the epic pretty of this scene

Let’s be honest here. If Spencer has an identical twin, and there was a switch somewhere or if the twin had scenes we thought were Spencer, it would totally make me want to re-watch the entire series over again. That, my friends, would be epic.



- Nice reintroduction of a character that you’ve either a) completely hated or b) have come to pity.

- Mikasa desperately trying to protect Eren. :3

- Hannes stepping in to protect them both. ;-;

- The scene where Ymir saves Erwin like damn, save danchou for us all.

- Historia basically confessing her love for Ymir before they both, along with Sasha and Connie, TURN INTO A BADASS TITAN SLAYING QUARTET.

- The Jearmin. Jearmin. Jearmin. :D




- Yui Ishikawa did a phenomenal job on the confession scene. The way her voice went soft, it broke me in so many ways.






- Okay, the scene with RBY on the wall was really pretty. Like, especially knowing Ymir’s backstory at this point, it makes what she says a lot more depressing.


- God, the anime keeps making Levi look hotter every episode. What is this witchcraft?

-Shots of the Squad, ahhhHHH!! SO EPIC



Epic Movie (Re)Watch #127 - Chicago

Originally posted by the-color-of-rain

Spoilers below.

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: Blu-ray

1) This film holds a lot of personal significance to me. I first saw it when I was 13 in one of the hardest months of my life. I was sick with pneumonia (diagnosed that day) and my great grandmother had just died, so the whole family was over because the funeral was that week. It was late and someone wanted to put in a movie so my dad pulls out Chicago. My mother was a little bit strangely strict about what PG-13 movies I could and could not see, usually forbidding more sexual stuff than anything else. So this was the most sexual film I had seen at the time and I had felt because of that, and the fact I was watching it with all the adults of my family, that I had been promoted to the adult table in some senses. I was really captivated by the music, the story, the moral ambiguity, it was just so different from anything else I’ve seen. I would not be Just Another Cinemaniac without Chicago. In some ways its as important to my film fan identity as Back to the Future.

2) The film opens with an extreme close up on Roxie’s (Renée Zellweger’s) eye, giving us our first inkling on how this is a musical in Roxie’s mind. But more on that later.

3) Note that we never see Velma Kelly’s (Catherine Zeta Jones’) face until she’s on stage giving a performance. This creates the feeling that Velma is ALWAYS putting on a performance.

4) Catherine Zeta Jones as Velma Kelly.

Originally posted by musemm

This film is pretty much perfectly cast, I think. 4 of its actors were nominated for Oscars, with another being nominated for a Golden Globe. Zeta Jones actually won her first (and to date only) Oscar for her role in this film, and for good reason to. She IS Velma Kelly. Zeta Jones is totally lost in the role, being able present all of Velma’s different qualities. Her showmanship, her rare vulnerability, her killer instinct, and it all just WORKS. You never EVER feel like you’re watching an actress. Zeta Jones IS Velma Kelly and as the first character we get a nice long look at, it is a great performance to start the film off with.

5) Hey, it’s Dominic West!

6) Renée Zellweger as Roxie Hart.

Originally posted by segel-sudeikis

Roxie is really the lead of this film, the character who we follow along and see the world through. The writing is really interesting. It would have been easy to start Roxie off as some innocent girl who made a mistake and goes on this big journey, but Roxie - despite whatever facade she puts up - is hardly some innocent girl. She readily and passionately has an affair even though her husband is a pretty nice guy (and not a “nice guy” where the guy acts nice but is really a jerk, but is actually pretty kind), murderers her lover just for being a jerk (there are better reasons to murderer someone), all while putting up this act like she did nothing wrong and is the victim. And I honestly think she believes it.

Renée Zellweger captures all these conflicting parts of Roxie’s character with true mastery. She also is able to handle Roxie’s transformation into a more cutthroat and determined creature with the same expertise. Like with Zeta Jones, you never feel like you’re watching Zellweger just giving a performance. She is - for all intents and purposes - Roxie. Originally Charlize Theron was cast in the part but after a change in directors there was a change in casting, and Zellweger had to learn signing and dancing for the film. It paid off wonderfully, as she was nominated for an Oscar for what is possibly her best role ever.

7) John C. Reilly as Amos.

