrenheit 451 - Our characters live in a world where books are banned, and those who are not “normal” seem to vanish. Any books found will be burned by the “firemen”, armed with gasoline and flamethrowers, and dissenters are tracked down by the fearsome mechanical Hound.

🍊 A Clockwork Orange - Our characters live in a world where young people form oddly-dressed gangs and engage in horrific violence, committing crimes unhindered by adults. 

👩 The Handmaid’s Tale - Our characters live in a world where a religious military dictatorship has been enforced. Fertile women are forced to become Handmaids, and made to conceive for the continuation of the dying human race. They are forbidden from reading and conversation in this world is strictly controlled by a set script. Spies known as Eyes are everywhere, and those who do not conform are sent to die in the irradiated Colonies.

🛒 The Road - Our characters live in a world where an apocalypse event has occurred, barely anyone is left alive, and the environment around them is barren and bleak. Their only hope is travelling to a location they hope still exists. Everyone and everything is a threat, and they must scavenge what they can to survive.

🏃 The Running Man - Our characters live in a world where a totalitarian society has taken over, and a violent game show known as The Running Man exists. A contestant is declared an enemy of the state, and given a 12-hour head start before the Hunters, an elite team of hitmen, are sent to kill them. They can travel anywhere in the world, but viewers earn money for revealing their whereabouts. They earn $100 for every hour they stay alive, extra for killing law enforcement or Hunters, and win a grand prize of $1 billion for surviving for 30 days. Nobody has ever won it.

💭 The Chrysalids - Our characters live in a world where people who are “different” are branded as “blasphemies” and killed without mercy. Any visible variation in genetics can be grounds for being eliminated. However, some have an invisible mutation - they have telepathic abilities.

❌ Harrison Bergeron - Our characters live in a world where everyone is expected to be perfectly equal. People are given “handicaps”. Strong people are made to wear heavy weights. Beautiful people must wear masks. Intelligent people must wear ear radios, which play sounds to stop one’s thoughts. Everyone is equal, but at what cost?

‘Falling’ for the ‘fraud’

You know, something I’ve always liked about sherlock was how well it integrated into the modern world. Though sherlock is an insane genius, their story always seemed somewhat feasible. Yes, the moriarty plot was intricate and bold, but it still worked? It still felt real? The whole concept of Sherrinford and eurus is just SO out there and entirely unrealistic- making sherlock feel like a fantasy for the first time.

and then I think that maybe this was intentional? Just as how moriarty set out to expose sherlock as a fraud- to discredit his genius and the magnificent crimes he had solved. Destroying not just sherlock, but his entire image. To me, that’s what TFP seems to be doing to the entire BBC Sherlock franchise…it is so unlike everything we had seen up until this point. The one episode seems to discredit the magnificence and realism of the entire story, that the show wasn’t as wonderful or as clever as we thought, that the writers and producers were not making subtle script/set suggestions. WE are now saying the show isn’t clever, that moftiss wasn’t as smart as we thought, that they drew us in only to lie and cheapen the plot….JUST AS the public did as a build up to and result of TRF. Moriarty convinced the public that sherlock was a fraud, and sherlock did not try to defend himself, he let it happen. TFP convinced us all that BBC Sherlock/moftiss were not as clever as we thought…and they have not responded, staying silent, letting it happen. 

From BBC Sherlock, Post TRF:

Post TFP:

Need I say more…?

Josh Hutcherson AMA Transcript

This is the transcript from Josh’s AMA on Reddit on February 16th, 2017.  All spelling and grammar errors are as written by the original people  This is very long, so the majority is under a read more.

Q:  Do you miss working with the Hunger Games cast?

Josh:  yes… they were the best! family forever. i miss them all dearly… however we still hang now and then and keep in touch.

Q:  Hi! What’s your favorite television show to watch?

Josh:  the Bob Ross painting show… i can benge for hours

Q:  Hey Mr. Hutcherson, is there any actor (that you have not yet worked with) that you wish to work with someday?

Josh:  so many…. joaquin phoenix is up there for sure.

