Snow White and the Seven Dwarfs (1935).

Carls Barks, about 35 years old at the time, submitted this drawing to the Walt Disney Company in the hopes they’d give him a job. They did, and for several years he’d work in the animation and story departments there, providing ideas and gags for Donald Duck cartoons. Eventually, he left Disney again and started a chicken farm, but returned when asked to handle comic duties. The rest is history, as they say–as in that capacity, he invented Duckburg, Scrooge McDuck, Gyro Gearloose, Gladstone Gander, and countless others.

To me, Carl Barks and Jim Henson belong up there, in the Pantheon of Creative Gods. If you’ve never read a Carl Barks story you really should: it’s storytelling at its finest. Any aspiring author, comics artist, illustrator, or even filmmaker should study his work. And don’t just take my word for it: Steven Spielberg and George Lucas have said the same thing.

Best ending: Bethesda, humbled by Fallout 4′s heavy criticism from critics and fans alike, begins to understand their own shortcomings. Looking to fix this, they form a partnership with Obsidian Entertainment, to help provide new Fallout games. With this future Fallout games are universal for well written story, interesting game-play mechanics and overall amazing experiences. 

Good ending: Bethesda hoping to please Fallout veterans contracts Obsidian Entertainment to do multiple spin off titles of the Fallout IP. These games are seen as a new gold standard in terms of writing for the modern Fallout series. Bethesda taking notes of both fan backlash of Fallout 4 and the success of the new spin off’s tries to implement it’s teachings into their own new Fallout projects, for better or worse. 

Neutral ending: After so much fan outrage over the mediocrity of Fallout 4, Bethesda reluctantly hires Obsidian entertainment to do one spin off game using pre-existing Fallout 4 assets. This game is well loved by fans and Bethesda takes note, trying to implement them into their own upcoming Fallout games. But they do not understand the nuance behind Obsidian’s writing and the new project falls flat in the story department because of it. 

Bad ending: Despite pleads from fans of the series Bethesda decides to hoard the IP of Fallout for themselves. However they do listen to player feedback and try to fix these problems to make Fallout 5 just a little better. Yet ultimately Fallout 5′s story fails as a cohesive and a thought provoking piece of art. 

Worst ending: Bethesda, drunk off of the financial success that was Fallout 4, hoards the IP of Fallout for themselves, secretly working on Fallout 5 for another seven years without so much as an official announcement. They pass those seven years by selling remasters of Fallout 4, and Skyrim on new platforms. Gamers buy these releases because they are sheep, and with each copy sold Bethesda’s ego grows larger. When Fallout 5 is finally released it is a buggy unpolished mess. All pretenses of Fallout being a story driven RPG are gone, replaced with solid shooting mechanics, RNG styled dungeon crawling quests, and a new gimmick of the week. Some quests are ripped wholesale from successful mods, and any continuity of Fallout 1, 2 and New Vegas; are completely gone. Replaced with a continuity centering around Fallout 3 and 4. The previous identity of Fallout, that of a gallows humor based nuclear odyssey drenched in tragedy and human emotion, is scrubbed away. All that remains is that of sarcasm and wacky post apocalyptic shenanigans. Fallout as a thought provoking piece of art is dead. And people around the world merely know Fallout as “That post-apocalypse game where you can shoot mini-nukes.” 

evil doctor au lets go
(im sorry if this au already exists, i wanted to make flug smiling without taking off his paperbag- then this happened)
DO NOT USE/Trace/edit/claim/sell/etc my artwork!
Do not repost my artwork! (do not re-upload my artwork!)


Bill Peet began his career at Walt Disney Studios in 1937. He started off as an ‘in-betweener’ on the animated shorts. Peet would later describe the position as a “tedious, painstaking job of adding hundreds of drawings in between hundreds of other drawings to move Donald or Mickey from here to there.”

One day a large stack of Donald Duck drawings was dumped on Peet’s desk. More in-betweens, please! The sight of those drawings caused Peet to have a near-nervous breakdown. He jumped up from his chair and ran out of the studio, shouting “NO MORE DUCKS!!! NO MORE LOUSY DUCKS!” The next day, Peet returned to the studio to pick up his things. He saw a letter on his desk. He was sure he had been fired. Instead, he’d been promoted to the story department!

Peet worked as a Disney story artist for years. He really came into his own on Dumbo. Walt Disney noticed this, too, and asked him to do ALL of the storyboards for the animated sequences in Song of the South. Walt was so impressed with Peet’s work on SotS, he tasked Peet with doing the storyboards (i.e. writing) for 101 Dalmatians and The Sword in the Stone.

Looking at this small selection of Peet’s storyboards from Song of the South, it’s not hard to see why Peet was one of Walt’s go-to story men!

To learn more about Peet, check out his delightfully illustrated autobiography: Bill Peet: An Autobiography (Link leads to

*picture is of someone holding a yellow flower with the white bold text: People don’t realize how cashiers often have to stand for 6-10 hours straight with a 30 min-1 hour lunch and MAYBE 15 minute break, there’s NO way for this to be healthy! *

No amount of stretching, shifting your weight, fancy shoes, or gel inserts will make this healthy. People are NOT built to stand this long, comfortably. I know people who got spider veins in their legs due to their long hours of standing! The poor newbies often have lower back pains because of this prolonged period of standing!

False Protagonists

Anonymous said:

How do you create a convincing and effective false/decoy protagonist? I’ve hardly found any information on the subject beyond textbook definitions, and a few examples from various media. But I’m really looking for tips & tricks, do’s & don'ts, and I just can’t find that. Is it just a really underused character trope? Or am I falling into a “there ain’t no rules here” area of writing?