Originally posted by mikewazowskis

John C. Reilly was also nominated for an Oscar for his performance in this film, and it is clear why. Amos is the only honestly good character in the film, and even then he is not without his flaws. He is not above losing his temper or being able to say when enough is enough when it comes to Roxie (you know, the woman who cheats on him, tries to have him take the fall for murder, and manipulates him in court just to get off). But - because this is Chicago - he’s the only main(ish) character to come out the other side being totally and utterly screwed over. There are some nice layers to Amos (mainly the loss of temper as mentioned above) and Reilly is just totally sincere in the part. It’s no wonder he was nominated for an Oscar.

8) This film sets itself apart from other movie musicals through the idea that the musical is all in Roxie’s head.

Originally posted by inlovewithaudreyhepburn

This creates a plausible explanation for why character’s burst into song and dance, allows the film to utilize some unique editing and art direction, and finally gives us a nice peek into Roxie’s head. This element allows us to see just how passionate Roxie is not only for the desire to perform but also the desire for fame. It also lets us know how she sees OTHER characters in the film (namely Billy Flynn, but more on that later). I think it is this key element that set the film up for such critical and artistic success, leading to its best picture win at the Oscars.

9) Danny Elfman provides a few nice instrumental pieces of score for the film which feel totally period Chicago. When you are adapting a popular musical such as Chicago adding extra music could be a challenge, but Elfman’s occasional score blends perfectly with the rest of the film.

10) Queen Latifah as Mama.

Originally posted by isabellenightwoods

Latifah rounds out the quartet of Academy Award nominated performances with her portrayal as Matron Mama Morton. I think it’s Latifah’s best performance. She is able to portray Mama as cooperative and a bit soft spoken, but still someone who deals with no bullshit from her inmates. She is as manipulative as any other character in this film, if not as in big a way. You often hear her tell Roxie and Velma EXACTLY what they want to hear knowing that it will lead to a big pay day for her. It is a crafty role which Latifah plays well, and her introductory song “When You’re Good to Mama” shows off not only this characterization but Roxie’s perception of her quite well. It also allows for Latifah to show off her impressive singing chops.

11) The Cell Block Tango.

Originally posted by queen-cii

Where do I even begin with this number? It is by far the most iconic and best part of the entire film. The filmmakers are able to use the idea of “the musical in Roxie’s mind” to create a visually unique and compelling number which is edited together seamlessly with the “real world” of the Cook County jail Roxie finds herself in. Each of the “murderess mistresses” is given enough time to create a unique character and create a sense of the world Roxie (and the audience) finds herself in at this time. I particularly find the use of ribbons to illustrate blood/murder wildly effective, noting that Hunyak’s ribbon (the girl who constantly claims she is not guilty) is white whereas the others are red. This suggest that she is - in fact - innocent.

It is also worth noting that while the first story starts off very much “I’m guilty, here’s what happened”, that by the time we get to the inmate who claims her husband “ran into her knife” ten times the stories have become more and more claiming of legal innocence. This is a trend which continues through Velma’s story, where she claims she blacked out after seeing her husband & sister having sex and came to with blood on her hands. We as the audience have actually seen NOTHING which contradicts this story, further creating a nice sense of showmanship within the film.

Originally posted by mymovieblogx

12) Okay, I am all for good female friendships on film and television, but I would be lying if I said the catty relationship between Velma & Roxie was not entertaining. I think this is a byproduct from good writing (with what we know about these characters, how ELSE could their relationship go?) and the wildly captivating chemistry between Zeta Jones and Zellweger. Their relationship is one of the key sources of conflict throughout the film and with those two actresses it just WORKS.

13) Richard Gere as Billy Flynn.

The number in Roxie’s head which introduces us to Flynn - “All I Care About” - is a pitch perfect example of expectations vs. reality. After what she’s heard about Billy (which isn’t much mind you), Roxie expects him to be this honest to goodness lawyer who only wants to save women from dying in by the noose in Chicago. What we get however is the craftiest, most manipulative skeeze ball in the film. So why is he so damn likable? Who is he comparable to the roguish Han Solo? Why do we root for him? I think that is all in Gere’s performance. It would be easily to play him as a disgusting slime ball but there is a charisma that Gere brings which I think elevates the character and the film. Originally offered to Hugh Jackman & John Travolta at different parts, Gere’s chemistry with the rest of the cast is great and although the film didn’t land him an Oscar nomination he did receive a Golden Globe for his work.

14) I think it’s worth noting that Roxie does not take too long to adapt to prison. Again evidence that she’s not as innocent as she wants people to think.

