the cold king

king-rancho  asked:

hot n fresh hc: jeremy is That One Friend Who's Always Cold. sometimes he ''"""""no homo"""""" cuddles michael/holds his hands under the guise of warming up. sometimes he yells 'FEEL HOW COLD MY HANDS ARE' and sticks them on michael's face and michael Shrieks and falls to the floor

he also does the thing where he’s like “my hands are cold” *shoves them up michael’s shirt 2 make them warm*

  • Me: sees queen Elizabeth is trending
  • Me: hasn't had an emergency news alert from the BBC
  • Me: is confused
i lost my voice for a week & nobody noticed because i never freaking talk

I am 99.9% sure that Iris West is still alive. I think that was either Julian or HR using HR’s face changer tech. I am leaning towards HR. He seemed to be saying goodbye this episode. I hate that Joe and Barry had to see “her” die, but it had to look real for them and the audience. There were so many clues that let me know that was not Iris.

1. She did not say I love you to Barry when she was about to die.

2. They brought back that face changer tech from episode 6 out of the blue.

3. They had Barry use the face changer tech to show that it could change body composition (Barry becoming Lyla).

4. HR is silly, not dumb. He would not that really told SaviBarry where Iris was unless it was apart of a larger plan.

5. When Barry was trying to hit SaviBarry with the Speedforce gun the camera panned away from Iris.

6. I don’t think Barry, Wally or Cisco would have let Iris walk around with the murder coat on if they didn’t have a back up plan.

7. Where was Julian?

I have several more reasons why I don’t think Iris is dead, but I’m at work about to start my shift. In closing, I think Iris is really on earth 19 with Cynthia/Gypsy.

Beauty and the Beast is the Hobbit

really though. it’s kind of bizarre

We begin with a prologue. A male narrator tells us the story of a secluded kingdom/palace that fell into decay..

The narrator then tells us how his kingdom/palace fell into ruin. The ruler of the kingdom/palace became selfish and heartless, obsessed with one of the “seven deadly sins”: (vanity or greed).

Their selfishness drew a powerful evil magic (an enchantress or a dragon.)

It also drew a curse. The enchantress caused the Prince to turn into a beast. There’s a similar concept in the Hobbit. The gold   in Erebor causes the people who obsess over it to get “dragon sickness”– a sort of curse which turns them into gold-obsessed  “dragons” (beasts on the inside )….

After this dark prologue, we transition to a beautiful sunny provincial town. It’s a lovely place, but every day is the same as the day before. These hobbits/ townspeople are fussy and simpleminded. They care a lot about tradition and being “respectable.” They deeply mistrust anything new, exciting, or unfamiliar…..

We meet our second hero- a naiive and very bookish person whose name starts with a B. They can have a snarky sense of humor. They “don’t take anyone’s shit” and are far stronger than they look. They can be proud, even a little arrogant at times, but they’re very soft-hearted. They are a “pure cinammon roll.”

This person’s greatest, defining strength is their compassion. They can see the good in everyone, even in creatures who look like monsters (Belle falls in love with the Beast; Bilbo takes pity even on Gollum)

They also have a parent known for being crazy/unconventional– Belle has her father Maurice, Bilbo has his mother Belladonna Took.

Both the protagonists are different from the other simple farmer-villagers because they want more than just a simple  life.

They long for adventure….

And they’re eventually dragged into an adventure, against their will.

Our protagonist is forced to meet the The Dwarf-King/the Beast-Prince. This person is brooding, intimidating, and glowering. He rarely smiles. He has a dramatic cloak and an uncontrollable temper. He has a Tragic Past, a bizarre troop of followers, and (secretly) a good heart. 

Deep in this King/Prince’s castle is his special glowing Secret Artifact you really shouldn’t touch (Seriously don’t he will FREAK OUT). The reason why the King/Prince needs the protagonist has something to do with this enchanted artifact….

The protagonist makes an agreement to stay with the King/Prince (Belle makes a promise, Bilbo signs a contract.)

They get to know the Prince/King and his more approachable but still very weird group of followers. When the King/Prince isn’t there,  these followers sing an upbeat song to the protagonist as they expertly prepare/clean up after dinner (Be our Guest and That’s What Bilbo Baggins Hates.) Their song is so upbeat you forget they’re singing it to a captive audience.

