script copies

why did i spend time on this  a word cloud of every key word the twelfth doctor has said - from ‘the time of the doctor’ to ‘the return of doctor mysterio’ (including class because how could i not). long story short, his catchphrase is clara (the larger the word the more it was said)

long story in its entirety:

basically, two years ago i spent a ridiculously long amount of time on this (ttotd to last christmas):

and i had almost eradicated it from my memory, but then i found it on my desktop and remembered that i had actually written everything down for s9, and all i had to do was thors, for tonight we might die and doctor mysterio, and i was very bored yesterday so i thought ‘eh, why not’

turns out i could have just copied and pasted the script, since wordle gets rid of common english words anyway. i changed my rules about 20 times in this about what words count as common words and what don’t fml, which is why ‘hello’ is so small but still there. ah well.

might add s10 on too when it comes out, because i know i can copy and paste the script now. yay.

me, bolting upright in my bed with panicked eyes and racing heart: does seymour ever actually say ‘i love you’ to audrey? she says she would still love him right before sominex but that’s the only time she does, and seymour doesn’t say he loves her then, but he definitely DOES love her because he tells the plant ‘you ate the only thing i ever loved’ later but !!! does he ever say he loves her?? does audrey die not having heard seymour say ‘i love you’????? even when she’s dying he says ‘i need you’ not ‘i love you’ oh my god

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Hello, Vol-fans! JusKla here! As THIS POST mentioned 2 weeks ago, I am making a little Voltron audio crack skit to see how smoothly tumblr-ran voice auditions will go, and get a fun little project made out of it! (the line counts changed because i added a little more to the script, also Pidge now makes a cameo at the end!)


LANCE (5 lines)
KEITH (7 lines)
LOTOR (9 lines) *lead*
ALLURA (5 lines)
HUNK (4 lines)
PIDGE (3 lines)
NARRATOR (2 lines)

The story itself is crack and not to be taken seriously, but there are shippy themes driving the skit. So if you aren’t one for “shipping”, then maybe this one isn’t for you, but if it is for you, here’s what you gotta do!


  • You must be 16 or older
  • You must be following me
  • Like this post and reblog it with who you are trying out for
  • Fill out THIS FORM
  • Once you have filled out the form, wait to receive a message from me where I will link you to the script and give you my email! (note: if you are on mobile you will have to copy the script link i give you and paste it in your internet browser, it will not open in the app because it’s private!)
  • You will email your audition to me at that email
  • Make the email subject as follows [tumblrusername] - CTP AUDITION - CHARACTER1, CHARACTER2 etc…
  • For example, if I were auditioning for Lance and Keith, my subject would be: [justklance] - CTP AUDITION - LANCE, KEITH
  • The actual audition will be an audio recording of you doing THREE readings of each of your lines, each said with a different inflection.
  • AKA, do the 1st line 3 times, then the 2nd line 3 times, and so on
  • Every line for each character should be said with a 2 second pause in between each of them to avoid cut offs
  • There should only be one audio file per character you audition for and it should be named after that character in all caps
  • For example, if i wanted to audition for Allura, i would wait 2 seconds, say the 1st line, wait 2 seconds, say the 1st line again, wait 2 seconds, say the 1st line again, and repeat this method for every line she has, then wait 2 seconds at the end before ending the recording. I would save the file as ALLURA, and that would be ONE character audition, please include all of your character auditions in the same email
  • The audio should be a .wav file! (if it isn’t already, there are easy online websites where you can convert your file before you send me your audition)
  • There should be no background noise
  • Recording on a microphone is good, but recording on a smartphone is fine as well, as long as the quality is okay and you still convert the file to a .wav before you send it to me!
  • You can either try to sound as much like the canon character as possible, or you can put your own spin on it if you think it’ll work better
  • Any gender can try out for any character!

…And that’s everything! Have any questions? IM me or send me an ask! I look forward to getting all of your audition forms, and I can’t wait to hear everyone’s auditions! Thank you so much!


[capturing the princess tag] [twitter]

The Stand In

Pairing: Tom Holland X Reader

Summary: Reader is an assistant on the newest Spider-Man movie. Due to complications, they are asked to stand in on the blocking of a kissing scene with Tom Holland.

Notes: This is officially my first pairing fan fiction. If you guys like it I’d be more than happy to do a part two and some other cute scenarios I’ve been thinking about. Also sorry this is long and has no gif per usual. I’m not to Tumblr savvy and can’t figure out how to do that stuff.