15) “We Both Reached For The Gun”

Originally posted by darker-than-light

I can never tell if this or “Razzle Dazzle” is my favorite number in the film, but I think for a visual standpoint it HAS to be this. This is once again where the conceit of “the musical in Roxie’s head” benefits the film GREATLY. The imagery of Roxie being a dummy operated by Billy to sell her story not reflects on their relationship in an incredibly clear way (as well as how Billy is literally using people) but also is just visually fascinating. Zellweger is a lot of fun during the number, and if you ever want to know why this film won the Oscar for best editing the year it was nominated just watch this scene.

16) The song “Roxie” when Roxie is at the top of her game is a great character study. It goes even deeper into Roxie’s desire for fame and admiration, a key quality in her character that drives pretty much all her actions throughout the film. It features gorgeous cinematography with its use of mirrors and presents us with Roxie’s ideal self. This ideal self is not a good person (not necessarily), but someone who is adored by her audience. If that doesn’t speak to who Roxie is as a character I don’t know what does.

Originally posted by barbara-stanwyck

17) A film is told in cuts, as in cutting from one moment to the next in as clean and clear a way as possible.

Velma [after Mama suggests she kisses Roxie’s ass to maintain some position]: “Over my dead body.”

[We cut to the mess hall, where Velma is seen smiling at Roxie]

Velma: “Mind if I join you?”

18) “I Can’t Do It Alone”

Originally posted by avengerassemble

Up until this point we have not seen Velma truly vulnerable. We have peeked more into who Roxie is as a character than who Velma is. That all changes with this number, which shows us that Velma is just as desperate for the spotlight as Roxie is. She NEEDS to stay relevant, she NEEDS the fame and the admiration, and only when it was too late did she realize that the murder of her sister took away one of the key things that made her so desirable to the world in the first place. This song is a fun number that adds nice depth to Zeta Jones’ character and shows off just how talented she can be with Velma’s vulnerability.

19) My heart broke a little when I saw Velma’s face after Roxie’s rejection of her.

And in that moment and that moment alone, I think I shipped the two of them together.

20) Lucy Liu’s glorified cameo as Kitty, the newest jazz killer in Chicago and the one who threatens to take away Roxie’s fame, is a perfect example of how easily Roxie can fall. But here’s the thing, Roxie is smarter than she appears. And more manipulative. It is her greatest strength that people underestimate her, so when she “faints” and mentions “the baby” everyone - from Velma to Billy - are all surprised by her.

21) I was a naive 13 year old. I didn’t understand that the doctor who said he’d testify that Roxie was pregnant had very clearly slept with her (hence Billy’s remark about his fly being open).

Originally posted by mulder-scully-gifs

22) “Mister Cellophane”

Originally posted by 80plays

Somehow this song not only shows us how ROXIE perceives her estranged husband as being someone who’s not worth caring about, but also makes Amos into a sympathetic character. He is not particularly whiny about the fact that he’s oft forgotten, he’s just a little sad about it. Reilly’s performance in the song is filled with soft sorrow and vulnerability we don’t always get to see from the actor, an honesty which carries the entire song on its back. It is a truly worthy number to be included with the rest of the film, with its Chaplin like art style and Reilly’s vocals, and I’m glad it made the cut.

23) In a lot of ways Chicago is a noir comedy musical. I say this for two reasons: Amos being kinda screwed over at the end, and the fact that Hunyak - the only innocent girl in the jail - is the only who is hanged. This also reminds Roxie of the fact that she IS on trial for murder and of the fatal consequences she could face.

24) “Razzle Dazzle”

Originally posted by barbara-stanwyck

If “We Both Reached for the Gun” is my favorite number in the film from a stylistic standpoint, then “Razzle Dazzle” is probably my favorite from a thematic one. Gere expresses Flynn’s belief that the courts are just a circus, simply entertainment to be manipulated, in a way which is just that: entertaining. I am always totally taken in by the song through its themes of craftiness, playful melody, and fun visuals. It is just a wonderful number which I love watching again and again.

25) If “Razzle Dazzle” doesn’t tell you how Billy sees the court system than this line will:

Originally posted by stilinska-archive

Hell, the non-musical court room scenes are in a lot of ways more dramatic than the musical ones.

26) This film had a song which was shot but not included in the final cut, one sung between Mama and Velma called “Class”. Still found on the movie’s soundtrack, “Class” had the pair discuss how the world seems to have gone to shit and how no one has any class. It was cut both for pacing issues and - largely - because it did not fit the theme of “the musical in Roxie’s head”. Roxie was at the court house and these two started singing after hearing about what was going on over the radio. It is a wonderful song but I think the film works better without it featured.