Q:  Hi Josh, You got second class treatment from Rosemary Telesco and continued with Katniss Everdeen. Does it hurt your feelings?

Josh:  hahaha…. life imitates art…

Keep reading

Morgana vs Supergirl Writers

Supergirl Writers: Katie, there is literally no other way we could be any more crystal clear about this. Kara is straight and she’s dating Mon El. Lena is straight and she’s about to have a male love interest come back into her life. Stop acting like and telling everyone that Lena and Kara are in love!!! They are not now, nor have they ever been or will they ever be romantically interested in one another. It’s-it’s just not the truth. 

Katie McGrath: 

SG Writers: *a few writers break down and cry like the tormented souls of the damned. This is the 58th time in 7 months they’ve had a meeting like this. Today they’ve been in the conference room for 16 straight hours and Katie hasn’t even broken a sweat.* 

SG Writers: *sigh* You’re never going to give up on this, are you? 


SG Writers: *sigh* Okay. 

SG Writers: *hand her the script where she’s forced into an arranged marriage with Mon El.* 

Katie: *thumbs through the script, visibly unimpressed, before setting it down.* 

SG Writers:


SG Writers:


SG Writers: Are you truly so adamant about defying us that this is what it’s come to? Do you really hate us that much?


anonymous asked:

You've probably been asked this question many, many times before, but how hard is it to get into the AAA industry when you don't have a degree in relevant subjects? If it's even possible, how would you go about getting into the industry as a fresh-faced newcomer with maybe some experience bug-hunting a friend's game without a degree?

I’m sorry, but there’s no place for somebody in the game industry (or any industry, really) who’s only qualification is that he really wants to be there. I don’t know you well enough to know what you’re good at, but I do know that you need to have some sort of skill beyond enthusiasm that makes you useful to us. I understand that it isn’t easy out there figuring out what it is you want to do, especially if you’re still in school and haven’t had a lot of success yet, but you have to consider it from other perspectives (because a good developer must be able to consider things from the player’s perspective). We don’t hire people just because they want a job. We hire people because we have work that needs doing, and we need people who can do the work. 

Imagine you’re head of a development studio. Everyone working at this studio has a job to do - some of us are engineers, artists, designers, QA, producers, some of us run the facilities, some do HR, and so on and so forth. Everybody at the studio is (generally) good enough at their job to deserve being paid for it. People who aren’t don’t work for us very long. This means that whenever you look to hire somebody new, it’s because you have a job that needs doing. When we interview for new positions, it’s because we look for somebody who can do a job, whether that’s optimizing the graphics, designing multiplayer game modes, or keeping the art team on schedule and tasked out. Once we know what sort of job that needs doing, we look for people who know how to do it and we hire the best person from that pool that we can find.

If you want to work in the game industry, you’ve got to be good at doing something that we need done. That way, we can pay you to do it for us. You need to figure out what it is that you want to be good at. Just “working in the industry” isn’t specific enough, and we’re not going to train you from the ground up to do stuff. “Being the idea person” isn’t an option. Maybe you are interested in programming - making the rules for the game, or creating a new and efficient way to figure out which pixels on screen should be which color, or building content tools for designers to craft fun encounters. Maybe you are interested in creating content directly - scripting conversations, setting up battles, placing enemies in the world, building maps. Maybe you just want to do QA, and your passion is finding problems and reporting them. Maybe you want to come up with better ways of testing than just trying stuff and writing reports - you could write tools to help automatically test systems for stability, for example. But whatever it is you want to do, you need to figure it out first and then get good at it - good enough that you can do the tasks that we need done. If you can demonstrate to us that you can do the work, you can probably get a job doing the work. We need people who can do the work but, until you can show us that you can do it, we will never consider hiring you.

[Originally posted 19/2/2016]

Got a burning question you want answered?

Aphmau Fandom

Aphmau’s content is pretty much the only minecraft-based thing I watch religiously on YouTube. The worst thing I ever do while watching any of her videos is look down at the comment section. It’s filled with people who type in all caps and either ship a whole bunch or hate canon ships.