In the world of literary fiction, false protagonists are like dark magic. It’s something that exists but it rarely discussed. Most people stay well away from it, and those who use it are either reckless fools or highly-skilled and using it as a last resort. That’s probably why you’re not finding much in the way of advice.

Another reason information is lacking is because false protagonists are more common on screen than on the page. They do exist in literary fiction, they’re just more often the result of wild writing rather than well-crafted intention. Which is not to say they are never used with intention in literary fiction. There just aren’t a lot of reasons for intentionally using one.

So, what are some reasons for intentionally using a false protagonist?

1) To mislead your reader for the sake of drama.

It’s okay to misdirect your reader. In other words, to turn their attention from something you don’t want them to notice right away. This is a little like saying, “What’s that over there?” and stealing a fry off your friend’s plate when they look to see what you pointed at.

It isn’t okay to mislead your reader. “Misleading” is when you actually take them in the wrong direction for a period of time, then at some point you stop and say, “Haha! You were supposed to go north but you went south, and now you’ve gone seventy miles in the wrong direction!” Nobody wants to hear that. Ever. Least of all your reader.

False protagonists mislead your reader, and since readers have limited patience, do you really want to do this for the sake of drama? Surely there’s a better option for implementing drama in your story? On the other hand, if you have another–better-reason for misleading your reader, do it. Always do what’s best for your story.

2) To illustrate the true evil or danger of the antagonist/antagonistic force.

If you start out with Fred as the protagonist and then he’s the first to go down when the zombies attack, that will certainly illustrate just how bad the danger truly is. It sets up the “anyone can be killed” mentality. Your reader can never assume any character is safe due to their importance. This can be surprisingly effective, but some find it to be a bit lazy. You shouldn’t have to rely on parlor tricks to illustrate how dangerous your antagonist is. So, here again, you really want to make sure this is the best option for your story. If it is, do it, and make sure you illustrate the true danger in other ways, too.

3) As a foil to contrast with the real protagonist.

Some stories merit the use of a false protagonist as a foil. Let’s say your story is about a bunch of war refugees being led through dangerous territory by a valiant, smart, benevolent hero who ends up dying to save a crusty, apathetic misanthrope. If said misanthrope is then forced to step into the leadership role, that would certainly have a lot more weight than if the story started out with this character as the leader. 

And, if you can give an additional purpose to the false protagonist’s departure (as above), that will go a long way in soothing the transition for the reader.

So, I guess, my main advice to you is to just think about why you want to do this, see if you have a good reason for doing it, and then make sure you do it effectively. Introduce the true protagonist as early as possible so that you’re not asking your reader to start fresh well into the story. Make sure the switch is made in the first half of the story or earlier. After that is going to be too late. Also, just as a side note: your false protagonist doesn’t have to die. That’s just one way they might depart the story. Sometimes they simply leave, other times they just step back into a secondary role.

I hope that helps!

Have a writing question? I’d love to hear from you! Please be sure to read my ask rules and master list first or your question will not be answered. :)

The Tunnels

(Based on something that actually exists at my old school.)

The Tunnels (1/?)

The Tunnels were built back during the height of the Cold War. They wound beneath a good portion of campus and the football field. Most of the entrances had been blocked off, due to “safety concerns”. The majority of students assumed that meant the Tunnels were not kept up and in danger of collapse.

But Cor had iron in both ears (to keep the whispers from overwhelming), and on her fingers (to keep her writing her own), and a small stud through her tongue (to allow her to speak the truth). Going into journalism, she always knew how perilous it could be. She simply assumed it would get bad once she went overseas to war zones, not while she worked on her major. (Nothing can prepare you for Them trying to distort your stories.)

She considered Them to be the greatest of contradictions. They had to live in truths, lies were against Their very nature, and They reveled in forcing humans to live by the same, and yet They hated that requirement of Their existence. They would twist and turn words, use them like weapons or spiderwebs, keep them just this side of truth while being utter falsehoods, everything the wrong way round. And the journalism majors… well, They would prefer the “speakers of truth” told it from a bent perspective.

That was not to say that Cor, or any of those who shared her major, were able to write completely unbiased. But Cor tried.

(It was why she had picked her second name. Cordelia, daughter of King Lear. When the king had been intent on dividing his kingdom, he had asked his daughters to prove who loved him best. Her sisters had flattered and lied and exaggerated, while Cordelia had spoken only the simple truth: “I love your majesty according to my bond; nor more nor less… You have begot me, bred me, loved me: I return those duties back as are right fit, obey you, love you, and most honor you.” If Cor had remembered the consequences of that, instead of merely taking pride in the princess’ honesty, perhaps things would have been different. Then again, perhaps not.)

And the Tunnels were fascinating.

The truth (because it is important) is that she did not plan to go. (You may not know exactly what there is Underhill, but you can guess. The quiet stories about the chemistry department stealing back a professor give everyone who hears them goosebumps. You do not go Underhill without a clear purpose, or at all if possible.)

It was another member of the department. A freshman (Isn’t it always?) who had heard enough about the Tunnels to be curious, but not to be cautious. He was 18 years of age, and he went by the name Youngest. (The last kid in his family, he explained once. What Cor would find out later was that that also made him the fifth son of a fifth son, stretching back five generations. If she’d known then, she would have refused to go. He may have been born for quests and breaking curses, but she wasn’t.)