Word count: 2,052

“We need a stand in for the next scene!” One of the directors practically shouts in your ear, panting from the run from the main set to the copy room. You remove the last of the script changes from the copy machine and place them into your binder, looking at the breathless man before you.
“What? Why? What scene are you doing? Where is is the actual stand in?” You say in a rush. You had been an assistant on the newest Spider-Man movie for only a few months. You’d mostly been doing little things: copying papers, printing schedules, organizing costumes, and cleaning trailers. Even though you hadn’t been doing much, you still knew the basic ins and outs of the production, including that there were actual stand ins for actors if the directors needed them for lighting shots or blocking.
“She’s not here today. We said we didn’t need her. But Zendaya is stuck in traffic and we need someone to block this shot. You’re the least busy woman in the block.” The director says in a rush, taking your binder from you. “It will only take a few minutes. We just need to run scene eleven of the second half of the movie.”
“Scene eleven!” You squeak, shocked they were blocking the scene so soon. According to her schedule, they had planned on starting with a major fight scene. Scene eleven, that was the long awaited kiss scene between MJ and Peter Parker. You were actually very proud of yourself for that scene. You had been the one to suggest what MJ should say right before the kiss to Zendaya herself while bringing her some props. And now one of the directors was asking you to be a stand in for that scene, a scene you knew would only be you and Tom Holland.
Tom Holland. Just thinking about him summons a light blush to your cheeks. You’ve had a major crush on him ever since Civil War came out. Seeing him on set had been a dream come true. You’d even gotten to speak with him a few times. Watching his big brown eyes light up as he laughed at a stupid joke you told woke the butterflies that were always in your stomach when you were near him. Of course you never made a move. Like Tom Holland could ever fall for an assistant on his movie. Still…you couldn’t help but daydream about his cheeky smile, his wavy brown hair, his adorable accent. Everything about him made your heart beat faster.
“Ms. L/N,” the director snaps his fingers in front of your face. You had started to daydream. “Please we must hurry. We want to block this scene before the stunt doubles get here and work with Tom on the big fight scene.”
That snaps you out of it. You nod quickly and start following the antsy director through the block to the set. The scene was to take place in an empty classroom at the school. It was a tender moment between MJ and Peter before Peter had to rush off and save the day again. You never thought you’d get to see it filmed, let alone be in a blocking of the scene.
As you round the last corner you see him. Tom wasn’t even in costume, just a black tank top and jeans. In fact it looked like they were prepping the suit over to the side as he was reading the script again. Wow they really were in a hurry to block this scene. As you approach Tom you start to get nervous. Your hair was back in a messy ponytail. Your jeans were splattered with old paint stains and you had a hole in the back of your shirt. You quickly take your hair down and run your fingers through the soft strands, trying to make them look at least a little decent. As you try to fix yourself up a bit, Tom looks up from his script and sees you. The soft smile he flashes your way makes your heart thud in your chest.
“Hey Y/N,” he says in that cute British accent of his. You hope you’re not blushing but you can already feel the heat on your cheeks. “Are you gonna be Zendaya’s stand in for the scene?” You manage a shy nod, trying hard not to get lost in those warm brown eyes.
The director sits down next to the two others working today and called for the dummy cameras. Prop managers rush on and start rearranging desks and books and anything else that made the set look like an actual classroom. Makeup artists rush forward and cut between you and Tom, fixing up his make up for some test lighting. Someone takes a hold of your arm and leads you to the front of the classroom, where the scene was to take place. You were told to leans against the desk and look as cocky as possible. They asked if you needed cue cards to get through the scene. You shake your head sheepishly. You’d memorized the entire script the second you had the chance to read it. You knew every line by heart. The woman positioning you shrugs and and walks off as Tom moves to his spot, directly in front of you. You could feel your face growing red again and you struggle to keep the cocky grin on place. Tom smiles encouragingly, offering you a friendly pat on the shoulder.
“Don’t worry about the acting part. It’s just blocking. Honestly I’m glad I get to kiss a pretty girl for the test run and not a tennis ball,” he jokes quietly as the directors set up. Now you couldn’t help but blush furiously. Tom thought you were pretty! Before you can respond with a clever comment you had been saving for a moment like this, the lights switch on and you’re blinded. You blink rapidly to get rid of the dots and get use to the brightness. As soon as you’re able to see by squinting the director yells action and the blocking begins.