I get it. There’s always going to be critics. But you guys have crossed the line and y'all don’t even know where the line is!

First of all, there are REAL people working on these videos. R-E-A-L PEOPLE. They build sets, write scripts, characters, make animation and graphic design and many, man more. The voice actors, to me, now have the toughest job of all, and it’s because the fandom is getting out of hand. Ship any fictional characters you want, but why do you have to bring in real, live people into this? If you ship the characters Garroth and Aphmau, don’t tell Jess to have a divorce with Jason and don’t tell Andy to break up with Amy. What is wrong with you people?

And now there are those who send death threats. There are others who make a group of people with the same mindset and try to tear this entire thing down ALL BECAUSE THEY DON’T LIKE THE CANON SHIP. This is child’s play. So you hate the channel because it isn’t showing your favourite ship, and? What do you want them to do about it? It is THEIR story. It’s JESS’ story. She works her ass off for you people and we appreciate her for that because her stories are well written, funny and emotional. It’s NOT YOUR story. Oh look! There’s that line I was talking about! You also cross the line when you bring a group of people and plan to spread hate into this community. They’ve said it before so I’ll say it again:


I’m in many a fandom. From Steven Universe to Undertale to Aphmau. All three have toxic people in them that just want to cause a ruckus. Undertale probably has it worse than any of them, but this fandom is a damn close second. Don’t let us become the toxic fandom all because you didn’t approve of the ship. Kids these days want to prove so badly that they’re mature, well then don’t act like this. This isn’t being mature. Don’t be like those groups of people. If you don’t like their content, then unsubscribe, leave, find something else to enjoy. Why spend so much time trying to tear such a nice thing down? Are you that bored with your life? Are you that immature?

Please, do us all a favour. If you’re one of these people, go. BlueJay Studios is doing a phenomenal job at keeping us on our toes with all the series they’ve been working on. They deserve only good things and the credit for dealing with this fandom in a calm, mature way.

MARCH 23: Joan Crawford (1904?-1977)

Joan Crawford was an American actress - an old school ‘movie star’ from Classic Hollywood Cinema. While some of you may have seen her movies, her character is also currently on our screens every Sunday night played by Jessica Lange in FX anthology TV series Feud.

Joan Crawford between takes on Torch Song (1953)

Joan Crawford was born Lucille Fay LeSueur on March 23, 1904 (although her birth year is disputed) in San Antonio, Texas. Rather than Lucille, she much preferred being called ‘Billie,’ and dreamt of becoming a dancer. She lived with her mother and stepfather, who was a minor impresario and ran the Ramsey Opera House; but at 12, she went to St. Agnes Academy as a working student, where she spent more time actually working (cooking and cleaning) than studying, and briefly attended college afterwards.

 Her career started as a stage dancer and singer in the choruses of travelling revues, and she was soon discovered and offered a contract by the Metro-Goldwyn-Mayer in 1925. She was credited as Lucille LeSueur in her early movies, but her name sounded too much like ‘sewer’ according to the MGM publicist. She was first supposed to change her name to ‘Joan Arden,’ (and we’ll pass on the connotations of gender crossing that come with that Shakespearian name ‘Arden’, and the reference to ‘Joan’ of Arc) but as it was already taken, she became Joan Crawford.

Joan Crawford, still from Today We Live (1933)

Her success at the MGM rivalled that of MGM actresses Norma Shearer and Greta Garbo, and she made a smooth transition from silent movies to talkies – which was not always the case for other actors. She often played the young, hard-working woman who found love and success at the end of the movie, which was quite popular with Depression-era audiences and especially women.

But then, having a contract with studios also meant having an obligation to be in movies, the quality of their script notwithstanding. Furthermore, her popularity declined in the late 1930s. So, like many other actors of her time, she was dubbed ‘Box Office Poison’ in 1938, a label designating actresses whose talent was indisputable, but whose high salaries didn’t reflect their ticket sales.