He had been trying to study up on the history of the Tunnels and found the records in the campus library archives lacking. The Tunnels had been mentioned in the university paper when they were being voted on, and when they announced the construction start date.  There were no blueprints and no financial records. There were no minutes from the council meeting that decided to go forward with the building plans. There was no list of provisions to be kept in the tunnels, nor even a list of where to enter them.

And Youngest wouldn’t accept that. Cor wasn’t the first to try to talk him out of his obsession. (It didn’t help that he was a low-key conspiracy theorist. And not in a useful, fairy tales and old stories way. No, he was all about secret government bunkers and drugs in the water supply and money being stolen from institutions like Elsewhere U for illegal testing facilities.) He refused to listen. He started asking indelicate questions of the librarians and the campus administration, and he apparently had enough luck on his side to keep him from asking just the wrong person.

In the end, the big break came from a boy he was dating, a theatre major. Prior had been drunk, the two had gone back to Youngest’s room for the night, planning to fall into bed after a party and sleep off the booze. Youngest had brought it up, and Prior muttered something about an entrance in one of the costume closets at the main theatre on campus. When he woke up the next morning and realized what he’d said, he tried to take it back, to convince Youngest that he had been drunk and didn’t know what he was saying.

Youngest didn’t listen.

Youngest grabbed his phone for video and audio, and a pen and notepad in case something happened to his phone, and a flashlight and a bottle of water. He kissed Prior, was effusive in his thanks, and then walked away.

Prior panicked and called Cor.

And Cor, she was so damn tempted to let the stupid, oblivious moron just go. Unfortunately, her conscience was apparently stronger than her sense of self preservation.

She caught Youngest as he was putting aside a pair of bolt cutters he’d grabbed from a props room, and yanking off the old iron padlock holding the small door shut. He pushed open the entrance as she grabbed his arm to yank him back, and in a rush they were both somewhere new.

Cor quickly stood and checked her fanny pack. (It looked stupid. Cor didn’t care.) Creamer cups and seeds and campus-made oat bars soaked and crystalized in honey were held in a plastic ziplock baggie. Her little velvet drawbag of possibilities was net to it. Cor had collected the bits and bobs while scouring thrift shops and yard sales for unused baby shoes and abandoned love letters and half-finished quilts. (She cut them into small pieces, recognizing potential power, and kept them close.) Packets of salt and ground vervain tucked in another pocket. Then she shook her leg and heard the little jingle of her anklet. (It was silver, with four tiny shards of crystal, and it had been a gift to Cor’s great great great grandmother from her sister. It was a promise, a last resort, a nuclear button. Cor didn’t want to use it, because she knew the consequence. But if there was no other way…)

Then she took in the tunnel. It was dark before and dark behind, roughly hewn, strange shaped rocks pressed into dirt made up the surface, with two torches lit and glowing brightly on the wall to either side of them. If there had been a door, it wasn’t there anymore.

And when Youngest finally pulled himself upright, staring around in disbelief, Cor gave up being nice and smacked him on the back of the head. “Why do freshmen never listen?



Mention of the chemistry department revolt is borrowed from “Feathers” by runwildwithme on tumblr. It was just too good a noodle incident to pass up on referencing. ((Additionally, I don’t have a tumblr, but if anyone wants to follow this story for updates, I’m planning to post it on ao3. Author name is TornThorn.))

I love Cor (And if you want to send me a link to the A03 story I’ll post it!)

One note - the Chemistry Department revolt actually comes from this earlier ask from dragon-saint! It gives a bit more detail, although still not much.

Stuff + Fluff - KageHina ficlet (rated T)

Hi my babes. Here’s a quick 1k of something I’ve been replaying in my brain over the last eon - a prequel to Scruff + Stuff, my gift to @tolhinata​ for my Follower Ficlet Fest at the beginning of the summer! It’s a scene mentioned briefly in the original story, but departs quite a bit from it in tone. Mostly because I’m not feeling too goofy today and feeling more… linger-y. Let’s just attribute it to Hinata turning into an absolute poet when drunk. ;D 

This is kind of… dedicated to all y’all, I’m thinking. :) I hope you like my rambles.

After a couple drinks, the euphoria of winning nationals–nationals–bubbles down to a constant hum of absolute, unadulterated contentment with the universe. 

Everything is just right

And Hinata is happy to linger as long as possible in the feeling as his teammates celebrate their own contentment in various, strange ways. 

Ryuu and Narita have been wobbily attempting handstands against the wall for the last twenty minutes, Yachi and Noya have been in a surprisingly heated but still amicable debate about the most best ultimate play of the entire season, and Yamaguchi has been… somewhat too happily petting Tsukishima’s hair as he vomits in the bathroom at the other end of the hotel room they’ve shared with Noya and Ryuu in the final days of the tournament, while the others play a very loose version of poker right in the doorway of the open balcony. 

Kageyama, on the other hand, is a solid wall of heat against Hinata’s side on the pull-out couch, where they’ve been crammed for the last hour, and where, originally, the whole team had scrunched together to rewatch the tape of their winning match. That is, until Saeko had knocked on the door with lots of sake and bad influence. 

Keep reading

Last year I worked the story department on one of my childhood favorites: DUCKTALES. Dana Terrace, John Aoshima, and Tom Owens were my super talented directors. I learned a TON of valuable stuff under them, and I became a better artist for it….

…HOWEVER, I’m embarrassed to say that I never actually learned how to draw Huey’s eyes right. 

It's All Coming Back to Me

Summary: Upon returning to your former home, Mystic Falls, a series of flashbacks makes you remember why you left in the first place. But, most importantly, why you returned. (I swear that the story itself is better than the summary!)

