technically not that big of an edit but i made it so whatever

All’s Fair (M)

Summary: They say soul mates get their marks on the same day, and you’ve been dating Taehyung for almost four years now, but it isn’t his name that shows up on your wrist. It’s Jeon Jungkook’s, also known as your least favorite person in the world.

Words: 13k (I’m sorry)

Genre: smut, filthy threesome smut, soulmate!au, college!au

Warnings: um. choking. ahem.

Originally posted by j7011

It was freezing the night his name appeared on your wrist, cold winds biting through your two sweatshirts as you crossed campus to get to Taehyung’s fraternity. You’d felt the stinging on your inner wrist early that day, and used the excuse of dropping off one of his textbooks so your roommate wouldn’t know what was up. Upon your arrival, Taehyung had ushered you in from the cold, his smile so wide it could have blinded you as he all but carried you up to his room.

You kicked off your shoes, pulling a pair of Taehyung’s sweatpants over your jeans before falling onto his bed to seek refuge from the cold. He follows you, eyes wide with anticipation as sits beside you, one of his legs bouncing, but you really couldn’t blame him as you snuggled up to his warm side.

“Do you feel it, too?” He asks in a whisper, his cocky grin disappearing into hesitant smiles as the weight of the situation settles in.

You nod, finally pushing yourself up so you could move to sit on his lap, one of his arms curling around your back to keep you close as you nestle your head against his shoulder. He takes your left wrist in his hand, squeezing a little too tightly in his eagerness.

They say soul mates get their marks at the same time.

Keep reading

Unknown struggle (Simon Request)

(Emotional topic some readers may find distressing)
“No Simon fuck off!” You squeal, speeding round the landing of the sidemen house you now lived in to get away from your boyfriend of over a year.
“Come on answer!” He laughs, his longer limbs meaning he catches up with you instantly and grabs you from behind.
“I’m not answering” You shake your head, gripping onto his hands as he lifts you up.
“Oh seriously” He scoffs, “Out of Josh, JJ, Vik, Ethan, Harry and Tobi, who would you punch?”
“They’re my friends. I can’t answer that” You comment.
“Its JJ isn’t it?” He tilts his head, turning you to face him.
“Yeah but Im not sure why” You laugh.
“Can you two keep it down?” Vik yawns, walking out of his room since he’d been nocturnally sleeping as usual.
“Sorry Vik” You reply, turning round to face him with Simon wrapping his arms around you.
“Ughh you two are so sickeningly sweet” He grumbles, rubbing his eyes and heading downstairs.
“Right, you need to get on with editing” You mention to your boyfriend.
“Noooo” He whines, “Can’t we just spend the day together?”
“You still need to catch up before you leave for Boston and you told me, if you sidetracked, I had to sort you out” You remind him, “So, go on, edit”
“I’m also leaving you whilst I go to Boston to technically I should spend more time with you as well” He points out.
“Edit. And then we’ll see” You glare at him and he reluctantly heads over to his desk.
After a while, you’re propped up against the headboard of the bed with your laptop on your legs when Simon turns around to talk to you.
“I have an idea” He spins round in his chair excitedly.
“And what would that be Mr Minter?” You ask, closing the lid of your laptop and turning to look at him.
“I want to meet your parents” He states simply.
You widen your eyes slightly as you look at him.
“I mean, we’ve been dating for over a year now, you’ve met my folks, I’ve met your brother and your sisters” He explains, “and if its okay with you, I want to meet Mr and Mrs (y/l/n)”
You pause for a second, “Okay, I’ll take you tomorrow if you’d like”
“Sounds perfect!” He grins, jumping onto the bed, “For now, how does Netflix sound?”
~~~Time Skip~~~
You didn’t sleep much last night. You were anxiously thinking of all the possible ways Simon could react today. And you were still thinking about it now.
“Babe how smartly should I dress today?” Simon asks, going through his wardrobe with a towel around his waist and wet hair on his head from just getting out of the shower.
“I’m sure you’ll be fine wearing whatever babe” You respond, tugging on a pair of jeans.
“How about this?” He asks, holding up the shirt he wore to the premiere of laid in America.
“Babe you don’t need to put in so much effort,” You chuckle lightly.
“I don’t know, I want them to like me” He sighs.
“Wear whatever you’re comfortable in” You smile, kissing his cheek.
You change into a burgundy adidas T-shirt and yeezys whilst he goes for his white T-shirt, plaid shirt open over the top and black jeans.
“We’re heading out” Simon calls into the house to make the guys aware.
“Ooh it’s your big moment” JJ laughs, “Don’t fuck up”
“Shut up Jide” Simon scoffs, lacing his fingers with yours as you lead him to your car.
The pair of you are soon on the way with GSAP playing on the aux and Simon seeming to become more and more nervous. You felt it too. Just not in the same way. He was scared of what questions they would ask. How he’d answer. What they would think of him. Whether they’d like him. You were scared of his response.
“We’re here” You comment as you pull up at the side of the road, “Well, its just down here,”
On the way, you’d stopped to pick up some flowers which Simon thought was a brilliant gesture.
“Oh okay” He nods, getting out and holding your hand as you take him down the road you had walked so many times.
Every time you went down this past, your hands shook slightly and your breaths came out with a shiver. You seemed to only hear the blood in your brain and your eyes only became focused on the route you would take to get there.
“Everything okay babygirl?” Simon frowns.
“Yeah, just here,” You gesture and open the large squeaky gate.
“(Y/n)” He begins, his voice light.
You stay silent and lead him down the long main path before turning to the correct part and winding your way cautiously through to get to your destination.
And you were there. With your parents in front of you. Their gravestone. Amongst all of these graves, they seemed to get terrifyingly further to the back each time you came. You and your siblings always kept the grave in the best state possible- you made sure all of the leaves were cleared away and there was always flowers in water pots or small cards scattered across the area.
As you crouched down to clear away some of the stones and moss that had built over the soil, you noticed that Simon still stood in shock beside you.
“Babe i-” He starts but his words fall flat.
“I wasn’t really sure how I’d tell you” You admit quietly.
“No come on don’t be ridiculous” He shakes his head, “I wouldn’t even know where to start”
You nod and make sure the flowers you bought are laid out perfectly.
“So, how did it happen?” Simon croaks, crouching beside you.
“I was fourteen. We went on a family holiday to Cornwall and on the way back, a drunk driver was on the wrong side of the road. They died instantly” You explain, tears in your eyes, “I remember waking up and I was screaming at them to get up because I had my baby brother in my arms and he wouldn’t stop crying and I didn’t know what to do. And then everything else was a blur”
Simon stays silent, only moving to rest an arm around you.
“We all got to the hospital and they sat me and my sisters down and they told us that they’d both died. I yelled at them so much. I was the oldest so I felt like it was my responsibility. And I screamed because it was their fault and they should’ve done something and they didn’t and-” You stop as your tears threaten to fall, “I remember we went to my Nan’s house that night and I stayed in my brothers room because he wouldn’t fall asleep the whole night and I just held him and its the first, last and only time I ever cried in front of him. Ever since then I’ve just had to be the parent”
“Babe I don’t even know how to begin” He says, “I can’t even imagine how difficult it was for you"
“Every single weekend I come here just to make sure they’re okay” You sigh, “You know, when we were kids they told us that we could still talk to Mum and Dad if we felt like we needed to. I guess I never really stopped”
“What would you say to them?”
“I’d tell them all about school, then uni, my job, you and the guys” You list, brushing your hand over the cold stone. It still sent a chill down your arm.
“You know there’s nothing wrong with that” He reassures you, “And if its okay with you, maybe I could come up to some of these trips. Nothing has to change, we can just talk like you usually would. I’ll try not to swear or be too loud or say anything I shouldn’t do, I promise”
You smile and look down at the ground. It was strange having someone to share this with. Being the oldest, you’d always made sure that the others were okay. You never confided in them or any of your family or the woman they sent every week to ‘help’. You kept it bottled up. You just trusted Simon enough now that you wanted him to be aware.
“You dont have to be alone in this anymore babe” He smiles, brushing the hair from your face.
“Okay” You whisper, your tears too strong to allow you to speak any louder.
(Sorry for no imagine yesterday guys! I had food poisoning and spent the entire day on the couch!😟 I’ll try to get out 2 today hopefully x)

korrasforevergirl  asked:

Would it be okay to ask how comics are actually made? Like are the panels drawn out first and the story put in them or does the story have to be planned and drawn before the panels go down? I would use bing but I don't know how to word the question right to where I don't get everything but I was looking for so I can make panels the right way. There was something that lets you make it on tablet, but I have no tablet

Sure! This might get long, so hold onto yer butts.