Trailer of Mildred Pierce (1945)

After the ending of her contract with the MGM, she signed with the Warner Brothers in 1943, and managed an Oscar-winning comeback with Mildred Pierce in 1945, which revived her career for several years, and gave her a second Academy Award nomination in 1952 for Sudden Fear. But then again, passed 40, she had to struggle with ageism in Hollywood, as roles became scarce for women her age. Garbo had left the industry, Shearer as well… She starred alongside Bette Davis in horror movie What Ever Happened to Baby Jane? which garnered publicity mostly for the rivalry between the two actresses, though their performances were outstanding and earned Davis her tenth (and final) Oscar nomination. She retired from the screen in 1970, and from the public scene in 1974.

Joan Crawford and Bette Davis discussing their script on the set of What Ever Happened to Baby Jane? (1962) From Bettmann/Getty Images.

Joan Crawford’s private life is often depicted as chaotic. She was married four times, first with actor and screenwriter Douglas Fairbanks Jr. (1929-1933), then with actor and director Franchot Tone (1935-1939), with actor Philipp Terry (1942-1946), and finally with Pepsi-Cola CEO Alfred Steele (1955-1959). She adopted her daughter Christina as a single mother in 1940, then her son Christopher while married to Philip Terry. After the death of her last husband, she adopted identical twins Cathy and Cynthia in 1947.

She disowned her two eldest child, and Christina wrote an infamous book entitled Mommy Dearest one year after Crawford’s death, in which she depicted a mother more worried about her career than her children, obsessed with her look, who was often drunk, and physically and psychologically abusive. It was denounced by many of some of Crawford’s friends, co-workers, as well as her two youngest daughters and ex-husband, but confirmed by others. The book became a bestseller, and made into a movie with Faye Dunaway in the leading role.

Joan Crawford with her four adopted children, Christina, Christopher, and the twins, Cathy and Cynthia, in the early 50s. From Underwood & Underwood/Corbis.

Although she was famous for her numerous husbands and love affairs with men, she was allegedly also attracted to women. But it was kept secret – as always, what was publicised was what the public was willing to hear, and what would profit their contractors: love affairs with men, and feuds with fellow actresses. For example MGM paid $100000 in 1935 to prevent the release of a pornographic lesbian movie Crawford had appeared in at the age of 19 – but on the contrary, they fuelled the rumours of a feud with fellow actress Bette Davis on the filming of What Ever Happened to Baby Jane? (see the documentary or the FX series’ first season to know more about it!)

As for women having affairs with other women? Mum’s the word of course where the studios are concerned. This is why there are far less clues about Crawford’s romances with women – but still, here is what we know:

When Greta Garbo and Crawford met as co-stars for the filming of Grand Hotel (in which they didn’t have scenes together), Garbo famously took Crawford’s face in her hands and said, “What a pity; our first picture together and we don’t work with each other. I’m sorry. You have a marvellous face.” Crawford later commented that, “if there was ever a time in my life when I might have been a lesbian, that was it.”

Director Dorothy Arzner and Joan Crawford during the filming of The Bride Wore Red (1937). The filming drawing to an end, there were tensions between the two women who apparently only communicated through messages. There are only rumours about their romance, but Crawford said, reflecting on her film directors, that she liked to think that they had all fallen in love with her - and that she knew it had been the case with Arzner.

But then she also got on well with one of the first women directors in Hollywood, Dorothy Arzner, and according to the latter’s biographer, their relation went beyond mere friendship. She was also rumoured to have had liaisons with actresses Martha Raye, Claudette Colbert, Barbara Stanwyck, and Alice Delamar. But mind you, nothing can be really confirmed.

So, cheers to this great woman and legendary actress who managed to have a long career in movies while surviving Hollywood sexism and ageism - on screen and behind the scenes - and, had a place amid the secretive - though not so secret now - Hollywood Sewing Circle!

- Lise

Thus With a Kiss I Die

This is my gift for @subtlyimpulsive as part of the @iwaoiexchange


Rating: M (For curse words only) 

Words: 7000+ 

“Okay, everyone, take a seat!!” Yachi shouts over the crowd, her voice and smile wavers but still just as bright as her little blonde bob.  