Pairing: Damon Salvatore x Reader, Stefan Salvatore x Reader (platonic)

Word Count: 4069 (Whoops)

Warnings: Death scene, angst

(A/N): So, I’ve been on hiatus. I’m truly sorry, I just have had a HUGE drought when it comes to story ideas. Some people have requested ships and imagines but I haven’t been able to brainstorm any ideas for them, so I’m very sorry. But, I’m also excited because I’ve recently been rewatching the entire The Vampire Diaries series and I’m proud to announce that I have come up with some ideas for stories in the department. This is my first Damon fic, not to mention my first TVD fic. I really hope you enjoy it as it much as I’ve enjoyed writing it. Also, I know I left you on a bit of a cliff-hanger, but not to worry, there’ll be a second part. As you can see, this was getting a bit long. 

Keep reading

Q&A: Guillermo del Toro announces ‘Trollhunters’ season 2

Last Christmas, sometime while you either weren’t looking or were solely focused on graver matters, Netflix released what’s shaping up to be its most-watched children’s series ever, from one of the industry’s most whimsical storytellers — and if the show’s demographic-dashing storyline didn’t catch your eye the first go-round, you’re being summoned by the storyteller himself to catch on for season 2.

Trollhunters comes from Guillermo del Toro and marks both a first for the filmmaker — a bingeable creation for Netflix — and a return to form by way of a long-standing history with DreamWorks Animation, where Del Toro cut his teeth in the medium. EW can exclusively reveal that, following the successful run of the first 26 episodes, a second season of 13 episodes will arrive later this year, with production already long underway for season 2.

The show follows the adventures of Jim (Anton Yelchin, who recorded the first season before his death in June), a teenager-turned-warrior called upon by an underground civilization of trolls to defend their way of life from both humans and evil trolls alike. The returning cast includes Charlie Saxton and Lexi Medrano as Jim’s cohorts Toby and Claire, Kelsey Grammer as his troll mentor Blinky, and Clancy Brown as the series’ big bad, Gunmar.

What’s important to know about Trollhunters and its expansive world-building is that despite the show’s impending viewership pedigree, its stunning visuals shouldn’t be construed as simply for kids. As Del Toro himself tells it, Trollhunters is for kids in the same way as Pacific Rim and Hellboy were for kids — which is to say, they straddle the optics of genre in a way that much (although definitely not all) of the director’s work does.

To announce season 2, Del Toro spoke with EW about the validation of renewal, how the show will handle the loss of Yelchin, and where the series — and Del Toro himself — will go from here.

ENTERTAINMENT WEEKLY: It seems like you have some news to share.
Well, we got very good news about how many people were watching the series, but we got confirmation that the next episodes are a go. We’ve been working on a second season for a while now because we knew that if everything went right, we could proceed. We’re going to go ahead and now continue, rather than start, because we’ve been doing it for more than a year. The reality and the beauty of this is that we can continue not only the storyline and the characters, but we have a huge swath of work from Anton that allows us to continue Anton through more than half the season.

How did you approach the show following the loss of Anton?From the get-go, even in the first season, we knew we wanted to preserve as much of the performance of Anton as possible, both from an artistic and a human point of view, and also simply because I think it’s a tribute to what we think he brings to the role of Jim. From the beginning when we planned the writers’ room, we set out a map of 52 episodes, and created arcs that break every 13, and those were planned four years ago. So we have been recording Kelsey Grammer, Anton, Ron Perlman, Clancy Brown, everybody involved in the series for years and years. And there was a break in the arc in the right episode that allows us to preserve all the work that Anton did that was phenomenal. At the end of recording sessions, Anton did one of the most complex episodes and then he looked at the pilot, complete, and there was a great moment in which he was able to see the work and do a really complicated episode in which he did multiple voices and we were all so proud and so close when we lost him. And now I can tell you, we’re not only going to second season, but we’re going to be able to preserve a really large part of it with Anton’s voice.

Does his passing change anything in your initial plan, or are you sticking to it?Actually, coincidentally, we have an event in the last episode Anton did which allows us to sort of change his voice slightly, so the character stays — but we didn’t plan this. It was pure serendipity that we had that in the works. The beats of the second season have been set for years, and as of now, we have not altered or needed to alter a single beat.

Since Trollhunters is meticulously mapped out and you’ve been working closely on it for years, let me ask: what surprised you at the end of season 1 that you perhaps didn’t anticipate?This is a series in which I am collaborating with a guy I admire tremendously, which is Marc Guggenheim, and with Rodrigo Blaas, who has been my partner in this whole adventure. I think the thing that surprised me—but it was episode by episode—was how emotional I felt about things that we had put on paper, that we had put in pencil. We had a unique endowment. I really think Trollhunters was done in a way that I have never experienced because, unlike a $150 million animated movie, we were working with TV budgets, but we said, “We have to be ambitious to look and feel like a movie. We have to be much more ambitious than our budget.” And what was really surprising is that I promised, and offered, at every creative step, to protect my team from notes and interference. I said, “This is going to be a show done by creators.” And as we started to deliver , what I found very moving is that you ended up seeing people, seeing animators go the extra mile to animate really well. You saw cinematographers going the extra mile to light really well. We had layout and story guys going the extra mile because they knew… most of the time, the story and storyboard departments on an animated project think of the work as disposable. They know that a sequence they do is going to go through 20 incarnations. And I promised them, you’re not going to come back a month later and find out that you need to do five versions. And everybody felt this is being delivered on. We are working with freedom, so let’s go the extra mile, first time around. And it made a huge difference in the quality of the show, because our budget, monetarily, was the same, but our budget, humanly, was enormous.