Creator-Owned IPs vs Licensed IPs
We’re gonna start off with a broader understanding of the different directions comic creation start from. Creator-owned books (we call them ‘books,’ though we mean comics, and this umbrella includes both single issue series and GNs) are exactly what they sound like: IPs that are owned by the creator(s), series like Saga and most Image titles; original graphic novels; and designated creator-owned series from publishers who handle both licensed and creator-owned works. Contracts differ for exactly how much a creator-owned IP is owned by either publisher or creator, and this is why people like the Image comics model, because creators own all of it. This sounds like the best case scenario, of course, but it’s a tough road, because you need to have a pitch ready, your pay is almost always back-end (meaning you get the profits after you sell; advances are either small or rare), and it helps to have notoriety to get the right eyes and ears on your work. Licensed IPs on the other hand are works that already exist, and then are licensed out into comic form. Think of video game comics, or comics series like Adventure Time and Legend of Korra. Licensed work also tends to have lots of chefs in the kitchen, which is its own kind of hell, since things need to stay on-brand or follow age conventions for narrative/visuals.

DC and Marvel also fall under this label. More generally, we call it ‘work-for-hire,’ and it means you own none of the art, property, etc. But it also usually means you’re paid for the work before sales, and, depending on the publisher, it can mean more money upfront. In general, comics pays absolute shit unless you’re working for the Big Two (Marvel/DC) or have a successful creator-owned title at Image or elsewhere. 

Writer/Artist/Editor Relationships
Creator-owned work processes vary greatly, since their circumstances are all different (story & concepts could’ve been done together, or a writer may have found an artist to work on her idea, etc). I’m going to mostly talk about the work-for-hire process, since it’s a little more consistent across the board. The publisher will hire a writer, who will in turn write a script, and the script will be sent to the artist to draw. For Mike, Bryan, Nickelodeon, and me, we communicate through our editor Dave, and his assistant Rachel (a saint, truly). If I’m being honest, it was a little overwhelming for me in the beginning to receive so much feedback from many many people, which I was not used to from previous comics experience. But we’re all growing to understand each other, we all respect each other deeply, and our editor does an amazing job making sure communications between all of us remain clear and effective. I’m leveling up like crazy from the constructive commentary I receive on every page!! I can’t wait to come out of this project a total badass, haha.

I also can’t forget to mention the colorist, who is a very crucial part of the process. As it is, the industry severely undervalues colorists, and moreso, the flatters that sometimes help them (they basically do simple color fills so the colorist can get right to rendering, etc). After I’ve uploaded my linework, the pages go to Jane for colors. After another round of edits and approvals, they will go to the letterer, which I also find to be an underappreciated craft.

1/ Mike writes the script
2/ Editor reviews. After edits & approval, it is sent to me
3/ I send back thumbnails of what all the pages in the GN will look like
4/ Edit/approval review, edits are made, and then I start on pages
5/ I don’t have a pencils step; I blow up my sketches onto my pages at low opacity and ink right over them
6/ Uploaded for review. If it requires edits, I fix and send it back
7/ Colorist receives pages and does her thang,
8/ and after reviews/edits, it is sent to the letterer.

And that is all the process I am closely tied into, but beyond that (the publishing and marketing deets, etc), I am not.

Artistry, Paneling, Tools
As for the actual technical part of comic making, it’s harder to get into the specifics only because it’s super different for each artist, and our education comes from different sources. Growing up in Japan, I read a lot of manga and Franco-Belgian comics, so my layouts and style will more closely resemble that stuff. Many people still work on special comics paper or just 11x17 bristol board, but I work exclusively in Photoshop on my Cintiq, on special Dark Horse formatted comic page files. If you want to read more about how comics are made and the concepts behind good composition, paneling, etc, I’d pick up Scott McCloud’s UNDERSTANDING COMICS. It’s a good primer, and fun to read, since it’s just one giant comic!

Industry Thoughts
I think I need to add this here, because understanding the general atmosphere of the industry informs why creators are/act/work a certain way, or have a specific kind of online presence, etc. The industry is still very much a white boy’s club, and it is a constant battle for the marginalized to work in an industry that seems to hate us with every microaggression (and just outright bigotry) at every corner. Additionally, as mentioned above, comics pay is super garbage; some of us are full-time freelance and some of us still have day jobs; we get no benefits, etc; and, as in most entertainment industries, it’s just as much about who you know versus how good you are. Networking is key, and you’re much more likely to get hired for being a polite person who gets their work in on time over being an amazing talent who is always behind and a jerk. Unless you are certain dudes are certain big publishing companies. *side-eye*

Being a comics creator is grueling, and you definitely put in more than you get back. We also feel a need to maintain some amount of online presence, and I take the effort to curate my social media feeds, both what I consume and what I put out. Me being me, I wear my heart on my sleeve, my loud mouth says whatever the fuck it wants, and sometimes I’m super crude; but I am trying to not be so curt with the over familiar or well-meaning folks who appreciate my work, and maybe just overstep some bounds. (The creepers can fuck right off, though.)

ANYWAY. Hope that’s all helpful to know and gives y’all some perspective! :)

The Trophy Wife (5)

Summary:  Bucky is going through a rough time in his life after his Winter Soldier days when a stranger shows up at his doorstep asking for his help. What’s he gonna do?

Warning: a little angsty, sexual tensions

Word count: 3, 269

A/N: I’m so sorry for this super late update :( I’ve been busy and i got distracted away from tumblr and writing all together. This part isn’t as long as i hoped it would be but i wanted to post something for y’all. It’s 6 in the morning and I’m nearly about to fall asleep on my laptop editing this story. Hope y’all are still following it and again I’m very sorry for taking so long with this part.

  Part 1  Part 2  Part 3 Part 4

Keep reading


The moon is in his blood.

It waxes and wanes, ebbs and flows, but it is always there; always there, battling for his attention, vying for dominance with the plasma and the leukocytes and all the other bits that make his blood, blood. Remus can almost not remember what its absence feels like, but every night, every night leading up to the full moon, he tortures himself with the memory…

He had been a boy–just a boy like any other at his young age. He’d been five and his greatest worries had included the devastating possibility that his parents would not take him along for sweets on the weekends. He’d scrape his knees on the sidewalk and call it a bad day, but his dad would wave his wand and his mum would kiss it better, ‘just for luck’, and everything would be made right.

He’d been so alive. So normal.

And then it happened, and his life became measured by the moon: its presence, its absence, and just how long into the gibbous he could push his luck and remain in polite society.

They’d moved more than they’d stayed put, and lied more than they’d spoken the truth, but somehow his parents had made it work for years, until he was sent to Hogwarts. And by then Remus had grown used to the lies, used to the feeble cover stories, to the constant remarks of, ‘are you all right? not tired, are you? you look a bit peaky…’, and most of all, used to the bone-crushing isolation of being bound to life by nothing but the moon, and all of the lies trapped in its orbit.

But the lies became too big for him, sucked him bodily into the never-ending spiral of deceit that, for too long, had been his reality. It had been easier, as a lad, because he’d never stayed in one place long enough to make friends.

At Hogwarts, he made friends.

And they were fantastic.

They were fantastic, brilliant, bright. They were perhaps too intelligent for their own good, and too arrogant besides; but they were brilliant, and they were his.

Best of all, they were his.

That was the problem, though; they cared about him. He’d never had peers before then that had treated him as though… as though his life had been framed by the sun, and the stars, and Quidditch and whatever else young boys used to tell the passing of time. They treated him as though he were normal, as though he were one of them, and even though he wasn’t–not really–he allowed himself to pretend. He allowed himself to pretend, even when he could feel nothing but the moon in his blood, reminding him with each additional setting of the sun that the illusion could never last.

It lasted until their second year.

“Remus,” James had said, “meet us by that portrait of the dancing hippogriffs on the sixth floor after dinner.”

Remus had been wary. “What have you done this time?”

“We haven’t done anything…yet,” Sirius had chimed in, all too innocently. 

And so, believing it to be the product of some prank, some new passageway they’d found, or some other such mischief (which Remus now believes had been their intention all along; to lull him into a sense of normalcy before going through with what they were actually about to do), Remus had done as asked and met them by the rather ridiculous painting on the sixth floor.

And then, they’d locked him in a classroom.

“What is this about? I–I have to visit my mother tonight–”

“We know.”

“Then… why are we just standing here?”

“No, Remus,” Sirius had said, uncharacteristically quietly.

“We mean, we know,” James had added.