Oikawa hops onto the stage, leaning his elbows on his knees. A man stands next to Yachi, one Oikawa knows as the president of the LGBT Club. He thought of joining the club once but wasn’t sure how drastically he wanted to state he was gay, even if not everyone in the club is gay, the stigma still lives, and that what he hates.  

The theater club gathers around Yachi, some hopping on to the stage like Oikawa, others taking up the floor. Once everyone’s settled and the chatter that spills from everyone’s lips evaporates Yachi begins.

“It’s time to announce the decision of our next play.” The club cheers, whoops and hollers echoing in the theater.

“In conjunction with the… the… um… the LGBT club, we will be putting on a production of a modern day Romeo and Juliet, or as some would like to call it Romeo and Julius.” Yachi turns her head to the other president and with a small smile, as he nods his head.

“Casting…um…” Yachi fumbles over her words as she flips through her clip board.

“Casting will be set for next Thursday so bring your best smiles.” Yachi clutches the ends of her clipboard with a laugh that shakes just a bit as she dismisses the crowd and the chatter begins up again.

“Are you going to try out for the part of Romeo, Oikawa?”

“Are they even going to be keeping the original names? Cause like it’s a modern version isn’t it?” He leans towards the girl, her blue eyes covered by her smile.

“I guess we’ll just have to wait and see.” She shrugs her shoulder then jumps from the stage, running in the direction of her friends.

“See you Thursday Oikawa,” She calls with a wave as she leaves and he waves back, taking the script from the stack set next to him. Romeo…

The Club clears out, leaving only Oikawa and Yachi sitting on opposite sides of the stage. Oikawa leafs through the script, looking at the lines for Romeo. He hadn’t considered Romeo. When they said it, he instinctively wanted to be Julius, and the image of Romeo played by…

“Oikawa,” Yachi calls to him. He lifts his head, his thoughts lost to the wind.

“I think I’ve messed up, I was looking through the character count we need and how many we have and we’re short one person.” Oikawa sits up and looks down at Yachi’s notepad as she shows him.

“I can’t tell the LGBT president no after we all already agreed. That would be horrific!” She brushes her bangs behind her ears, her lips scrunching up in frustration, her fingers tapping nervously on the edge of her notes .

“Maybe we could ask any of the LGBT Members?” Oikawa proposes but Yachi shakes her head.

“They’re already participating these numbers include them.” She says and sits down in front of him. Oikawa brushes back his bangs.   

“What if I told you I could find someone.” It’s a stupid idea, he’d never go for it.

“Really?” Yachi’s eyes brighten and Oikawa’s about to respond when-

“Oikawa!” Iwaizumi leans against the door frame, his bag slung over his shoulder ready to leave.

“I’ll tell you later,” He whispers, jumping off the stage.  

“Coming Iwa-chan!” Yachi stands as Oikawa leaves waving from the stage.

“I’ll text you later Yachi, I’ll try to convince them to come Thursday, okay?”

“Thank you!” Yachi shouts after him as Oikawa walks through the door.

Now he just has to convince him to be the Romeo to his Julius. Oikawa’s heart pounds as Iwaizumi flashes him a small smile as they leave. This was a terrible idea.

“Shit,” He whispers it under his breath.

“Huh?” Iwaizumi raises an eyebrow, his green eyes fixed on Oikawa’s.

“Oh, nothing.” Oikawa shakes his head, this won’t be easy.

Keep reading

The Cardinal Rule

@jhoomwrites well, my hand slipped and suddenly it’s way past my bedtime, but here ya go

cardinal-rule. Noun. (plural cardinal rules) A fundamental rule, upon which other matters hinge.

Even as a rebel, even tearing apart the pre-written script and setting out in his own free will, Castiel had followed the one cardinal rule of angels: never get romantically involved with a human.