Let’s talk season 2’s story. If you didn’t proceed on a second season, the cliffhanger sending Jim to the Darklands would have been brutal. I’m working with one of the best producers in animation. His name is Chad Hammes, and Christina Steinberg, whom with I had worked a couple of times in the past at DreamWorks. And we said from the beginning, we have to bet that we’re going to deliver something really good, and we’re going to get the 52. So part of the thing is, we’ve been animating and blocking, and we have a much stronger second season already in the process. We made the decision based on binge-watching, you know? As we were going through the first season — which really is two seasons because it’s 26 — I started watching the animatics, three or four in a row. I would cancel my flight and stay. I would take three episodes with me. And I started naturally finding how much, at the end of every episode, I wanted to watch the next. And we said, if we can maintain that rhythm, that sort of addictive pace, through 26 episodes, we’re going to get a second season.

Is Jim in the Darklands all season long, or is it just a quick visit?The Darklands are quite an ordeal in themselves. They are not a light walk in the park. They are not a one-action sequence and we go away. There’s a good in the Darklands. We have character recalls that were introduced in the first season that you didn’t know how they’d pay off, or you thought you’d knew how they pay off, and you reencounter them and go, “Oh, so this is who the mysterious lady that gives supernatural powers to Angor Rot is,” for example. She becomes quite a character in the second season. You reencounter a character I love — I won’t tell you who — but we reencounter that character now in the Darklands. We resolve a lot more of the backstory of Blinky and AAARRRGGHH!!!, for example. And of course, the Mexican dentist comes back.

Meanwhile, what will Toby and Claire get up to while Jim’s gone?Well, the second season gives a chance for them to become Trollhunters on their own, but the two worlds are constantly linked. We find out some of the surprisingly complex politics in the world of trolls in regards to the Darklands, and the arc is really very beautiful in the second season. Very heroic, I would say.

RELATED: Hear more of the latest TV news from this week

Is there a single piece of Trollhunters merchandise you hold most dear?We created a couple characters to pitch the series to Jeffrey , and they were done in 3-D, and Jeffrey gave them to me after the consumer products department was done with them, and they were really battered. They were missing a hand, a nose… they were really broken. So I bought some epoxy clay and I repaired them and repainted them in my garage. Now they are on my desk because they were always two of my favorite three-dimensional pieces when we were pitching the series. It’s AAARRRGGHH!!! with Toby in his hand, and one of my favorite characters, which is Not Enrique.

The show is unofficially tracking as Netflix’s most-watched kids’ series ever. What does that mean to you considering this is not just a project, but one of deep passion for you?All of my life I’ve been doing animation. I did it as a teenager. That’s how I started. I started doing clay animation. I went and did this really prolonged sort of internship at DreamWorks for six or seven years, getting my footing on Puss in Boots, Kung Fu Panda 2 and 3, Megamind, Rise of the Guardians… and I really feel that it’s a world that is integral to who I am. If you know my collection, a large portion of my collection is original Disney concept art, and a large portion of my library is an animation library. Forty minutes or more of Pacific Rim was basically animation. I was directing an animated movie within that movie. And I think it’s not a side interest. I know how integral it is to who I want to be as a storyteller and the rest of my immediate future.

Do you feel pulled more towards family-friendly fare now?I’ve done movies that I would definitely not recommend to children. But I’ve done movies that I wholeheartedly always thought they were for young kids. Not 7 or 8, but certainly 10 or older, like Hellboy or Pacific Rim. I really wanted them to have heroes and adventures that were un-ironic, not post-modern, and heartfelt. I think in many ways, the Charlie Hunnam character in Pacific Rim is a little bit like Jim. He’s not a complicated guy. He’s good-hearted. They don’t need to be complicated by post-modern winking or ironic satiric logic. They are really earnest and heartfelt.

What’s coming up next for you?I’m finishing The Shape of Water, and that is not a kids’ movie at all. I would never dream of that. And I want to finish or continue other projects that are of a completely different nature. The thing is, I am not a brand. I am an acquired taste. And as such, I don’t want to be defined by what I’ve done, but what I do next.

Trollhunters season 1 is currently available to stream on Netflix.

Departed pt. 1

<– Engraved 20 | Chased 3 -> | Engraved 21 –> 

Short: What happened, before everything. The events that shaped today.
Words: 3145
Type: Angst
Pairing: -
Warnings: Manipulation, confusing the reader
A/N: If you are an Engraved reader, please don’t skip these parts!
A/N2: okay guys, this is the first flashback. I hope you enjoy and let me know!

5 months after the event, 3,5 years ago

Your pov

Your house was empty, and you were slightly at ease of being alone tonight for the first time in five months. It was a weird feeling, and the house seemed so silent. You turned on some music, and decided to make yourself some coffee to take to bed and just cuddle up. The room slowly filled with the aroma of dark roast and you inhaled deeply.
Jongdae was a phone call away, you knew that. But you weren’t going to call him, you’d be okay. Tonight you were going to be fine, just fine. It’s not that you were afraid of something happening, it was totally safe. You just weren’t used to being alone anymore really. During the day it was fine, you were good. But at night, it was like the dark changed everything, your dreams never went easy on you.
You used to love the night, but when days started to blur into one big night, it changed you. Since then you lived for the sunlight, sat in your window as much as you could. You stared for hours at the rays spreading through the curtains and lining the blankets, playing them with your fingers. A nightlight didn’t comfort you really, not much, but being able to see the moon did. So your curtains were never drawn anymore. 