At first all you can do is stand there, stunned, as Tom reads his lines to you, the shift from a British to an American accent making you blush. That had always been your favorite part of the interviews you watched. Tom would be telling a story and switch from his normal accent to an American one in a heartbeat. You never knew why but it made you swoon.
You snap out of your daze just in time, as it’s MJ’s turn to speak. You read off her lines perfectly, even able to add a little bit of her blunt character to it. Tom smiles at you before launching into his next set of lines, stepping closer. You rise from the desk to meet him, now mere inches away. Your heart pounds in your ears as you look up at you, no where near as tall as Zendaya. As Tom finished his lines you smirk, knowing this line better than any others.
“If you’re going to stand this close to me Parker, you might as well kiss me,” the line flows smoothly from your lips as you look up at Tom, a newfound confidence in your eyes. He blushes and reaches up to gently cup your cheek in his hand, a shy, truly Peter Parker smile on his face. Your heart skips a beat as his other hand presses into your back, pulling you closer. Your breath hitches as his lips meet yours. They taste sweet and fruity. You’re so stunned you almost don’t kiss back, still not quite able to believe Tom Holland was actually kissing you. Warmth spread through your body as you finally relax and kiss him back, one hand reaching up to tangle into his soft brown curls, while the other presses against his chest. You can feel his heart beating through the thin fabric of his tank top. Is it just your imagination or is his heart beating faster than normal? Did he feel the same surge of electricity racing through him as you did, right now?
“Cut! Great job everyone, that looked perfect. We’ll try it for real tomorrow,” all too soon it was over. Tom’s lips slowly left yours yet he stays close, his hand still on your back. You look up at him, wide eyed and breathless from the best kiss you’ve ever had. Tom smiles down at you, looking a bit breathless himself. It takes your foggy brain a full minute to realize you’re still pressed against him and the set people were changing scenes. You flush red and pull away from him, pushing your hair behind your ear.
“I-I hope I was better than a tennis ball,” you manage, very aware of how out of breath you sound. Tom chuckles and gently takes your hand in his, leading you off the set so the green screen could be wheeled in.
“That was much better than a tennis ball,” he says softly, setting his finger under your chin and lifting your face up. You had no choice but to look into his eyes, trying not to sigh out loud.
“You’re a really good kisser!” You blurt out, immediately flushing red. Oh how you wish your mind didn’t turn to mush around Tom. You wouldn’t embarrass yourself nearly as much. “S-Sorry. Y-You probably hear that all time time. Besides it was really unprofessional.”
“No no it’s ok,” Tom laughs softly, taking a step closer to you. “You’re actually a pretty good kisser yourself.” You freeze, a fresh blush taking over your face. Surely he was just being nice. He didn’t actually enjoy the kiss did he? You step away quickly, running a hand through your hair. You had never felt more conflicted in your life. Here you were, making a fool of yourself in front of the man you might just be falling in love with, while he proceeds to tell you you’re a good kisser. Your mind couldn’t take it.
“Y/N?” Tom’s soft voice drew you from your pity party. You glance up at him, then do a double take. He looks…upset? But why? He shifts and rubs the back of his neck, suddenly finding his shoes very interesting. “I’m so sorry. I’m probably making you feel wildly uncomfortable. I-I was going to see if you wanted to come to my trailer for lunch…but you probably…wouldn’t want to…now. Sorry.”
“Of course I want to!” You blurt yet again, your head shooting up from your own shoe gazing.
“Really?” Tom looks up at you, a wide grin taking over his face. The butterflies in your stomach go crazy at the sight of that wide smile, directed right at you. For a second you’re speechless. You can’t quite believe that you were the cause of that adorable grin. Or that you were just asked out, if not on a date then at least to hang out, by Tom Holland himself. You manage a shy smile and nod.
“Y-Yea. I’d love to,” you respond quietly, bashfulness quickly taking place of embarrassment. Tom runs a hand through his hair, almost bouncing on his feet. You giggle softly at how cute he looks, all excited and happy.
“Ok great! I-I have to go get into the suit. Takes forever you know. But I’ll meet you at my trailer as soon as I get a lunch break.” Before you can say anything else he bends down and gives you a quick peck on the cheek. You gasp and touch your fingers to the spot he had just kissed as you watch the adorable actor run off.
“Y-Yea. Ok. I-I’ll see you later,” a warm blush covers your face as you watch him go, leaving you daydreaming about the lunch date you can’t wait to have.