And Remus had stared, and then it’d just clicked, and he’d thought, this is it– the illusion ends here–

But then the incredible happened–so incredible, he’d not even dared dream of it, because how could this happen? How could it be real?

But it was. At least, it had been.

“Why didn’t you just tell us?”

A pause, silence. Remus had been… he’d been…

Sometimes, when he needs to relay messages with the Order, and only a Patronus will do, this is the memory he uses. This is the one.

“We’re your mates.We can get through this, together.” 

“But–but you can’t–you’re not–”

“A werewolf?” Sirius’ bark of laughter had rang in Remus’ ears. “Who cares?”

And then they’d hugged him, and he’d cried–Remus gets choked up just thinking about it–cried into James and cried into Sirius, Peter patting his back all the while.

Somehow, it had made him feel less alone, even if he technically had been anything but. Somehow, it was enough.

But it hadn’t been enough for his friends, not by a long-shot, because three years later they finally found a way that they could get through it with him–together. As they had vowed to do.

And now… too many years, and too many memories later, now, all he can think is that he wishes to repay the favour. Whether he knows it or not, Harry is the closest thing he has to a son, the closest thing he has to a nephew, and he will not fail him.

Just like his father had never failed him.

“The trick, Harry, is to choose a happy memory–a really powerful one…”

Bellarke Crossfades & Film Technique

Okay, so, first off, this is entirely my friend Danni’s fault. She’s gotten me obsessed with the cinematography of the show and how it supports the narrative and so I decided to dig into how that applies to the patented Bellarke Crossfades™ and how they’re narratively significant. Disclaimer, this is built on my own long ago history with video editing and a bunch of reading I’ve been doing recently. It’s not like I’m an expert in this field.

Alright, now that we’ve all been thoroughly disclaimed, WHEEEEE! Here we go.

Keep reading

“To be clear,” Clark asked, “did I just help you commit a felony?”

Lois said nothing, but gave Clark her best ‘shut the fuck up’ look. Obediently, he shut the fuck up.

She hadn’t needed to bring him along. The only reason she had was as a precaution. He might be too big to be sneaky, but he was a fine size for warding off the majority of small threats. Lois, despite a carefully cultivated demeanor, still could not intimidate as well as a hapless dork who happened to shop in big and tall.

Furthermore: Clark Kent had an irritating tendency to wander off when something interesting was happening. When he did, he tended to find all sorts of information that Lois did not. And then he scooped her.

Keeping him close meant she’d see what he saw. No chance for him to go to Perry with an angle she’d missed out on. It wasn’t quite a rivalry, what they had, but it wasn’t exactly teamwork either.

Even if he had, technically, just helped her commit a felony.

It wasn’t a major felony. It was an investigative felony. Those could hardly be said to count. Really more of an ambitious misdemeanor.

Keep reading

Okay, so, I was looking at the character pages for Overwatch cuz someone was talking about them and there are just some things that were on my mind that I wanted to mention.

Let’s start with Symmetra.

I borrowed @bikiniarmorbattledamage​‘s Female Armor Bingo card here (and in other spots for this post). Now, technically she’s not wearing armor in the first place, but honestly that’s part of the problem for me. They’re going into battle and she doesn’t even get pants??? Also, I know this is a nitpick but I’m get so tired of seeing thigh-highs that stay up completely by themselves. You need sock glue or garters for that shit, I’m so tired of seeing that. She’s also wearing high heels.

But like, why doesn’t she get real armor at all? Or pants???

And when I looked at her story, it said her real name is Satya Vaswani. I’m kind of side-eyeing the name choice slightly because, when I worked with kids for a while, we had a huge variety of customers and a lot of our Indian customers had what I thought were longer, cool, beautiful names. Names that a lot of Americans would think were hard to say. But other characters got longer and more complicated-sounding names, so why do I have a bad feeling that they picked Symmetra’s name to be easier for Americans to say? Idk. It bugs me. 

Next up is Mercy.

Whooooo also isn’t allowed to have pants.* :/ And no, those are clearly semi-opaque tights of some kind, not pants. They’re not even leggings. They basically have an almost fishnet look to them. So again, no pants. Boobplate, of course. And the entire skirt thing and her boots are going to chafe and poke her horribly and it’s just not comfortable-looking at all. 

But what really bothers me about her design is how fucking Aryan she is. Do angel-type characters always have to be pale white, blonde, and blue-eyed? Combine that with the fact that her name is Angela Ziegler, which is a German last name, and the whole thing just becomes incredibly off-putting to me. Sure, technically her character is Swiss, but to give her a German last name on top of her looking so Aryan is just gross, frankly.

Next up is Zarya.

Her torso armor is still kind of skintight for her torso and I am not counting that jersey-like fabric she’s wearing underneath it as padding in any way, shape, or form, but holy shit she gets PANTS! And doesn’t even have to wear heels!!

She still has a pretty prominently boobplated breast size, but still probably one of their better designs.

One thing that makes me uncomfortable is that the one tank-like woman we get is Russian??? Why??? I can’t exactly put my finger on it, but when I learned she was Russian, I wasn’t even slightly surprised. It feels like it’s playing into some weird tropes that I’m not as familiar with but it just doesn’t feel right on some level.

Next up is

(Apologies for weird image, couldn’t find anything great for it.)

Her shoes have a big enough heel that they’d be uncomfortable to walk in, so I’m counting it. Those things on her breasts are almost on top of her nipples so I’m counting it. Also, it’s technically not a boobplate, but they gave her boobsocks, so I’m counting it.

Everything about this character just makes me like. :/ Really?

Honestly, her name “” wouldn’t bother me as much if it weren’t for the way she was written. She’s a 19-year-old Korean woman who’s job was as a pro-gamer before the plot. Like. Really? Just. Sigh. Do I even need to explain why this is icky-feeling? Ugh. And no, playing video games should not automatically make her good at using mechs, which is kind of what it read as in her profile to me. -_-

Next up is Widowmaker.

Bingo, bingo, bingo! I really don’t like her outfit at all. There’s no way her top would ever stay in place unless it was basically stapled into her skin and it isn’t. So. No. Also, it looks really uncomfortably tight, especially in the crotch region, which is just gonna make it more likely that she’ll get vaginal infections. These are things people need to think about, I’m serious.

Okay, for one thing, yes, I realize she’s supposed to be some sort of femme fatale character. Except. Her backstory doesn’t match how she looks at all. She’s supposed to be this perfect assassin who was brainwashed to be a killing machine, blah blah blah. As tired as I find that story to be in general, it would be alright enough if this wasn’t her appearance. What kind elite goddamn assassin dresses like that?!

Also, her backstory says, “her physiology was altered, drastically slowing her heart, which turned her skin cold and blue and numbed her ability to experience human emotion.” That is not how that works. At all. Her skin is more purple imo than blue, but I’d be willing to ignore that if it weren’t for the “somehow it also made her emotionless!” No. No no no no no. That’s now how that works. At all. Ever. That’s just shitty writing. Even if they were trying to be dramatically metaphorical, it read like they meant it literally and it’s just really awful. Just no.

Also her being French because French is ~sexy~ just fucking delete this character, ffs.

Next up is Mei.

This outfit is actually A+, I really like it.

Ignoring the bullshit of cryotechnology because sure why not whatever, her backstory is also good. I think her pants might not actually be warm enough cuz they look like tights and if she’s fighting in any not cold area, I feel like she’d be sweating like crazy, but whatever.

The only thing I’m kinda :/ about is that I often see her held up as a fat or curvy female character, but I feel like she’s honestly designed as just wearing really thick clothing? But in general, no big complaints for her.

Next is Tracer.

Overall her outfit is pretty fun. That butt cleavage, tho. :/ Why the hell is her butt so vacuum-sealed into those pants? That’s an incredibly uncomfortable wedgie. Ick.

She’s alright for the most part, but is anyone else mildly annoyed that the sort of mascot character for the game is a white British woman? Meh. Not much else to talk about that hasn’t already been said.

Finally, we have Pharah.

She’s also got one of the better outfits, actually. She’s the only woman who has real head protection (which isn’t a high priority for me tbh but it’s great to see). Her armor around her waist especially is super tight, so I’m counting it.

I felt like her backstory was really, really bland. She’s wearing really awesome armor! Kick it up a notch!! I also kind of wish her armor was even more bulky but it’s pretty good.

One thing I feel weird about is that curlique-type thing under her eye. I don’t know enough about Egyptian culture to speak to it much, but it feels a little bit like, “hey this is Egyptian, right? Now you can tell she’s Egyptian!” Idk.