Originally posted by dazzlingkai

Keep reading

the shrunkyclunks soulmate au

so snippeting your big bang is a thing now. I’m actually working on two stories, but this one is more fun, so here, have a snippet. @sbbsnippets

His ma makes a disparaging noise, “Can’t believe they’re replacing Steve Rogers! Unbelievable!”

Captain America is the hometown hero. Everyone in Brooklyn has a relative or a friend of a relative who went to school with him or sang in his barbershop quartet or marched in strikes he was a part of. Brooklyn holds Steve Rogers close and tight. Hell, his ma works at Steve Rogers Memorial high school in Brooklyn Heights.

“Of course, everyone’s been wondering about the man toting Captain America’s shield. Theories have ranged from credible to wildly absurd, but a statement has just been released from Stark Industries PR department! The story is difficult to believe, but all facts have been validated by the Strategic Homeland Intervention, Enforcement, and Logistics Division. According to the press release, the new Captain America is in fact, not new at all. S.H.I.E.L.D claims that this is the very same Steve Rogers who saved the world some 70 odd years ago.”

“That’s bullshit,” Bucky’s dad says, surprising him. Dad is usually the quiet one, the subdued one, hardly ever swears in front of any of ‘the kids’. He kinda gapes at him and his dad blushes, “I’m sorry. But do they really expect us to believe that?”

“It sounds impossible!” The news woman says, shaking her head, sending perfectly coiffed curls swinging. She feigns wide eyes and a shocked expression. “But apparently, when Captain America crashed the Valkyrie, saving the entire eastern seaboard, the water was so cold it preserved him. That, along with Erskine’s famous serum, saved Steve Rogers. He was discovered and woken up by S.H.I.E.L.D scientists in April.”

Bucky’s ma’s hand goes tight around his.

“Bucky,” she hisses, looking at him with wide eyes. “Bucky, do you think - could it -”

“It can’t be,” Bucky protests. “Soulmates are never more than 15 years apart - it’s not -”

“He was preserved. He was only 27 when he went under,” Bucky’s dad whispers. Both his parents have his hands in tight grasp. “And if he was frozen - all those years. It makes sense.”

“And your hypothermia stopped,” Bucky’s ma continued, “It stopped, right when they said he woke up. That’s - that’s not a coincidence.”

Bucky’s heart is pounding in his chest. He - he can’t believe it. How could Steve Rogers be his soulmate? He’s just - he’s just a kid from Brooklyn, not anybody special.

But it makes so much sense.

It explains the chronic hypothermia, the bruises that heal too quick, his aches and pains during the Battle of New York.

It even explains why none of the private eyes they hired ever found him.

And deep down, Bucky knows. It’s right, down in the marrow of his bones. The place where the cold came from for so many years sings with it and Bucky finds himself beaming.

“Ma! Ma! My soulmate!” He’s crushed in a sudden hug between his parents.

“Mazel tov Bucky,” his ma whispers in his ears. “I’m so happy for you.” He can feel her tears on his neck and he hugs her a little harder. His parents have been waiting for this even longer than he has, every year a little more afraid that he’d spend the rest of his days fighting the cold, alone with a disastrous mirror syndrome that would never let him be warm.

He feels so warm now, pressed between his parents, all kinds of warm.

“My soulmate,” Bucky mumbles again, disbelieving. “I’m gonna meet my soulmate.”

Thoughts on the Dear Evan Hansen b**t

I finished Act I yesterday so it might be a little rusty, but I just finished Act II, so here goes Act I:

First off: BEN PLATT.  HOLY SHIT BEN PLATT.  This man is freaking amazing.  Give him the Tony.  The range of emotions he goes through, especially at the end…my gods, what a talented man.

“Anybody Have a Map?” is fantastic.  The harmonies.  THE HARMONIES.

“Waving Through a Window” is fabulous.  I relate to it.  That’s really all I have to say on it.

I wish Connor wasn’t such a plot device.  I also wish that the five minutes he’s on stage alive he wasn’t so awful.  But that’s probably a part of many underlying mental health issues.  When he tells Evan “You’re the fucking freak” it seems to me that HE’S the one who feels like a “freak” and is trying to pin it on someone else.

The.  Insanely.  Cool. Jared.  Kleinman.  Favorite character.  FAVORITE.

I think Alana might not have the best social skills.  The story she tells Evan about her grandmother dying isn’t exactly something you tell someone you don’t know very well on the first day of school.  I do like that, though.  Adds a little more to her character.

Evan’s letter to himself HURTS.  The way he wonders what would happen if he disappeared HURTS.  This poor guy…

I honestly don’t really get why Connor gets so mad at the mention of Zoe in the letter.  It’s not like he’s some protective older brother at this point.  Maybe it’s just that he resents her or something.  I don’t know.

Can we just appreciate Jennifer Laura Thompson’s Cynthia?  She is very good at looking miserable.


Evan saying that Connor came to get him when he broke his arm is heartbreaking.  He just wants to believe that he really fell by accident so badly.

“Sincerely, Me” is one of my favorites on the recording but onstage it is just the best.  Mike Faist’s expressions on “I rub my nipples and start moaning with delight”, “If I stop smoking crack”, and “If I stop smoking pot” are PRICELESS.  Also, how is he making his voice so smooth on the last one?  I want to find out how to do that.

Jared’s interjections into the song are hilarious, and so are Will Roland’s facial expressions.  He doesn’t say “Kinky” after “rough” like he does on the recording but I think this b**t is from a preview.