anonymous asked:

I've heard that autistic people can have trouble with empathy, but it's hard for me to imagine what that is like. I want to write a scene where the autistic character shows how much they care/a large amount of compassion, even though they don't feel empathy at that moment. How would you describe what an autistic character is doing/feeling when they try to comfort another person? Thank you for all your help!

Not all autistic people have low levels of empathy - some people are hyperempathetic (I am sure you know this, question asker, I am just clarifying for our other readers!)

I will use myself as an example and describe what I do and feel when trying to comfort another person:

What do I do?

It depends on a few variables, including who I am comforting, whether I can sympathise with the situation, whether I have any scripts that I can copy from TV/movies/real life etc. I will be trying to read the situation - do they want comfort, or advice, company, to be left alone?

  • If I know the person well I am more likely to have learnt how to interpret their body language and what methods work well when they are upset.
  • Sometimes I cannot really understand why something makes someone upset, which makes it harder to work out what I can do comfort them.
  • If it is a situation I have encountered a lot before, or if I have seen an example of a good way of comforting someone in that situation, I am able to adapt the words used, and create a script for myself.
  • If it is a situation I am not familiar with I have a bunch of generic things that I try, but I don’t know how well they work. I worry that I seem like a robot-person who has learnt how to comfort people by reading books and articles (which is mostly how I have learnt it, but I don’t want to do a bad enough job that they notice)
  • I use generic scripts like “do you want to talk about it?”, “that sounds terrible”, “are you ok?”
  • I have some default gestures like bringing the person chocolate, or a cup of tea, or a pack of tissues, but shows like The Big Bang Theory seem to make fun of characters who do that, so I am not sure. If it is a physical injury I know how to deal with it, but if their pain is emotional, I don’t know what to do (especially if it something that I cannot understand).
  • Sometimes I ask the person if they want a hug, but this is difficult because I don’t like to be touched, so I only offer hugs to people who I trust and who understand what it means as a gesture from me. I do sometimes arrange hugs from other people though.

Mostly what I do is a lot of thinking. I am combing through my memory trying to think of similar situations and find suitable scripts. I am trying to work out what might have caused them to be upset, and trying to pay attention to what they say and do to work out what they want me to do. Actually, I usually explicitly ask if there’s anything I can do, if they want me to stay with them or leave, can I get them a cup of tea etc., but people mostly say that no, there’s nothing I can do; they don’t mind if I stay with them or not; no, they don’t need tea.

In your story, if the other character knows them well, they might tell them what they want them to do, it depends on the dynamic between the characters.

How I feel

There can be an element of panic - I need to help this person, but how ???? What is wrong with them? Do they want to be comforted or am I annoying them?

If it is a situation where I do know the appropriate words and actions, it’s different. I don’t feel panicked, I have a job to do and I do it, like if the other person had injured themselves and I was doing first aid.

I might also be affected by the situation that has caused the other person to be upset. I can also become very distressed because of injustice, so if their pain is due to circumstances I perceive as unjust, this upsets me.

I have alexithymia, and struggle to identify my emotions, so this section is quite difficult for me to write! But I think that probably for me seeing people in upset/pain is upsetting - not because I “feel” their pain, but because I think that morally we should help people and animals to not feel bad. As well as this, if someone I care about is hurting this makes me feel bad because I want to help even more because I don’t want them to be sad.

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henchkobun21  asked:

I hate to pick at old wounds, but I've been seeing a lot of people complaining about bad things done by folks in "young" fandoms (harassing creators, sending death threats to other fans, trying to cause legal trouble for people they dislike, etc.), while claiming that older fandoms like Transformers never did anything that bad. And I'm pretty sure that's a load of baloney, but I don't know for certain - have TF fans ever crossed some lines that really shouldn't be crossed?

There are rumors that Beast Machines co-story editor Bob Skir backed out of a BotCon because he got threats against himself and his family.  He didn’t receive explicit threats, but he did get general “I wish you and your family would just DIE” shit, and the real reason he dropped out of a convention was that in the midst of all these generic threats, his father did actually die.

Dennis Barger, the guy who ran BotCon 1996, got script copies of a future episode of Beast Wars and, after planning to release these copies at his convention, the fandom was worried that they’d be spoiled on that season’s events prematurely.  So he threatened that if anyone tried to stop him, he’d tell the episode’s writer Christy Marx that everyone thought her work was garbage and that she should stop writing.  (Hasbro ultimately stopped him.)

that’s all i got in me right now

SURVIVING TECH WEEK (for the techs. actors im sorry I can't tell you how to do your job)

mostly a reference for myself as hell approaches, but use it as you wish, it has lasted many a tech weeks and has not failed yet. 