Of course, the reasoning for the cardinal rule had constantly been disputed. Naomi used to tell him that the humans corrupted angels. Anna had believed, before cutting out her own grace, that it was the other way around, with angels corrupting humans. Uriel thought of humans as little more than mud-monkeys capable of basic thought, Balthazar found their minuscule time spans not worth investing the effort, Hannah feared angels would accidentally squish them.

It was agreed among all, of course, that romance begat the possibility of a nephilim, which was universally thought to be a danger.

So, despite his growing feelings for Dean Winchester, Castiel had managed to resist them. This rule, this strange cardinal rule, wasn’t worth breaking. At least, he thought so up until Dean almost died saving them from Amara. It was one near-death too many, as far as Castiel was concerned, and he’d kissed Dean without thinking.

And, in a miracle even more unbelievable than his survival, Dean kissed back.

Keep reading


As most of you know, Josh McDermitt has deleted all social media over immature so called “fans” sending him death threats. I’m just saying this now, you are NOT a fan if you send death threats or even make fun of the cast. In all honesty you shouldn’t even have any social media if you do this. It’s childish and unnecessary. This hasn’t just happened to Josh either. It’s happened to Emily Kinney, Norman Reedus, Melissa McBride, Alexandra Breckenridge, Sarah Wayne Callies, Laurie Holden, Austin Amelio, Jeffrey Dean Morgan and many more. It’s saddens me that this kind of behavior is in the fandom. The people that did this need to separate fantasy from reality. Because Eugene, Beth, Daryl, Carol, Jessie, Lori, Andrea, Dwight, Negan, etc… they don’t care what you say about them because they are FICTIONAL! But the cast have feelings. They have emotions. They deserve respect. They were doing their job. They don’t make the scripts, they go to set, go to make up, wardrobe, go over lines and do their job. I will tolerate no hate on my account or on any of my other social media accounts. You don’t like a character, that’s fine. Vent to me if you want too, but any hate on the actor, that will get you blocked. Hating a character is far more different than hating a human being! Because hating a character, they aren’t going to care, but hating a human being, no matter how much they try to ignore it, it gets to them. They’re people too. Respect them or get out of the family that does respect them.


I’ve had a number of questions about being a professional writer, and listing “creative writing” as a skill, hoping that this will somehow be something attractive to the hiring managers.

Let me begin by saying “Pure writers are a rarity in the industry” - most game writers are also designers of no small amount of skill because they need to be able to do things like script quests, set up triggers, handle spawning of enemies, and so on and so forth. The writing they do is only a fraction of their overall responsibilities. There are only a handful of studios that employ full-time writers, and most of those positions are already filled. You won’t see many writers for large genres of games - sports, multiplayer shooters, fighters, MOBAs, puzzle games, platformers, and the like rarely have room for full-time writers on the team.

In general, writing for games has very little in common with writing a novel, a short story, or even a TV script or screenplay. The difference between games and the rest of these is the sense of player agency - the player is the one choosing how to play the game. In all other forms of media, the player is a passive observer who follows the beats of the medium at the medium’s pace. You don’t get that luxury in games, and that sense of player agency makes a huge difference. If the story unfolds in a linear fashion, you absolutely must minimize the amount of time the player relinquishes control of the game to the plot. Even in a story-driven game, a huge amount of the writing exists to serve the gameplay. The gameplay is generally how the majority of the story will be told to the player, not just cutscenes or conversations.

Furthermore, what a lot of writing hopefuls don’t understand is that game writers don’t actually get to dictate what happens in the plot. The plot, for the most part, has already been established by the leadership on the game. It is the responsibility of the writers to handle the individual bits connecting the major plot points from A to B. It is directed every step of the way, because there needs to be gameplay here and there needs to be overall story movement there, and all of these things are hard and fast constraints on your work that will be assigned to you. As an entry-level writer, you’ll be the one who’s told the outline of will happen, and then you have to write the specifics. 