There’s actually a lot of chemistry between Ben, Mike, and Will.  Such a shame they’re not playing real friends.  

When Zoe arrives home before “Requiem” and Cynthia offers her the emails, she says something like “Just because Connor’s not here pounding on my door screaming that he’s going to kill me for no reason doesn’t mean we’re the fucking Brady Bunch.”  And WHAM.  We are immediately reminded of the real Connor, not the one we just saw.  Kind of shaking.

“Requiem” is also gorgeous.  Laura Dreyfuss’s voice is beautiful.  The song is a great exploration of grief (or rather, non-grief).  Go listen to it.  Also, those harmonies.  Holy shit.

“If I Could Tell Her.”  Ben is adorably awkward.  I want to hug him.  I’m not an Evan/Zoe shipper but everything in this song made me think it was kind of cute.  Also, Laura Dreyfuss is one of the most adorable people on this planet.  Protect her.

“Disappear” has a great message, though I feel that “You Will Be Found” is the better song.  Still, nice to see Connor back (or whatever this version of Connor is–a voice in Evan’s head, I guess).

So Evan apparently knows how to tie a tie?  He doesn’t seem like the type who would.

In “You Will Be Found” Evan has index cards but drops them and only starts the song when he starts improvising.  Interesting.

I’m honestly not sure what the message about social media is here.  What is the point?  Is it good?  Bad?  Both?

On to Act II!

Why isn’t “Sincerely, Me (Reprise)” on the soundtrack?  It’s hilarious!  After the “sucking dick for meth” line the light comes up on Jared and he laughs rather evilly.  I love it.

“Dad, are you torturing him?  Evan, is he torturing you?”  I love Zoe.

Larry turns to Evan and says “Women…”  What year are you in, sir, 1955?

I love how “To Break in a Glove” starts with Evan trying to distract Larry from Zoe’s interruption.  

The idea of Connor never using the glove makes me wonder just how bad his relationship with his parents was, especially how young he probably was when it went downhill.  Then again, maybe he just doesn’t like baseball.

Larry’s philosophy of “do the right thing, even when it’s hard” does not take his son into account and reminds me of Ned Stark.

“Only Us” is okay but a little bland.  There’s nothing very interesting about it.

Jared confirming that he is Jewish (”The liquor cabinet hasn’t been opened since Rosh Hashannah 1997″ or something like it) and his Fiddler on the Roof reference (”People want to talk to you now!  That’s a wonder of wonders, miracle of miracles!”) made me so happy.  He’s a gay Jewish musical theatre geek and you can’t convince me otherwise.  (This might be out of order, I’m not sure.)

Rachel.  Bay.  Jones.  In the scene where the Murphys offer to pay for Evan’s college tuition.  Her mannerisms and facial expressions are just perfect.  Her constant smiling, grimacing, and cringing are fantastic.

“Good for You.”  Oh gods, this song.  It is ELECTRIC.  I don’t think I’ve ever heard a song this passive-aggressive and sarcastic.  Alana’s lines about how she knows what it feels like to be suicidal and Jared’s “Fuck you, Evan, you asshole!” hit the mark, and that trio is fantastic.  And “Stop it, stop it!  Just let me off!”  And when Evan turns around to see them singing into his face. PERFECT.

Connor appearing to Evan after “Good for You” is really interesting.  He confronts Evan as to why he broke his arm–even the voice in Evan’s head is telling him to confront the truth, even if it is also telling him to continue with the lie.  

The “Words Fail” scene.  My gods.  I think Ben Platt is actually crying.  The way Zoe and Cynthia run past him and Larry just gives him a glare before exiting is beautiful–he’s being abandoned by everyone, and somewhat rightfully so.  And the rest of the song.  Now I’m pretty sure he’s crying.

Evan’s “If you knew what I did, you’d hate me” line (or something like it) to Heidi.  Oh my gods.  This guy is a massive liar and I still want to hug him.

“So Big/So Small.”  Give Rachel Bay Jones a Tony nomination.  And maybe a Tony.  The emotion in her voice towards the end is so raw, and how is Ben not sobbing his eyes out?

I like how Evan and Zoe’s relationship is left hanging–we don’t know if they’re still a couple.  It makes sense to me.  While I do think Zoe wants to continue the relationship, I also think she’s a little cautious about it.

Overall, a wonderful show, but not without its problems in the story and character department.  Sorry for the long post!
As Cyberattacks Destabilize the World, the State Department Turns a Blind Eye

Last month, allegedly United Arab Emirates-backed hackers planted a false, inflammatory story on Qatari news sites that contributed to the disruption of Middle East relations. Last year, a Russian hacking and disinformation campaign targeted the US presidential election. Ukraine has been under constant strain of cyberattack for years now. And yet despite these clear and present dangers, the US State Department plans to shutter its Cyber Security branch, according to multiple reports and confirmed independently to WIRED by a person familiar with the matter.

The move doesn’t just potentially weaken America’s ability to cope with increasing cyber threats at home and abroad. It also underscores the State Department’s blindness to the current global state of affairs. In 2017, cyberhacking serves not only as a pointed tool for nations and nation-state-backed hackers to take down power grids, but an easily accessible tool available to whoever wants to wreak world havoc by targeting information. Disinformation campaigns like the one that rocked Qatar go one step further, threatening to undermine base reality. The dangers that cyberattacks present require exactly the kind of coordinated, international response that the State Department should invest in, not bury in a bureaucratic backwater…

Tillerson plans to place the office under the umbrella of the economic bureau, sending the message that cybersecurity is a business matter, rather than integral to national and international stability. Christopher Painter, well-respected leader of the cybersecurity team, is being forced out at the end of the month, taking with him much-needed expertise…

Experts across the political spectrum describe this as a bad idea.

anonymous asked:

Hey, Clyde! Did Tweek and Craig ever get to continue their story from last time?