Meanwhile, the relationship between the Prince/Dwarf-king and the protagonist gets off to a very rocky start. The Prince/King secretly cares about the protagonist (later risking his life multiple times for them) but refuses to show it. Instead he acts cold, dismissive, and controlling. The protagonist, meanwhile, doesn’t know that beneath his cold facade the Prince/King really does have a heart.

Their relationship reaches a breaking point when the protagonist makes an innocent mistake, and The Prince/King lashes out at them….

The protagonist decides that, even though they promised to stay/signed a contract, they can’t do this any longer. They try to leave….

But a wolf attack changes everything.

The Prince/King defends the protagonist from wolves (or guys riding on wolves).He’s gravely injured by one of these wolves.

 The protagonist then saves his life in return.

This near-death experience brings them closer together.

The Prince realizes he was wrong about the protagonist, and about himself…

”Bittersweet and strange, finding you can change, learning you were wrong!” Versus “I have never been so wrong in all my life.” 

There’s a lot of bonding between the Prince/King and the protagonist. The Prince/King becomes kinder, gentler. Their affection for the protagonist, and the protagonist’s kindness to them, makes the Prince/King more openly compassionate. Things are really looking up. It looks like the curse will be overcome (the Beast will become human, and Thorin won’t get the “dragon sickness” that drove his grandfather mad.)

But there’s another force to be reckoned with– a handsome, vain antagonist who loathes the Beast/the Dwarf….

(“I use antlers in all of my decorating!”)

This antagonist convinces everyone the Beast/Dwarf is evil and subhuman. (He’s very against the film’s Beast/human or dwarf/elf relationship).  He rallies a massive force to kill the Prince/King.

The protagonist, armed only with one of the Prince//King’s prized sparkly artifacts (the Mirror/the Arkenstone), tries to convince them to stop. But this only makes things worse.

At one point the Prince/King tells the protagonist to leave. Then the Prince/King, feeling betrayed and hopeless, becomes “beast-like” again. The enemy is at his doorstep but he refuses to fight,  resigned to his fate. One of his servants/followers tries to convince him to join the battle, but fails. Let them come, the Prince King thinks, let them destroy everything– he’ll remain holed up in his castle. He lets his servants/Dain’s troops fight his battle for him.

His servants/Dain’s army does well without him at first, but eventually he’s forced to join the fray. He fights one-on-one against an army/mob’s leader. There’s a moment where he thinks he’s defeated his foe….but then his enemy launches a surprise attack, stabs him, and mortally wounds him. Yet by killing the Prince/King, the evil guy also ends up killing himself. 

The protagonist rushes to the dying Prince/King’s side, blaming themselves for causing his death. The Prince/King, meanwhile, has finally redeemed himself. He apologizes for the way he acted in the past (“maybe it’s better this way”) and speaks lovingly about how wonderful the protagonist is, and how glad they are to see them one last time. The protagonist, meanwhile,  desperately insists that he will be all right.

But he isn’t. He dies. The protagonist collapses, weeping.

But then he comes back to life because love!!! In one of the films, anyway. In the other he is 50000 percent dead


Both films have animated and live-action adaptations. In the live-action adaptations, Ian McKellan plays one of the Prince’s allies (Cogsworth/Gandalf) while Luke Evans plays one of his adversaries (Gaston/Bard).

TL;DR: A Tale as old as time, song as old as rhyme, Bilbo and the Dwarf (or: the Burglar and the Beast?)

asleepyteddybear  asked:

I have trouble telling when cold writing is actually necessary and tend to just use it always. Is this just a writing style or a handicap? do I need to incorporate emotional adjectives into my first person writing? It feels like one of those things i'm not trying hard enough to overcome, but I'm not sure if I need to?

Hey! I’ve got two answers for you.

The first answer, and the main one, is no, there’s nothing inherently wrong with “cold” writing in the first person. It’s absolutely a style. Ernest Hemingway is known for his lack of adjectival writing, and many love and praise him for it.

But I think there’s more to be said here.