An entry-level writer will most likely be writing quest log text, blurbs for marketing, tooltips, tutorial text, and codex/lore entries. All of that stuff has to come from somewhere, and it has to adhere to certain regulations - you’ll have a word budget for all of the text you write, and you’ll absolutely need to stick to it. You’ll learn to write a cohesive and self-contained story in seven sentences or less, and you’ll learn all about writing with localization requirements in mind. As you improve, you’ll learn to trim down your conversations, streamline your storytelling, and improve the density of meaningful content conveyed to the player per word. Once you’ve actually gotten some experience writing the small stuff and proven your ability to handle the job, you will be entrusted with larger responsibilities, characters, and actual story arcs.

Further Reading:

It’s tough to call what I do “work.” Being on “The Flash” is so much fun. I am constantly surprised by our writers and the awesome stories they tell, and I love reading each new script. Being on set is so much fun – our hours are long, but we try to laugh and enjoy ourselves as much as possible. The crossovers are very exciting as well – I adore the cast of “Arrow” and its fun to change it up and work with them. It’s also nice to get the opportunity to work on a different show during our season – the tone of “Arrow” is different than “The Flash” and its fun to play in a different world for a little while.

Andrei Tarkovsky
“And is Chaplin—comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated. He is unadulterated hyperbole; but above all he stuns us at every moment of his screen existence with the truth of his hero’s behavior. In the most absurd situation Chaplin is completely natural; and that is why he is funny.”

Buster Keaton
“At his best, and Chaplin remained at his best for a long time, he was the greatest comedian that ever lived.”

François Truffaut
“My religion is cinema. I believe in Charlie Chaplin…”

Jean-Luc Godard
“He is beyond praise because he is the greatest of all. What else can one say? The only filmmaker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’… Today one says Chaplin as one says Da Vinci—or rather Charlie, like Leonardo.”

Jean Renoir
“The master of masters, the filmmaker of filmmakers, for me is still Charlie Chaplin. He has done everything in his films—script, direction, setting, production, performance and even the music… His films are not only examples of perfect unity, but all his work is one. One may say indeed of Chaplin that he has made only one film and that every facet of that film is a different enactment of the same profession of faith.”

Jiri Menzel
“All Chaplin’s early films assured me that the comedy can say in a grotesque way much more about people’s characters than serious films, which after a certain time fade away and became ridiculous. Good comedy is immortal.”

Luis Buñuel
“When I was young, the idea of an orgy was tremendously exciting. Charlie Chaplin once organized one in Hollywood for me and two Spanish friends, but when the three ravishing young women arrived from Pasadena, they immediately got into a tremendous argument over which one was going to get Chaplin, and in the end all three left in a huff.”

Masaki Kobayashi
“Last year I went to the Cannes Film Festival and met Charles Chaplin. They showed his works. I was deeply impressed by his greatness. His films, his methods and content, are modern and so contemporary; he is a great genius.”

Ousmane Sembène
“Did other filmmakers teach you anything? There was one, an old man whom I had the fortune to meet very old, Charlie Chaplin; he told me that everyone could do this job, but that it is very demanding… He was the only guy who you couldn’t see in bars, nightclubs, or at receptions. He told me one had to stay at home and work…”

Pier Paolo Pasolini
“You can always feel underneath my love for Dreyer, Mizoguchi and Chaplin… I feel this mythic epicness in both Dreyer and Mizoguchi and Chaplin: all three see things from a point of view which is absolute, essential and in a certain way holy, reverential.”

Satyajit Ray
“If there is any name which can be said to symbolize cinema—it is Charlie Chaplin… I am sure Chaplin’s name will survive even if the cinema ceases to exist as a medium of artistic expression. Chaplin is truly immortal.”

Stanley Kubrick
“If something is really happening on the screen, it isn’t crucial how it’s shot. Chaplin had such a simple cinematic style that it was almost like I Love Lucy, but you were always hypnotized by what was going on, unaware of the essentially non-cinematic style. He frequently used cheap sets, routine lighting and so forth, but he made great films. His films will probably last longer than anyone else’s.”

Vittorio De Sica
"Truly good films—like Chaplin’s—should stimulate as well as soothe, should appeal to the mind as well as to the senses, should kindle thought as well as the emotions.”