Warning: This post will contain swears but it’s theatre it’s not like you’ve never heard them before 


  • Money $$$ you will need to eat
  • If not bring food 
  • Water or you will be dehydrated. Maybe 2 bc actors will probably steal it. (they have needs too)
  • Ibuprofen or Tylenol of the sort
  • Pocket Knife or scissors (sharp cutty thing)
  • like 3 pairs of gloves. 1 for you, 1 when the other pair is lost/something happens, and 1 pair for the dipshit that forgot his.
  • for the ladies or long haired men/non-binary gender/gender fluid person: hairties, at least 7.
  • Paint clothes 
  • Phone
  • Phone charger(s)
  • Chapstick I have 99 problems my lips being on fire should not be one of them
  • work boots so that your toes are safe(ish) (as safe as theatre can be)
  • flashlight because it’s fucking dark
  • energy drink, only when absolutely necessary though because it can cause a crash mid-way through rehearsal and that sucks more than anything else
  • Tools. If this place isn’t supplying you will be dying so bring a hammer, screwdriver, and some screws/nails with you.
  • Glow/Spike/Gaff tape for all it’s needs
  • Sowing supplies (if you do costumes)
  • GLUE. 


  • Cue book (if you need it)
  • Do you have the keys to something? fucking bring them.
  • A pencil. Your director might explode if he/she looses his/hers (I’ve seen it happen)


  • Water
  • Pain reliever meds of some sort
  • Honey
  • Extra scripts
  • Extra copies of the music (if it’s a musical) 
  • Cough drops
  • Bobby pins
  • Hair elastics
  • Safety pins
  • Hairspray
  • Makeup
  • oh, and I hope you know how to do basic makeup bECAUSE HALF OF THEM DON’T AND WILL ASK YOU, EVEN THOUGH YOU NEED TO HANG LIGHTS.
  • so just quickly apply their eyeliner and rush off to the catwalk
  • phone chargers for every type of phone in case they need it
  • basically you need to take a babysitting course first joking, joking. I do love actors, they just need some looking after sometimes, that’s all.


anonymous asked:

Watching Double meat palace episode, it seems Spike knows how to get Buffy vulnerable side without even trying. I guess up until now, i didn't realize how much of a hold he had on her. What do you think about Buffy and Spike's relationship in general. A lot of people see it as an abusive relationship. What is your opinon?

Okay, anon, I’ll bite.  Sure hope this question is being asked in good faith; sorry if I seem defensive, but I’ve seen a lot of people get nasty anons and I’d like to head that off.

Let’s talk about the DMP scene first, since you brought it up.  I thought about just copying the script, but if anyone’s curious it’s here.

I’m not sure if this is the way you meant to phrase it, but it seems like you think Spike is somehow attacking Buffy here to get at her vulnerable side.  I read this as Spike just…showing concern.  He’s always been perceptive, ever since he joined the gang in season four.  And he knows Buffy hasn’t been happy since she came back from the dead; he knows that this job sucks and she doesn’t want to work there.  So he’s trying to get her away from the job she hates by 1) offering to get her money himself so she won’t need the job and 2) offering sex, so that she has a few minutes away from something she hates.

As for whether Spuffy is abusive or not–no, I don’t think so.  I think it’s toxic and shitty and unhealthy in S6, but I don’t think the blame for that lies solely on either one of them.

Just to be clear, no, that doesn’t apply to “Seeing Red”.  Nothing Buffy ever did to Spike before/during S6 justified his actions there.

And, frankly, I’d rather not go into it further.

I know it’s a little late but I felt like I needed to put this here. This, as you may or not be aware, is the late, great Toshiro Mifune. If you haven’t seen his films, you should. He was the star of countless chambara (Samurai genre) films and even taught himself Kenjutsu in order to better fulfill the needs of his roles. The reason this gif is here is because Mifune was one of the most visible reminders (especially in this particular film) of the work of Akira Kurosawa who was, without exaggeration, one of the greatest film makers in human history. It’s actually his birthday today (or would be if he were alive). What’s important is, he inspired countless other filmmakers and actors all throughout Japan and even more in the west, some of who shamelessly copied his scripts and gave them the remake tradition (Japanese didn’t really sue the way Americans have always been fond of doing for both real and imagined transgressions). That said, the name of the film this scene appears in is called The Seven Samurai and if you haven’t seen it yet - do it. Do it now. You owe it to yourself to at least watch this one since it notoriously inspired none other than George Lucas to write much of the code of the Jedi, based on the code of Bushido as represented by this film. In any case, you’ll definitely enjoy it. I personally promise you that. If you have a pulse, you will be entertained.