27) It took absolutely no time at all for Roxie not to matter. The press didn’t even want her picture after the verdict was read. Another killer, another star.

28) The final number of the film is a dual thing. The first of which is Roxie singing the song “Nowadays” on her own at an audition. The song is sad, somber, and lacks umph. This causes the directors to pass on Roxie. But when Velma and Kelly work together? When they’re able to work with their heat and chemistry and put on a duet of “Nowadays”? The umph is back and it is a wonderful number to end the film on!

Originally posted by damnafricawhathappened

I’m obviously biased through my own personal experience with the film, but I think Chicago is quite possibly the best movie musical of the 21st century (yes, even better than Les Miserables). The acting is incredible across the board, with Catherine Zeta Jones and Renée Zellweger being the obvious standouts. The concept of “the musical in Roxie’s head” allows for a musical which is unique and supports a wonderful art style. The songs are fun, the pacing and editing are great, and it’s a technical spectacle in its subtletly. Just a wonderfully entertaining film I think everyone should watch.


Can we sit down for a moment and talk about Bellamy being hertbroken???

So I belive that Bellamy felt in love for Clarke at some time in season 2. So when she left, he was pretty sure that he has feelings for her.

Originally posted by my-bellarke-obsession

Originally posted by emmaducklingsaviour


He knew at this moment that he feels for her something more. And Clarke left, and he couldn’t stop her. She left taking away a pice of his heart. He just released that he loves her but she left him. She didn’t stay. Clarke didn’t want to stay. And this broke his heart.

So he tried to forget about her. He was trying to convince himself that “this was nothing, it was just a crush”. 

That’s why he was with Gina, to proove himself that he doesn’t need Clarke

Originally posted by stiles-lydia

But then he saw her. First time in three months. His heart started beating faster. He forgot about the whole world. He saw her. And she was in danger. It was his instinc to go after her.

Originally posted by fyeahbellarke

And she was there. And he was so happy to see her. All of his actions were so natural for him. And for her. He felt their conection again. He wanted to save her and take her finally to home.

Originally posted by stydixa

But we all know what happend.



OkAy WHatEvEr yOu wANt

Originally posted by omgkcjade

But oh boi, we already started.

So next as we know Clarke spends most of her time with L.exa, and she is falling in love with her. 

And Bellamy has no idea what is happenig. He saw her, he knows she’s alive. But Clarke is with L.exa. She’s there, she isn’t hiding anymore but for some reson she still isn’t with the others. 

And his wound opens again. Again she doesn’t choose them, him. Clarke could be with the rest of the Skaikru but she decides to stay with L.exa. So when they’re seeing each other we can se how much Bellamy is jealous.

He ask her to go home to yours, but she stays with L.exa.

His fucking heart broke into little pieces again.

Bellamy is so fucking lost. Gina died in explotion, Clarke, his head left him again and he doesn’t know what to do.

So he joins “the Pike team”. He’s so lost. And right now he is so easy to manipulate. 

As we know Bellamy is a heart, Clarke is a head. But she’s gone and she’s the only person that could help him cope with his feelings. But she is in Polis. Not here. So he releases the demons from his head.

Originally posted by blessedarethewildflowers

He did awful things and he’ll be haunted form them forever. He was alone, and he was so lost.

He has grief to Clarke for left them. She left them on thier own. So when he sees her he gets angry.

Originally posted by noora-saeetre

She left him. She was the first person that belived in him. That trust him. Clarke helped him a lot. But she left him and he can’t pick up himself. She left them all. They were all lost and Pike perfectly used that. 

Bellamy cuffs her in handcuffs because he didn’t forgive her yet. Maybe cause he wanted her to finally stay. He knew that if she stays here she’ll be safe.

So at the end of the season they need to work together to fight Allie. Bellamy realized that he’s playing for the wrong team. Clarke is back and he need to be around her. We know him. He can’t be angry at Clarke for long. So Bellamy starts to slowly forgives her. To slowly forgives himself.

Ahhhh and this epic quote:




And then we have this beautiful beach scene. Where they finally are talking about their feelings.

It just shows how strong bond they have. Seriously.

Originally posted by librocubiculariste

I think this hug is one of the most important for Bellarke development. So much happend but they’ll always have each other. They’re protecting, standing and listening each other. They work so great togheter. Head&heart. 