So overall, some of the outfits are really good. The body diversity could have really been a lot better.

Symmetra deserved PANTS FER FUCKS SAKE, Mercy is way, way too Aryan, Widowmaker has a backstory that contradicts her entire outfit, and as a character just makes me facepalm because she feels so extremely fanservicey. 

But more people especially need to talk about grossly Aryan Mercy is, it’s really pissing me off the most.

Otherwise, Symmetra, Mei, Zarya, and Pharah are best character imo.

*EDIT: Someone pointed out that it’s a little weird for me to count Tracer’s leg-coverings as pants but not Mercy’s leg-coverings as pants. Texture-wise, I still think Mercy’s are semi-opaque tights and Tracer’s are thick leggings, but this one can definitely be up to interpretation, I think.

Retconning KuroBasu: Kiseki no Memories

I finished Kuroko no Basuke (the manga) and was instantly struck by the need to write a long, pointless tribute to how it is one of the most romantic manga to ever exist, but then realized that in order to do so, I needed to do this other long, pointless thing, where I try to reconcile the earlier volumes of the manga with the Teikou arc.  

Bottom line: Kuroko no Basuke becomes a much more interesting series if you center the Teikou arc into the narrative of the manga from the very beginning.

Ground rules:

1. I am not claiming this reading to be Fujimaki’s or the correct one.

2. I suspect the anime had the luxury of knowing the Teikou arc from the beginning, so all analysis is built on the development of the manga. Additional non-manga canon (Replace novels and Replace Plus) has not been taken into consideration.

3. I do not know enough Japanese to read the manga in its original language and have tried not to be dependent on the exact wording of the English scanlations to develop any points, but please note and forgive my dependency nevertheless. 

4. Spoilers, obviously.

(Most of this post was developed in a long email to moutheyes, so ty for indulging your kouhai’s long-windedness.)

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Thoughts on the Whomping Willow incident

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

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

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

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

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

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

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

Putting it before the lake scene? 



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

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

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

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

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

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

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

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

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

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

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

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

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

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Jennifer Morrison talks directing new music video, what to prepare for on ‘OUAT"s midseason finale

Jennifer Morrison, who is known for playing The Savior (aka Emma Swan) in ABC’s Once Upon a Time, has an intimidating resumé. She’s starred in House as the very smart, full-hearted Dr. Allison. She’s been in How I Met Your Mother and Star Trek, and that’s not all. She also has really, really great hair. But that’s beside the point. The point is that Jennifer Morrison can do anything she sets her mind to, so when I learned she had directed her first music video (technically, it’s four stand-alone videos combined to create a 10-minute narrative) for the indie rock band Wild Wild Horses, I wasn’t surprised. Like, at all.

Morrison, who previously directed the film Warning Labels this year, has a keen eye for beauty — and for darkness. In “Demon Days (Do It All Again)” she captures a couple (played by Grace and Frankie‘s Geoff Stults and iZombie‘s Rose McIver) haunted by a ghost of the past. Morrison embodies this ghost in the video, and half-joking and half-serious, she tells me her role  is “Ghost Girl,” the woman who is the manifestation of McIver’s paranoia, but we’ll get to that part later.

What stands out most is the tension, and the poetry of the setting. You can feel McIver’s character panic when she thinks she sees Ghost Girl by the side of the road, or Ghost Girl laugh-kissing Stults. And you can sense the dysphoria in the birch trees, the way moss envelopes almost everything. Essentially, Morrison elevates “Demon Days” and visually transforms it so that what we see feels intimate, as though we are standing very, very closely to something that is about to shatter.

Wanting to know what makes Morrison’s smart, creative brain tick, I asked her a few questions.

HelloGiggles: So, I watched your video for WWH like, two or three times, and I mean, it’s just so visceral.

Jennifer Morrison: I’m so glad you like it! I’m excited to get it out there, you know? It’s something I’ve stared at over and over again. You know when you look at something too many times and you start to get nervous about it? [Wild Wild Horses] came to me and proposed the possibility of doing this, I feel like, it was six weeks ago? This is the fastest I’ve had to create something and have something in final form.

HG: That sounds stressful!

JM: It’s been great! I really care about it, I believe in the band and I believe in their music and I wanted to make something as special as possible to go alongside that.

And what appealed to me about taking this on is was that I thought it was such a unique, creative perspective they were taking on it. [The band] came to me and asked if I could basically make a silent film that the band’s music is the score to it. And to me that was an exciting proposal.

HG: It’s a super evocative music video. It’s haunting, and you create great tension between the characters. And you make a cameo in there! You’re like, the woman haunting the other woman, right?

JM: Yeah! I made it open-ended enough so that other people could assign whatever meanings they want to assign to it or they could see what they want to see in it. But yeah you’re right, the character I play, we called her “Ghost Girl.” And she was intended to be the projection of the girl’s paranoia.

HG: So, what’s it like being the one behind the camera instead of the one in front of it? You’ve been in so many shows, movies. And now you’re switching gears a bit.

JM: Yeah! I feel like it’s a new thing I’m adding to the whole journey. Everything in my life makes sense when I’m directing. I love acting, I’ve been doing it my whole life, basically, and I can’t imagine not doing it. But when you’re acting, you’re always at the mercy of so many elements. You do all the research, you build the character, you come up with the physicality and the emotional backstories and you come up with all the foundational elements of who these character are. But ultimately at the end of the day someone else edits it and someone else is telling a bigger story that you fit into. So, as a director there is something really invigorating and exciting about being the one who tells the big story.

HG: You’ve worked with so many directors and writers. Have any of them influenced you in any way?

JM: There’s something so intimate about the way we all have to work in this business, you inevitably soak up things both good and bad. There are some things I’ve learned from bad experiences enough not to do. Bryan Singer was an incredible director I got to work with. Gavin O’Connor. Mark Rydell directed the first film I did when I was 13, [and he] is one of my heroes. I also feel like Pam Fryman, who directed HIMYM, she was a director who stood out in the sense that she has the most elegant command over a set that I’ve ever seen. She was absolutely kind and at the same time demanding of people’s best. I’ve joked for the longest time that when I grow up I want to be Pam Fryman.

HG: And speaking of directors you’ve worked with, especially Pam Fryman, I think we’re sensing a shift in Hollywood. It seems like more and more women are being given more opportunities than before to direct films. What are your thoughts on that?

JM: I do feel like we’re getting better at it. We’re definitely moving in the right direction, and we’re hopefully going to start leaping forward as our younger generation starts to grow up and move into these positions, because girls are being raised to think of themselves as leaders and writers and CEOs, and a part of it is our own mindset. A lot of it starts within ourselves.

And then I think it becomes about the way we support each other. Men have done a really good job of this. They build each other up, and they support each other, have each others’ backs. Whereas historically, often times, women have torn each other down and have not been so great to each other. A big part of the shift is that women have to really band together and support each other, and know that if any one woman moves ahead, it means that every woman is moving ahead. If we do this, we’re building a foundation where we have equal pay and we have equal opportunities, and we have a balance between men and women in all these departments. I think It’s a combination of starting internally in the individual woman and her realizing that her worth and her value is all the things she’s capable of and mixing that with how we support each other.

HG: That’s so smart and eloquently put! You know, a lot of our female readers at HG are budding writers, they’re interested in media and creating movies, and I was wondering if you have any advice for them?

JM: My advice is to always make stuff! I think people get really caught up in making THE thing instead of SOMEthing. We’re in an age where you can make a movie on your iPhone. You can write 20 pages of something and post it online. We live in a world where we have immediate audiences, and niche audiences. We have access to people in a way we never did in the past. You have to start somewhere. You can’t get in your own way by thinking it’s THE thing. If you jump in and do it, you’re gonna learn from it no matter what.

HG: Our readers are also really into OUAT…and I am too! And the mid-season finale is [today], so I was wondering if I could ask you a few questions about the show.

JM: Sure!

HG: So. Would you say that you’re like your character, Emma Swan? You two seem to share the same go-getter, leadership mentality. Like, when you decided to pursue directing! I think that’s something Emma would totally do. If she had time, that is.

JM: Ha! When she’s not slaying dragons! Sure, there are certainly things about Emma that I relate to, that are a part of me. Definitely I think I have a natural instinct to lead. I guess I’ve always seen her as different than me, because she’s had such a rough upbringing and she has such a rough exterior. And I don’t see that as a part of who I am. I was incredibly blessed and lucky that I had a very a warm childhood. I don’t have those same walls up that Emma has had up so long. I feel like once I reach the Dark Swan arc, and I started to have an opportunity to break Emma out of those walls and into a place where she was more vulnerable and available more emotionally, THEN she started to feel more connected to me. Because I feel like I operate from a more vulnerable place.