  • [During the exchange of votes at Bokuto and Akaashi's wedding. Bokuto asked Kuroo to write something because he didn't know what to write]
  • Bokuto: [reading] Akaashi, I love that you get cold when it's seventy-one degrees out. I love that it takes you an hour and a half to order a sandwich.
  • [Kuroo is seen mouthing along.]
  • Bokuto: [continuing] I love that you get a little crinkle above your nose when you're looking at me like I'm nuts. [Akaashi furrows his brow at him] Yeah, like you got right now! Just like that one! I love that you're the last person I want to talk to before I go to sleep at night.
  • Kenma: [hissing] Bokuto!
  • Bokuto: Dude, I'm workin' here. [continues] And it's not because I'm lonely, and it's not because it's our rehearsal dinner. I came here tonight because, when you realize you wanna spend the rest of your life with someone, you want the rest of your life to start as soon as possible.
  • [The music sickeningly stops on Akaashi's cold expression. The gathered guests look similarly nonplussed. Kuroo, however, claps enthusiastically.]
  • Akaashi: Bokuto.
  • Bokuto: Yeah, baby?
  • Akaashi: That's the speech from 'When Harry Met Sally'.
Massachusetts Gothic

*it is the dead of winter and black ice covers the ground. your mother won’t let you outside. no one dares to go outside.

*you’re hungry after school waiting for your extracirriculars. it’s pouring. you’re suddenly in dunkin donuts, soaking wet.

*autumn comes again. the leaves turn blood red, and then they fall. they never stop falling. there are always leaves, at first red, and then dead, brown, and on the ground.

*you hate football. you continue to cheer on your high school football team with your parents, sipping hot chocolate (from dunkin donuts).

*it is thanksgiving. this is meant to be a happy time. the stories always describe it as a happy time. you find yourself lost in a never ending sea of 29° slush and impending grey clouds, signifying that you are on the edge of a deep dark winter.

*it is Easter. the Easter bunny cannot come today, seeing as how he was impaled by an icicle.

*there are churches on every corner. next to every church is a dunkin donuts. as the Sundays pass, each one becomes more difficult, for you are forced to choose between church and the descent into hell that awaits you at dunkin, for only the devil could drop an invisible drug that addicting in your iced coffee.

*you’re in boston. how?

*they always talk about the Boston massacre, when truly only five people were murdered. the more truthful Boston massacre is the terror that sweeps students across the state every day.

*the MCAS begins. the sophomores across the state of Massachusetts begin reciting the script. they have no copies of the script. even the teacher doesn’t have one.

*red faced, bald men scream year round over their sports teams. you cannot keep track. patriots. red sox. bruins. celtics. you are lost in the sea of team colors and the screams of bald men with red beards and thick accents.

*your shoes are ruined. what have you stepped in? beer? salt? puddles? slush? the world may never know.

*the sun finally rises in may. the snow is now pitch black with dirt and the souls of those who lost hope in the darkness of another Bostonian winter.

((cred to woodlandterrapin for like half of these))

Armin Arlert Intensified Audition Blues Track 2

From SnK Gag Drama CD - アルミン・アルレルト怒涛のオーディション・ブルーストラック2

Characters: Armin, Eren, Mikasa, Connie, Jean & Erwin

Please expect a lot of EreMin here

Intro by Armin:

-Survey Legion is the organization of man-kind’s last hope and their specialty in eliminating titans made them the man-kind’s strongest military force.

Eren (E): Oi x3 Armin, take it easy, what did you mean just now?

Armin (A): No, I won’t take it easy this time, Eren, I’ve already decided

E: But, if you don’t deliver the toast speech, the party cannot be started

A: But it is impossible for me! I am sorry to everyone but I can’t let this one pass

E: You’ve been doing well so far!! Why are you saying such things at this moment?!

Keep reading

World’s Finest Comics #54 - October / November 1951

Cover Art: Win Mortimer


Script: David Vern

Art:  Bob Kane (Batman & Robin figures), Lew Sayre Schwartz (Pencils), Stan Kaye (Inks), Ira Schnapp (Letters)

Notes: (1) Superman and Batman appear in separate stories.

Batman story #506