CLYDE: Hey Tweek!

CLYDE: You know that story that you never got to finish? From way earlier today?

TWEEK: Oh god, that acting story?

CLYDE: Yeah!

CLYDE: People wanna hear the rest of it and so do I.

TWEEK: I don’t know why anybody would find it that interesting…


TWEEK: I was basically finished anyways! There’s nothing more to say.

CLYDE: Come onnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnunununununhunhuhnugghuhdnkgfjldf.

CRAIG: Here, I’ll tell the rest of the story.


CRAIG: Okay so after all of our acting practice and stuff, like Tweek said, I said he should try out for the next school play.

CRAIG: I am literally the least amount of pissed right now.

TWEEK: So am I! I’m as chipper as can be!

CRAIG: Is that so?

TWEEK: Yes, it is.

CRAIG: Are you sure?

CRAIG: ‘Cause to me, it looks like you’re still pretty mad.

TWEEK: Gee, you know, I could say the same thing about you.

TWEEK: Are you still pissed?

CRAIG: Not at all.

TWEEK: Then it seems that we are both. Equally unpissed.

TWEEK: Neither of us are angry at all.

CRAIG: Because you are so happy right now… if I were to, say, poke you a bunch…

CRAIG: It wouldn’t bother you at all?


CRAIG: Tweek was so absolutely thrilled by the idea. Like, you have no idea.

CRAIG: So because there was still a bit of class left before we had to go eat lunch, we decided to keep practicing.

CRAIG: If Tweek was going to get into the highly touted South Park Elementary: The Curious Savage, he had to get all the help he could get.

CRAIG: Poke.

CRAIG: Poke.

CRAIG: Poke poke poke poke poke poke poke poke.

TWEEK: Nope, I’m totally unaffected.

CRAIG: Gosh, you sure are happy.

TWEEK: Mmhmm.

CRAIG: You don’t mind if I do this then, huh?

CRAIG: Maybe pat your head a little bit?

CRAIG: A smooch on the cheek?

TWEEK: Knock it off.

CRAIG: Aw, what are you talking about?

TWEEK: That’s gross!

CRAIG: It’s just a little kiss.

TWEEK: Stop it!

CRAIG: Ow, don’t push me, asshole!

TWEEK: You asked for it!

CRAIG: Maybe if you weren’t acting like such a dick–

TWEEK: Get your hand out of my face, man!

CRAIG: Not until you get yours out of mine!

CRAIG: And stop punching me!

TWEEK: You stop first!

CRAIG: No you!


CRAIG: (Oh shit, it’s Mr. Mackey.)

TWEEK: (Oh god, oh no, oh jeez…)

CRAIG: After a while, to our surprise, the counselor Mr. Mackey caught us skipping class to practice.

CRAIG: But he was so totally enamored by our acting skills that he asked us to sign up right away.

CLYDE: Both of you?

CRAIG: Yeah, both of us.

CLYDE: Aw dude, when is this play? I wanna watch you guys!

CLYDE: I’ll be in the front row cheering you on like a proud mother.

TWEEK: Please don’t.

Mr. Mackey: Excuse me, just what the heck do you boys think you’re doing in here? You should both be in class!

Mr. Mackey: You both know better than to skip class. Are you having a little tussle? Am I going to have to send you to the principals office?



Mr. Mackey: Well? I’m waiting for an answer, mkay?

TWEEK: We were just, um… Uh… oh god– we–

CRAIG: Sorry, Mr. Mackey. We were just practicing.

Mr. Mackey: Practicing? For what?

CRAIG: Well, you see, Tweek wanted to try out for the school play, but he wasn’t very confident about his acting skills.

CRAIG: Tweek and I were planning on auditioning together, but because he wanted some help, I thought we could practice in here.

CRAIG: It’s my fault, sorry.

Mr. Mackey: Oh, really? You know, we aren’t getting enough auditions so it’d really help out of you boys could try out!

TWEEK: That’s– that’s what we thought!

TWEEK: We’re not in trouble, are we?

Mr. Mackey: I suppose I can just let you both off with a warning if you hurry your behinds back to class. Nobody’s supposed to be in here during class time, mkay?

CRAIG: Okay. We’ll both head back now.

Mr. Mackey: Mkay.

TWEEK: (The school play? What?!)

CRAIG: (Dude, I don’t know! Just go with it. My dad is going to kill me if I get detention for the third time this week.)

CRAIG: After Mr. Mackey stopped worshiping the very feet we stood on for our amazing acting, he told us that we had to get back to class.

CLYDE: Oh wait, is that why you both came into class right before lunch a few weeks back?

CLYDE: I thought you guys were both just taking the biggest dumps or something.

CRAIG: You know what, no. That’s exactly what we were doing.

CRAIG: You caught us again, Clyde.

CLYDE: No, okay, but seriously!

CLYDE: Dude!

CLYDE: I bet you guys are gonna rock the play.

CLYDE: And Craig, you’re the best story teller ever.

CLYDE: Tweek, you could use a little more work in the story-telling department, imo.


CLYDE: Anyways, thanks for wrapping that up. I give the story a 9.5/10.

TWEEK: Why 9.5?

CLYDE: Because I wasn’t there.

CLYDE: But it still gets the seal of approval anyways. Would recommend.

2/2 [part 1]