Here’s a piece of advice from the creative nonfiction world that ended up helping me out in all genres: when the action is hot, write cold. When the action is cold, write hot. Allow me to provide an example from Stephen King’s “Carrie”.

Miss Desjardin, their slim, nonbreasted gym teacher, stepped in, craned her neck around briefly, and slapped her hands together once, smartly. “What are you waiting for, Carrie? Doom? Bell in five minutes.” Her shorts were blinding white, her legs not too curved but striking in their unobtrusive muscularity. A silver whistle, won in college archery competition, hung around her neck. 

The girls giggled and Carrie looked up, her eyes slow and dazed from the heat and the steady, pounding roar of the water. “Ohuh?” 

It was a strangely froggy sound, grotesquely apt, and the girls giggled again. Sue Snell had whipped a towel from her hair with the speed of a magician embarking on a wondrous feat and began to comb rapidly. Miss Desjardin made an irritated cranking gesture at Carrie and stepped out. 

Carrie turned off the shower. It died in a drip and a gurgle. 

It wasn’t until she stepped out that they all saw the blood running down her leg.

[I have to disclaim here that I find this passage problematic and male-gazey in terms of content, but it does illustrate the idea pretty well.] King spends a lot of prose on the set up here, in particular on the inconsequential details of Miss Desjardin’s appearance. The lengthy prose is musical and full of adjectives and pulls you close into the scene, drawing your gaze from the coach to Carrie’s eyes to Sue’s towel, lingering on the noises, all to evoke a feel for the room.

But when the real action happens, all that disappears. He drops the ‘hot’ evocative language, loses all the adjectives, and takes you right to the moment. The lack of couching language gives the image a shock value, clearing away all imagery of the room so that Carrie herself stands out a stark and lonesome figure. The reader is placed right in with the other locker room girls, seeing exactly what they see how they see it. Our eye is forced to concentrate on the blood. The action becomes what evokes the emotion, instead of the prose.

Each author is going to have a different balance between stark language and rich prose. Gabriel Garcia Marquez’s work is full of imagery and adjectival prose. Amy Hempel is famous for the extreme experimental starkness of her stories, in which she leaves out every detail she possibly can while still maintaining a story. You are going to have your own unique balance.

That said, here’s a second answer. I do think it’s am important and useful exercise to write outside your strengths and tendencies, and to concentrate on one particular skill and experiment with it and exercise it. You may find it useful to take a scene you are having a hard time with, and trying to write it with the purplest prose you possibly can. The expectation here is not that the purple prose version will be great. In fact, a lot of it is liable to be pretty awful. But the experiment will exercise the muscle. Then you can set the purple scene aside and write it with your starkest prose possible. Probably this scene also won’t be exactly what you want either. Set it aside again. Hide them both and don’t look at them. Write the scene again, the best you can. I suspect you’ll find you naturally incorporate some of the best from both the other versions.

For still more practice, you could go back into each version of your scene and revise it as if it were the writing you planned to stick into your story. Revision is such an underrated skill, and practicing it will yet again get you to pay attention to when you use ‘cold’ writing and when you use ‘hot’ writing and why you’re making the choice to use it when.

Lastly, check out Geist’s 6 principles of good narrative. While it doesn’t directly answer your question, I think you may find it helpful when deciding what is working and not working in your story.


i walk around the park
with a cigarette in my hand
and shot bottles of gin in my pocket
screaming at the shadows that seem to be following me

i’m home
staring at the ceiling
in my cold king sized bed
wishing you were near me

it’s silent
i can hear a pin drop
it’s never been this bad before
i want this to stop

my insomnia
and my lethargic motioned life
tossing and turning in my bed
wondering the meaning of my restless spirit

i’m down stairs now
i have a cup of coffee
i don’t want to drink it
but the warmth of the cup soothes me

it’s now dawn
and my thoughts have run cold
i live an apathetic life
because you broke my damn soul


Enthusiastic beast dad Embarrassing his sons 

“I’m doing what my brother never could. Cal follows orders, but he can’t make choices. You know that as well as I do. No matter how wonderful you might think he is, so gallant, so brave, and perfect. He would make a worse king than I ever could.”

this was so early on that i didn’t really pay attention to how IMPORTANT it would be. i love Cal but Maven was right about this. i’m in shock tbh.