HG: Do you guys have weird rituals or traditions behind the scenes?

JM: Ah, no. Our show is sort of always…camping. I am never in my trailer! Ever!

HG: If you could pick any princess or prince (or fairy tale character) to appear on the show, who would you choose?

JM: Maybe Aladdin and Jasmine? We haven’t done that yet.

HG Maybe anyone from the Pixar movies?

JM: Oh my gosh, can you imagine Toy Story? It would be fun if all our toys came to life.

HG: Can you imagine if there were all those toys in Mr. Gold’s shop, and they came alive and destroyed his life?

JM: Oh god that would be so creepy!

HG: What’s one thing that fans should prepare for on Sunday?

JM: It’s gonna be…a lot to go through.

HG: Sooo, we’re going to shed many tears.

JM: Well, I certainly did, as Emma. It’s a heart-wrencher for sure


anonymous asked:

Got any fluffy Hollstein stories?

how about a band au where laura and carm answer questions sent to laura on tumblr… and literally all of them are about her and carm being a couple??? bc band aus make me happy also sorry it’s long omg i wrote it in class it was like 10 pages in my notebook

Laura flicks on the camera with a bright smile.

“Hi guys!” She greets (to, technically, her wall). “So, I’m here with-” she turns to her right, where… absolutely nobody was sitting. “Carmilla! You have to do this!”

“I know,” the familiar brunette appears from the kitchen doorway, two mugs in her hands. She gives Laura the TARDIS one and sits down beside her on the light blue sofa. “Just thought you’d want some cocoa is all.”

The blonde smiles, sipping her cocoa happily. She lets out a quiet hum. Three marshmallows – she remembered! “There you have it, folks: Dark and broody teen heart throb Carmilla Karnstein is actually a big softy.” She tells the camera.

Carmilla rolls her eyes. “Only for you, cupcake.”

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Yet another beautiful visual prompt from @outlanderedandoverhere with DDPJamie in his “Barbour” shirt. Or… Well… Technically SindyClaire is in the shirt. I put all the photos together so you wouldn’t have to click through. I also did a teeny bit of light editing on the big picture in the background so it’s easier to see. Hope y’all like it!!

Yet again, one of these lovely lines somewhere in this story came straight from her great mind. I just won’t tell you which one! ; D

Squinting down, Jamie grumbled to himself. Murtagh’s handwriting was the worst he’d ever seen. Glaring at the paper in his hand, he reached for his glasses to see if that would help decipher the code Murtagh called handwriting. Sitting on his bed with in his new trousers, he wondered where the hell Claire had run off to.

Murtagh claimed to have an announcement and insisted that he and Claire come to dinner where they would be joined by Suzette. Murtagh had scribbled down directions to this new restaurant and Jamie had a hell of a time trying to read it.

“Claire! Could ye come here?”


“Oh! If it’s dry, could ye bring my new shirt too?”

“Of course, darling.”

Giving up trying to read the gibberish, he put the note on the bedside table and his glasses down on the mattress. The bedroom door creaked open slowly. As he’d been pinching the bridge of his nose, his eyes started at the floor and worked their way up.

Bare feet with toenails painted bright red. two bare legs, freshly shaved and glistening with the lotion she favored. Bare knees and thighs and… His heart was racing.

The hem of the shirt obscured his view of… her. But only just. Belatedly, he realized that she was wearing his new Barbour shirt. Only the last one or two buttons was done up, though. He swallowed.

“Ah… Why are ye wearing my shirt, Sassenach?”

“You wanted me to bring it to you.”


He could just see the curve of one breast beneath the shirt. She’d rolled the sleeves up too, just below her elbows.

“Lose your train of thought, love?”

“Murtagh willna be happy if we’re late.”

“And why would we be late?”

“Because ye havena got yer gown on yet. And I ken ye like to dress up sometimes when we go out for a nice dinner.”

“Sometimes, yes.”

“Would ye read Murtagh’s instructions? I canna make heads or tails of it.”

She nodded and came closer, the fabric pulling away from her breasts a little. Carrying two beautiful daughters had not made her any less attractive.

Claire reached for the note and straddled one of his legs. The hem of the shirt pulled up just enough to show him she wore nothing beneath it.

“What was that?” she asked looking down at him.

“Ah,” he stuttered, realizing he’d made an incoherent sound. “Ye look…”

“Should I go in this?”

“I dinna think any restaurant would approve’a this, Sassenach.”

Claire sat down on his leg quite suddenly, looking him straight in the eye. Without thinking, his hands ran up her leg. Both her arms rested on his shoulders as she smiled and slowly wiggled her hips.


“I need my shirt. We’re already going to be late.”

She moved sensually and her smile turned positively feral.

“Well… If you want to wear this shirt tonight, it looks like you’ll have to take it off me…”

One of her hands gripped the top of his shoulder as she leaned down to kiss him. Her tongue was warm in his mouth, tasting faintly of brandy.

“Ye snuck some brandy,” he muttered against her mouth.

“And if I did?”

“Then ye came up here wi’ the intent of seducing me.”

She sat back a little and tilted her head to one side.

“Can you seduce someone that’s already in love with you?”

“Aye,” he said, pulling her back to him. “Ye can. Ye seduce me every time ye take me to bed.”

“Oh? And what about the times that you take me to bed?”

“Och, weel… I suppose that means I seduce you. What is a marriage wi’out mutual seduction?”

Grinning, she scooted closer and kissed him.

“Very, very boring and dull.”

“Weel. I dinna think anyone would ever accuse us of being boring or dull.”

“Especially not in bed.”

One of his hands reached down and gripped one perfectly rounded buttock while the other pushed the shirt out of the way.

She gasped a little and hooked her arms around his neck when he touched her. Lifting herself up, she granted him better access. Her flesh was already hot and slick.

“Slippery as an eel,” he mumbled as she began to churn her hips against his hand.

“You said that on our fourth anniversary.”

“Aye. Was true then, is true now. Christ, ye’re nearly mad wi’ lust aren’t ye?”


Laughing, he moved to unbutton the only two buttons that were holding the shirt semi-closed.

“What’s got ye in such a mood, then?”

“I think it’s time.”

“For what?”

“Another baby.”

His heart stopped for a minute as she looked down at him.

“Truly, Claire? Ye wish for another bairn? I ken Bree’s birth was a risky one.”

“She was, but I don’t care. I want to have another baby with you. I’ll be alright. Will you make another baby with me?”

“It would be my deepest honor, mo nighean donn.”

Fumbling with his belt, the shirt fell off her shoulders. She was getting agitated, judging by the way she was pulling at his clothes. 

“I think that shirt looks better on you than on me.”

“Well I, for one, think it might look better on the floor.”

It took a little shifting and shimmying to get his trousers off enough to go about their business. Her arms still around his neck, she brought herself closer to him.

“Whatever news Murtagh and Suzette have will just have to wait,” she said quietly, getting closer to him.

“Aye. It will. We’ll call him later and apologize for standing him up.”

Claire snorted.

“He won’t be the only thing standing up.”

“That didna make sense, Sassenach. It was a terrible joke.”

Her snorting turned into laughing.

“I know. I couldn’t help it.”

She took him home in one thrust of her hips and they sighed in unison.

“We’ll need to tell the girls,” she said.

“No’ just yet. We’re only just making their brother right now.”

She giggled.

“So lets make him or her.”

Needing no further encouragement, he hugged her close and stood up before turning and laying her down on the bed. He was rather proud of himself, having maintained their connection the whole time. 

Just as he was getting his rhythm, his cell phone rang. They both stopped, panting, and looked at it.


“Don’t you dare,” she said in a harsh whisper.

“Ye think I’d answer the bloody phone now?”

“Better not.”

“The only thing I can think about right now,” he grumbled. “Is yer fat arse.”

He grabbed the topic of conversation in both hands and squeezed hard. Smiling up at him, she did the same. Her legs came around his hips, pulling him against her roughly. 

For a few minutes, the only sound in the room was that of their lovemaking. Until her phone began to ring too. This time it was Suzette.

“Wait!” Claire cried out.


“If we don’t answer, Murtagh will come here and kick the door down.”

“Let him. I’m no’ stopping.”