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Co Workers (Part Fourteen)

A/N: Well, here it is lol

Pairing: Misha x Reader

Warnings: Drunk Y/N, a break up, and a cliff hanger because I can’t help torturing ya’ll.

Word Count: 2.1k

Catch up here! Co Workers MASTERLIST

(not my gif)

“We need to get going,” you said as you pulled away from Misha, but he grabbed your arm and spun you back around into him.

“Hey,” he said, “it’s okay now, you know I’ll never treat you that way, right?”

You nodded and reached up to him for a kiss before turning away from him again. You were way too numb for this situation. You should be feeling something. Anything. But you weren’t; and that scared you.

The next day, you woke up earlier than Misha and left before he did, you needed sometime to think about everything yesterday and you needed to do it alone. On set, you got your hair and makeup done quickly and went to your trailer to sit in that cozy chair you liked, and read your script some more. It felt similar to before you and Misha had gotten together.

You were starting to think that maybe you needed to give yourself some healing time. Especially after realizing that your relationship with Andrew wasn’t as good as you thought it was. You were still feeling numb, to everything, and you had no idea why. Misha’s words from yesterday echoed in the back of your mind. Baby girl that’s still abusive. Abusive. You couldn’t get that word out of your mind. You thought about all the times you’d had with Andrew.

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anonymous asked:

There is no proof of Marco being trans. It's just all of you reading into it too much. Any time a character cross dresses for any reason, people like you always read into it way too much and say,"Oh he's trans" he's not. Disney would be presenting more evidence if him being trans if he were and when they make a trans character, they'll probably use dramatic irony in which we see the character struggle with their identity and we know what's going on but they don't particularly know yet

There is loads of evidence and only a few pieces of it have to do with Marco cross-dressing. If it had just simply been Marco cross-dressing I wouldn’t believe they are trans. But there was also the closet metaphor in the very first ep of Season 2, the stuck in life dream at the beginning of “Red Belt” where Marco is more horrified at being buried in a suit than the fact they are dead, the fact they cover the mirror in the shower because they are ashamed of their body and myriad of other stuff.

And once again you say “people like you”, I repeat; this is the first character in a show I have believed to be trans.

Plus you say Disney would make it more obvious, Disney have yet to have an openly gay character within their main casts and received backlash from having background characters who are gay. So given this fact I don’t really imagine them rushing to the deep end for trans representation. If anything they’d be cautious in order to test the waters given their past experience with LGBT representation.

But if you wish to disagree that is fine, you can have your opinion and I can have mine.

Also just to add, Star Vs The Forces of Evil is a storyboard driven show, it has no set script. At the beginning the creator of the show Daron Nefcy would have had an idea of where she wants the plot to go but that idea is not concrete. Adam McArthur who is Marco’s voice actor has said Daron Nefcy and the storyboard artists listen to the fans and are open minded to the end result cos he feels they want the best show possible and like it or not those who believe in trans Marco form part of the fan base and several of the storyboard artists are aware of the theory.


More pictures from the script meeting and set of upcoming KBS variety/drama, “the Best Hit”, featuring Yoon Siyoon as the male lead and directed by both Yu Hojin PD and Cha Taehyun in their producing debut.

The thing that cracks me up is that KBS is really milking the idea of a “Producers” follow-up :
During the script reading, they gave Taehyun two name plates, one that says “Assistant PD Cha Taehyun” and the other “Director Ra Joonmo” which was the name and job of his character in “Producers”. They also gave him a director’s chair with the same name… In comparison Yu PD just gets the basic camping chair treatment ha!

Anyway both staff and actors seem to have good chemistry together and the atmosphere looks relaxed and fun.
Considering Cha Taehyun extreme popularity and good connections with pretty much everyone in the entertainment industry in Korea, it’s not that surprising. And if you add Yu PD to the mix, who has an excellent reputation among his peers for his high work ethics, KBS is pretty much assured a critical success.
Let’s hope for their sake (and hard work) that ratings will match the quality of the show~