She reached out for the phone, but he captured her hand in his and rammed his hips down on hers.

“They’ll keep calling!”

“I dinna care!”

“Just two minutes!”

She kissed him and, using his momentary distraction, grabbed the ringing phone.

“Hello? Suzette! Yes, I’m so sorry. I’m afraid something’s come up.”

Fine. If she would take a call now, he would make her pay for it.

Slowly, he kissed and nipped his way down her neck until he reached her breasts. Just thinking that in a few glorious months there could be another babe suckling at her breast made him giddy.

“No, no, I’m alright. Jamie’s a little under the weather at the moment. Tell Murtagh we’re so sorry about missing dinner. Perhaps we could make it up to you later? Yes! That sounds wonderful!”

Latching his mouth onto one breast, he nipped her gently. Her body jerked in surprise, making him smile.

“Ah… He’s busy at the moment. No, I can hear him yelling in Gaelic in the background. I know Murtagh is angry and I’m v-very sorry ab-about m-missing, the d-dinner.”

She pulled away from the phone and muted it quickly.

“Stop that!” she hissed.

“I told ye no’ to answer the phone. I have to entertain myself while I wait for ye.”

Claire glared at him and unmated the phone.

“I promise we’ll make it up to you both. Perhaps you can come by for tea tomorrow and share your big news. Yes that would - Jesus H. Roosevelt Christ!”

He smiled and released her nipple from between his teeth.

“Sorry! No, Suzette, that wasn’t at you. Look, I’ll have to call you later and we can set up a good time to meet up, alright? Okay. Tell Murtagh we’re sorry. Yes, yes, I’ll tell Jamie to feel better.”

Sensing that the conversation was nearly over, Jamie crawled back to his original position and began moving again.

“Y-yes. H-have a g-good night, Suzette.”

Claire dropped the phone over the side of the bed.

“You bloody bastard,” she groaned.

“Ye should ken better than to answer the damn phone in the middle of this. That’s rude, Sassenach.”

Her eyes rolled back into her head as he picked up his speed.

When she cried out again, it was in completion and satisfaction. But he couldn’t stop, not just yet.

“Yes! Please, Jamie!”

With a howl, he too climaxed and shuddered.

For a long time, they lay curled in each other’s arms.

“I dinna ken if it’ll take right off,” he said quietly, twirling one of her curls around his finger. “But it’s the right time in your cycle.”

“I’m still amazed you keep such careful track of my cycle.”

“Aye. I must. That’s how I kent ye were breeding wi’ Faith and Bree. I’ll ken about this one too,” he said, patting her stomach.

Her sleepy eyes shone at him, happy and content.

“We don’t have the children tonight,” she said through a yawn. “We’ll have to make sure I’m pregnant before we get them back or Faith will be after us for being too loud.”

“Aye, we will. I’ll do my duty, I promise ye.”

She snorted and rolled onto her right side.

“I have no doubt of that.”

anonymous asked:

How do you start a successful YouTube channel (as successful as you guys have been)? What kinds of people with what kinds of skill are required? How much editing knowledge do you need? Ect. Do you already have a video on this or are making one? Any recommended videos?

Hey there, Anon! Great question, but–oh, boy–grab some popcorn.

First, we do have a video in which I address how to build an audience online. It is a very brief overview, but worth watching.

So, for your other questions, I’ll try to go through one by one (and I invite any other YouTubers with thoughts to reblog with suggestions, too!):

1. How do you start a successful YouTube channel (as successful as you guys have been)?

It’s interesting that you asked how to start a successful YouTube channel, and I’m grateful that you did because it represents a common misconception. You don’t start a successful YouTube channel; you start a YouTube channel and work on making it successful. :]

Now, it’s true that the support we’ve gotten from Hank and John has been super helpful. We’ve been featured in Vlogbrothers videos 3 or 4 times; when they reblog our vids, we often (though not always) get many more Notes. BUT (and I say this in a manner that in no way indicates ingratitude for my fairy godbrothers Hank and John) I don’t think the majority of our success comes from our association with the Greens. Much of it does, but far less than most people might think.

Being a data nerd, I actually have statistics (about inbound traffic, etc.) to back this up. One simple example: Our biggest surge of new subscribers since launch week came not from Hank and John’s promotion but from being featured on the front page of a popular subreddit. I think we picked up about 6,000 new subscribers in 2 days. The people who created and up-voted that post didn’t know Hank and John produce the show. And even when nobody knew about us at all, back on Launch Day on February 17, 2014, we picked up thousands of subscribers in the first couple hours, before Hank or John promoted us.

I say this not to brag or poo-poo the Greens’ support (which has been great, perhaps especially in terms of funding the show with a modest but vital stipend) but to inspire other YouTubers by pointing out that you don’t need megastar executive producers to create a successful channel.

What do you need? On a non-technical level, here’s what I think is required:

  • Great and consistent content. We make videos that many people love; people seem to care about me and Emma on a personal level; and with a video every Friday, we’ve become a part of many people’s weekly routines. Emma and I love our viewers and feel like you guys are our friends. We have about 116,000 subscribers; among those subscribers, I think there are about 9,000-10,000 “hardcore How to Adulters” who watch every video, every week, even if the topic isn’t super interesting to them, because they enjoy watching the vids for the personalities and the style.
  • A willingness to network. I’ve said this before, but marketing is as important as content. We’ve gotten shout-outs from big YouTubers and small YouTubers, and it’s all been so lovely and helpful. We’ve had fantastic guest hosts. And in August, we’re probably going to have shout-outs from a pair of A++++ YouTubers who are so amazing and popular that I almost can’t believe it’s going to happen. The way you network is mentioned in that video I recommended, but basically:
    • Be earnest and sincere.
    • Add value to the lives of people “above you.”
    • Don’t ask for anything from them for a long, long, long, long time. Like, look at the replies of every single tweet John or Tyler post. There are tons of people shouting “FOLLOW ME,” and guess how many they actually follow?
  • A Zen, long-term perspective. Some videos we’ve made have taken 50 hours to create, and they get OK but not spectacular views. Others were knocked out in 8 hours and get 55,000 views (a great number) the first weekend. I have no idea why some videos hit, and I’ve stopped trying to figure it out. Don’t try to go viral; try to build an audience over time. It’s the only way to succeed (only one person a year or so breaks out and builds a sustainable following with a viral vid), and the only way to stay sane. 
  • An actual love for making videos. It’s too darn hard to make videos if you are only doing it to be rich or famous. I am fairly successful on YouTube, and I am neither rich (I am actually kinda poor) nor really famous. (I do get recognized loads at publishing and YouTube events, though, which is always fun! :D )

2. What kinds of people with what kinds of skills are required?

Honestly, the skills you need are things you can learn via watching YouTube videos. :]

  • Some performance skills. THIS TAKE PRACTICE! I’m sometimes insecure about my own onscreen talents (mostly when I’m generally feeling down), but I do think that over time, I’ve gotten to be really good at it. I’m much more comfortable, much more willing to go off-script and improvise, which I think is when I’m at my best, at least when hosting alone. (Emma recently said, “We’re both at our best when we’re working together,” which made me go Awwww, and, That’s true!) At this point, I’ve made over 100 videos, and I know what works for me. Sometimes I’ll write something really funny but for whatever reason, I can’t make it funny while saying it out loud. Over time, you’ll figure out what works for you, and you’ll find your style. It really does just take a lot of trial-and-error. (For instance, I was a little disturbed when I began vlogging and realized, while editing myself, that things that seemed hilarious on paper came off as mean when I delivered them.) 
  • Basic filming skills and equipment. I shot my first vlog on a Samsung Galaxy S2; Emma still uses the webcam on her laptop to create her fantastic vlogs. It’s all about making the most of what you’ve got by using good lighting and decent sound, etc. But again, this doesn’t have to be anything fancy. Although we have a studio lighting kit for How to Adult, I use desk lamps to light my vlogs, which I think still look really good.
  • Basic editing skills. Don’t drop a bunch of money on fancy editing software when you’re starting. iMovie was good enough for countless successful YouTubers (and still is for Emma), and it’s a great learning tool. You might want to upgrade to Final Cut Pro X eventually, as I have, or to Adobe Premiere or Sony Vegas, but I recommend making sure you actually like making videos before going financially “all in.” There are countless free tutorials on these programs available on YouTube and elsewhere.
  • Basic SEO and thumbnail-makin’ skills. A huge portion of our views, believe it or not, aren’t from subscribers but from people who discover our videos by searching on YouTube and Google. People see the videos because I use a lot of Search Engine Optimization; they click them because I usually make good thumbnails. (I used to use a free photo-editing program called Seashore; I now use the very reasonably-priced Photoshop alternative Pixelmator.) These are enormously complicated topics, so I’d recommend checking out the many free resources online. Don’t be scared off by this, though! In the beginning, the most important thing is making content and (after that) connecting with people you genuinely like.

3. How much editing knowledge do you need?

You’ll figure it out. :]

4. Any recommended videos?

Here are good ones from some guys named Hank and Charlie. I’d also highly recommend reading Michael Hyatt’s book, PLATFORM, which I think is the best book available on how to build an online audience.

One last thing. Becoming a YouTube creator can change your life, even if never build a big audience. I know this because it happened to me, and the most important life changes all happened way after I started vlogging but before all the amazingness of How to Adult found its way into my life. Back in late 2012, I was desperately burnt out from finishing my debut novel, THE END GAMES. After being a fan of YouTubers for years, I decided to start vlogging, mostly because I was so lonely and wanted to make new friends. From that very first vlog, YouTube kinda saved me. The most important shift I experienced happened when I had fewer than 100 subscribers: Making videos gave me a reason to feel excited about creativity again, and frankly to get up in the morning. And God, what a gift that has been.

I think that’s it for now! I’ve been typing this for, like, an hour, so I hope it was helpful. Good luck out there, and let me know if/when you post your first vid–I’d love to check it out! :D

- Mike

THE SIX THATCHERS: the deliberate flaw of an otherwise brilliant episode

This post is:

  • an explanation of the episode from my viewpoint
  • a review
  • an analysis of Mary’s character and its point in the narrative
  • a comparison with previous episodes
  • an analysis of the dynamics of the third series
  • my eternal faith in Moftiss being restored again
  • basically a lot of things

There are only two problems in the Six Thatchers or, better, two categories of problems. The first could be avoided and unfortunately caused frustration to both avid fans and more neutral viewers. The second is deliberate, not because Gatiss wanted necessarily to confuse the fandom, but simply because it couldn’t be avoided and it would longterm serve the main plot. Allow me to explain:

Keep reading

It Only Takes One Time (Part 34)

yeah I didn’t edit because I’m lazy 

Part 33

Warnings: Swearing

Dan had started twisting the doorknob but stopped once Phil slammed down snooze.

“D-Dan, I’m naked! Can you give me a second?” Phil responded, getting up quickly and putting on some pyjama bottoms.

“Gross. Why are you naked? Don’t you sleep with clothes on?” Dan’s voice sounded completely puzzled and it was easy to tell he was having a hard time comprehending whatever the fuck was going on with Phil. This was his best friend and he knew him like the back of his hand.

“I was-uh-“ Phil couldn’t muster something up and was in some awkward pause.

“Oh, do you have a girl over? Sorry. I’m gonna go ahead and wake up Y/N. I think I’m going to talk to her about last night… I feel bad for not letting her know.” Dan let out a sigh of exasperation.

“N-no! Let the poor girl sleep. Tell her when she wakes up and gets refreshed and gets dressed. What if she’s naked? That would make you seem like a pedophile. Also, no. I don’t have a girl over. I was uh-being intimate with myself.” Phil looked over at me and chuckled. “I’ll distract him in the living room, your job is to sneak to his room and get dressed.” Phil whispered in my ear, kneeling down and kissing my temple. “Thank you for everything.”

“Oh… Sorry… Why is your alarm on though? Were you timing yourself or something?” I heard Dan’s angelic giggle and for just a split second, my heart ached. No way had I regretted a single moment with Phil, but that wouldn’t wash away anything for Dan.

“You’re disgusting.” Phil chuckled, opening the door. I’d brought it upon myself to make it look like my body was just the duvet cover being a mess from Phil’s sleeping and masturbating show. It should have looked convincing enough to anyone who liked as it was the ass crack early morning. Phil shut the door and made sure that I could hear their footsteps enter the living room.

This was my opportunity to grab my stuff quickly and make my way quickly to Dan’s room. I slipped on a nightgown and made sure to pass into the living room and say hi.

“Hey, Y/N. Did Phil’s alarm clock wake you up?” Dan shuffled around in his seat and smiled nervously at Phil. What had gotten him like this? He had been witty with Phil moments before and I hadn’t witnessed him act like that since my pregnancy.

“Yeah. Phil, you’re a loser. It’s super early.” I tried my best to act clueless, but being heavily  involved in every activity that occurred in this household it was harder than it looked to act.

 “Whatever. Dan, tell Y/N what you were thinking about.” Phil gestured to Dan and tapped his knee. I suddenly felt sick to my stomach. I had so many secrets against Dan right now that I felt like he could quick fire them at me and I wouldn’t know how to honestly answer some of them. My potential pregnancy and my hook up with Phil weren’t little things and as much as he angered me, I wanted him to be okay. My own personal sanity revolved around not feeling like a guilty asshole.

“No. You already made me feel stupid enough about it and I’m not ready to get judged by her.” Dan blushed and crossed his arms. Whenever he got shy he tried to shield himself in hopes that it would make any feedback less painful whether it was physical or not.

“Dan, I’m sorry I didn’t tell you sooner. I am not a virgin.” I whispered the last part. I wanted to be witty and maybe make feel Dan more comfortable with asking me. He seemed pleasant and good things came from him when he was happy. Even more when we were both happy.

Both men laughed for a second. My response was pretty funny since I had literally been penetrated by both of them and pushed out Dan’s kid. Sex was a funny topic if you thought about it in detail. Why not make light in a dark situation?

“Thanks for the shocker. Ugh-“ Dan squeezed the fabric of his sweatpants and sighed. “I was on the phone with my mum and explained that as many new parents-we are a little confused with how children and time management work. Liam is a baby and these are important years in his life because his brain is developing and all that good stuff. Either way, she suggested that for us specifically-we should take a family trip. We aren’t romantically together but  it honestly would be good because we are technically a family.” Dan finished rambling. “It wouldn’t be for a few weeks and I’m not sure if you’d want to. If you don’t, then that’s fine. I’m just saying I wouldn’t mind.” That was it? That was the big secret?

Now, I’m not sure why the idea didn’t appal me. I had a phenomenal evening with Phil and for weeks I’d been been telling myself over and over again that I couldn’t continue to dabble around with Dan when he would not commit to me and play with my heart. However when he proposed this idea I immediately knew that saying yes would be the best answer.

So I said yes.


“You said yes?” Stella raised her eyebrow up in confusion as I told the girls about the events that took place after I left the house and went home.

“After you had sex with Phil?” Gemma sounded even more confused than Stella and rustled up her hair.

“What the hell is wrong with you?” Waverly chirped up, pacing around the living room. “Especially when you could be pregnant? Why are you so irresponsible? We literally just lectured you about sleeping with Dan and then you go and jump in bed with Phil?”

“I don’t get what’s so confusing about this. You guys all have sex and you all like Phil a lot.” I groaned, letting my head fall back. I’d just gotten off from work and headed over to Waverley’s so I could take the stupid pregnancy test.

“Y/N! This is all too much for you! Sure, we all have sex. It is a natural human process and it amazing. Except, we don’t fuck the best friend of our children’s father. We all like Phil but you need to take things slow. Why do you keep rushing things before they simmer down? You can’t do this okay? You can’t. You’re a grown adult mother, Y/N. Alright? Holy fucking christ. A mother!The second you brought that human called Liam into the world your job was to take care of him and make sure he’s happy and healthy. You need to be selfish and make decisions you do not want to make.” I couldn’t remember the last time I had seen Waverly so upset. Her face was as red as a beet and she couldn’t stop any of her movements or else her voice would only get louder. I was upset, too. I didn’t expect the girls to be the most supporting women in the world over my actions but I didn’t expect such fiery reactions. Her rant seemed to last ages and I didn’t know how else to respond other than letting a few tears fall.

I didn’t want to allow myself to feel guilty but now I was just realizing how fucked up I let things become and let that become apart of the snowball effect that was my experiences at being a 25 year old flop.

I had my head between my knees and let out a good old sob. I was so sick of ending my days with a cry. Truth be told, the reason my night with Phil was so spectacular was probably because I didn’t feel like the absolute scum of the earth.

The girls crowded around me and all tried their best to comfort me. There were no apologies and I was frankly thankful. I needed people who actually tried their best to make me wake up and face my demons even if it meant getting some tough love.

“H-how do I make it better?” I cried out, drying my eyes. “I hate feelings this way and I just want to make it better.” I was so red and wet in my face area that I probably looked like a tomato that someone shoved  sewing needle into.

“Listen,” Waverly gripped onto my forearms and leaned down in front of me. Her eyes had tears in them and she looked like she didn’t just feel bad for me. She seemed like she was getting all of the second hand drama as if it were ricocheting of me and making her feel things she had no reason to. “You’re going to take that pregnancy test, but no matter the outcome, you will do the following things. You will go on that trip because it would be a good thing for your family. Liam deserves to go even if he won’t remember. He’ll at least know one day that he went with his biological parents that care about him more than anything in the world. Next, you’ll move out of Dan and Phil’s apartment. No, you won’t go back with Catherine but Andrew and I will help you pay for a new place since you’re a big girl and can live on her own with part time custody of Liam. Lastly, you will tell Dan about Phil and you will have to make choices about this relationship. You can’t use Phil as a distraction tactic from Dan.” Waverly grabbed me and pulled me into a tight hug. All I could do was accept. It all seemed like a good plan and I would only be able to grow from it.

“Okay. Thank you guys for sticking with my through the emotional roller coaster of my life.” I wiped my eyes and pulled away.

“Y/N, if you could have seen my life the second I found out I was pregnant you would feel so much better about your life right now.” Stella nodded, giving a shrug.

“Yeah, or when I broke up with Matt while I was pregnant with Lucas. It was hard enough when he broke up with me when I was pregnant with Jenna the first time around. I was a mess.” Gemma let out a noise and rolled her eyes.

“Or even me. Andrew and I used to make each other miserable and make one another feel awful. I know you had to help me a lot with that. The point is that we all suffered at one point but we chose to make things better and now they are. They may not be perfect but one day you’ll feel better, okay?” Wavily stood up and pulled me up with her. “Now it’s time for the hard part.”

“The pregnancy test.”

Wavily had raided the drugstore and bought at least twenty different tests. I couldn’t produce so much pee, so all of us had decided to take a few and see if the results varied.

“Here it is. The moment of truth.” Stella mumbled, hearing the beep from her watch that the time for the tests to get the results took. In a second, I flipped over the test on the kitchen counter and gasped once I saw it.

The damned little pink plus sign.

The Hidden History of Women in Film: How Director Karen Day Sheds Light on Forgotten Trailblazer Nell Shipman

By Rana Good

A recent study conducted by USC Annenberg professor Stacy Smith and her team of researchers concluded that only 1.9 percent of the directors of the 100 top-grossing films of 2013 were female. Yes, you read that correctly. 

1.9 percent.

What if I told you that 100 years ago, film production was dominated by women? That women filled the majority of roles in film production from acting to directing to screenwriting. One such a pioneer was Nell Shipman, a cinematic tour de force who left Hollywood to run her own film production company in Northern Idaho in 1921. Not only did she direct and act, she also had her own wildlife zoo and did all her own stunts.

I learned all of this through director Karen Day (pictured below with her crew) the mastermind behind the movie Nell Shipman: Girl From God’s Country, a documentary film about Shipman’s largely uncovered but highly interesting career. We spoke to her about Shipman’s unparalleled path and how women today are underrepresented in film — something this movie aims to change. 

What initially attracted you to do a film on Nell Shipman?

Karen Day: One hundred years ago, Nell Shipman, a well-known silent film star lived in the wilderness of Idaho shooting film with crank cameras. She wanted to make films where heroines were self-reliant, films in which they could take care of themselves.

She was also one of the first animal advocates in Hollywood. She wanted to make sure animals were treated well and she took a zoo of animals into Northern Idaho, [thereby] giving up a seven-year contract with Sam Goldwyn. It was a huge deal, and she just said “Nope, I’m going off on my own.” So she had a real chutzpah, 100 years ago, in the wilderness. 

We got eight of her restored films, they are beautiful and also crazy — she did her own stunts and she performed the very first nude scene in 1918. This woman was definitely a kickass broad.

You had to go deep into archives to find information about her. How did you go about finding all the information, and when did you conclude that you had enough to tell her story? How did you decide on what you would show of her?

The real synchonicity was that I was writing a history book about Idaho. When I was at the Idaho State Historical Society I started asking, “who is this woman?” and they told me I had to go to Boise State University. There was a university professor in the 1980s that discovered Nell Shipman when he was writing a history of film in Idaho. He’s collected her film archives and her life story. Boise State is in the same town as I am, so I went there and there was everything from her birth certificate to her death certificate, to eight of her restored films. His name was Tom Trusky, we got some footage of him in the ‘80s when he had died suddenly of a heart attack. Before Nell could get really get known she sunk back into obvlivion.

This is my 11th documentary, I make mostly films in the third world, mostly focused on women’s and girl’s issues, in Afghanistan, Iraq and 14 countries in Africa. When I first got this I felt it was a bit frivolous because no one is going to live or die. When I found out more, I realized that her life that had been doomed mirrored the lives of women filmmakers from Russia, Czech Republic, South America, they had all disappeared, so it became this two-year sleuthing project.

One of my co-producers is at Columbia University, The Women Film Pioneers Project, it just went online last year. They’ve been amassing this information for 20 years, when I came to interview with them, particularly professor Jane Gains, they put me onto these stories of these women. The really great part is that because we were a small, all-female crew, super micro-budget ($100,000) we got people to start donating these assets that would normally cost hundreds of thousands of dollars. They realized how committed we were. I couldn’t be doing what I’m doing if it wasn’t for these women, but they had just been forgotten.  

Zora Neal Hurston’s family trust allowed me to use her only existing footage of her documentary. Miriam Wong, the first Chinese-American filmmaker in 1914, her family let us use footage from her first film which they had been keeping in a basement of their family home. I’ve become very committed to making sure these women get the recognition they deserve. It’s what led me to Geena [Davis] and what led me to Bentonville Film Festival, the first film festival that serves as a platform to promote the films made by women and minorities. I looked at the gender disparity and realized that history is just perpetuating itself. This film illuminates that path and says that we have to change it.

How did you select your crew?

Well first of all, I live in Idaho. There were only two female filmmakers in Idaho and they were commercial filmmakers. I knew them through working in television for NBC Nightly News and Plum television. It was the first time I brought them onto one of the documentary film crews. It was a big learning curve because one of them shoots for ESPN Extreme Sports shooting things like snowboarding all over the world, but she’s only shot in 720, she’s never been to 1080. She never had to look at the technical aspects so it was a big learning curve.

You mentioned you were on a tight budget, how did you make things work for the film?

Oh it was hysterical! The voiceover was done by our director of photography, she was an actress before she went into videography. For Bentonville we sent in our application, they said we were disqualified and we were like “how is this possible? We’re what this festival is about! They said “your film is,” I’m not lying, “64 seconds short.” So in ten days we found a 1926 biplane, an actress, a film crew and shot a whole other scene. We had to edit in the voiceover, and we didn’t have anymore studio time because we had already used it. So we went to record the voiceover in in a closet!

Another example is when we needed [to show] women’s suffragette because Nell drives from town to town in the Mojave desert to get support. I wanted to get suffragette footage so I went to Getty. They wanted $8000 and I was like “our entire film budget is $100,000.” I had to appeal to them and say it’s an educational documentary with a tiny, indie crew. We had to be transparent and show that we were motivated by the story and this wasn’t for profit. I was working for free! 

What did the more junior directors take away from working with you?

That to be a producer you have to be a little bit crazy. That to be a female producer you have to be really crazy. To be a female director you need to do everything a man does and promote yourself at the same time. I was on the plane here watching the first episode of Black-ish and she was talking about how women can bring in cupcakes and never be recognized, and if the dad brings them in he’s like a God. It’s the same thing with being a female director.

Women talk about being discriminated in Hollywood. I was discriminated against because I’m not in Hollywood — also by women. I went to Katherine Bigelow, Catherine Hardwicke, Sophie Coppola and Jane Campion because I wanted a living female director to speak in the movie but I couldn’t get through their agents. I really want to get one of them. When people ask me if the movies is done I say “it needs one more thing!”

What are some of your hopes for women?

I have four kids, my youngest is nine my oldest is 36. My daughter just got her white coat as a doctor. She was raised to believe she could do whatever she wants, but she’s still going to face challenges. 

If we can’t get equality and can’t even get it in the crowd scenes in movies subconsciously women’s capabilities are still being demeaned. This documentary is a great way to do it because people learn, they are fascinated by these women, almost every time people say, “I just didn’t know.” For this film, I hope it’s picked up and shown to audiences across the world. I want people to think about how often they see women in movies, and ask themselves do they have a speaking role? So people start to have a dialogue, especially the younger generation.