Season 3 for me was pretty shit, but Bellarke development in this season contrary to appearances was such an important experience for them. Now they know that they have somebody that they can lean on, rely on.

So much happend in this season. Especially for the two of them. But they bond is even stronger after that. They’re soulmates. They’ll always find a way to each other.

I don’t own all of this GIFS I couldn’t find the creators of them, I’m sorry. But if you know please let me know! I’ll put credit for it 😊

Unlike Godzilla, Pacific Rim doesn’t try to be serious even when it’s being serious. Characters have names like Stacker Pentecost and Hercules Hansen. The film requires you to believe that the best way to battle a giant monster is to build an even larger robot to fight that monster.

Much of the Act 2 drama derives from inter-pilot tension airlifted from the Val Kilmer scenes in Top Gun. It’s the polar opposite of the Godzilla school of drama, where everyone is a total professional who has absolutely no personal goal besides Saving The World. In Pacific Rim, Idris Elba is Rinko Kikuchi’s Obi-Wan Kenobi, and two of the last Giant Robot-pilots in the world frequently get into sneering fights over who’s the bigger badass, and Charlie Day is a scientist.

So, for all these reasons, Pacific Rim is a movie that I’ve heard perfectly smart people describe as “stupid” or “silly.” The problem with this line of thinking is that, really, that every blockbuster is pretty “silly,” in the context of Things Adults Should Care About. Godzilla is not less stupid than Pacific Rim just because people frown more. […]

The difference, I think, is that Pacific Rim glories in its own silliness. There’s a flashback scene where Idris Elba rescues a little girl, and when he emerges from his giant robot, the sun shines upon him like he’s the catharsis in a biblical epic. There’s a moment when one giant robot swings an oil tanker like a sword. Then it grows a sword out of its wrist. Then it falls from space to earth.

There are real complaints to make about Pacific Rim, I guess, all of them fair and most of them pedantic. I know a lot of people who have issues with the story. (“Why didn’t they use the wrist-sword earlier?” is a popular one.) Conversely, I don’t really know anyone who minds the story in Godzilla, possibly because everything stupid that happens is prefaced by Frowning Watanabe saying “This is why the stupid thing that’s about to happen makes sense.” Godzilla wants so badly to make sense. Pacific Rim wants so badly for Ron Perlman to wear golden shoes.

—  Darren Franich, “Entertainment Geekly: A call for an end to serious blockbusters”
getting into the writing mood

I have days when I sit down in front of my computer and I can’t think of a single thing to write. It doesn’t matter if i’m in the middle of a story. It doesn’t matter if I have a literal map to tell me what to do, I just can’t seem to find a single idea, even a dash of inspiration. 

On days like those, here are a few things I like to do that can get me out of those dreary muse-less doldrums:

  1.  Make a moodboard for your story or a character. 
    A moodboard is a series of pictures (usually nine if you’re doing it on tumblr) that represents some idea. Maybe the idea of a story, a character, a plot. For me, doing this not only helps me get into the mood of my story, but it can help me get into my characters’ heads as well.
  2. Make a playlist.
    This one is pretty simple. If you’re writing a mystery, find some mysterious music to inspire you while you write. If you’re writing an adventure, put on some thrilling music to get you into an epic mood! If you’re writing a roadtrip, listen to Good Vibrations by the Beach Boys. 
  3. Write out a recipe.
    So this one may be a little odd, but it’s something that helps me. Sometimes i’ll watch a recipe video on youtube and i’ll imagine my character making this food. Then, i’ll write it out. Yes, write out a scene where your character makes a pie, in detail. Write the ingredients, write about the way the flour gets under their fingernails and how the dough feels under their palms. What kind of emotions would making this food bring up?
  4. Do some worldbuilding.
    Sometimes if i’m feeling stuck in a story, I might take a moment to look at the world of my story and add a few things. Think about the surroundings, cities, fields, space. Think about whats around, and who’s around, and sometimes this might give you ideas. You might think of an idea for a subplot, or you may just remember a detail you wanted to include. 

What are some things you do to get you into a writing mood?

A working Hannigram wishlist:

  • Hannibal rescues a dog (pitbull would be cool and also very fitting for this relationship); nurses it back to health, bathes/grooms it, names it, puts pretty new collar on it; sends it to Will
  • Keeps his short haircut
  • Wears flannel once
  • (Hat would be cool but I’m also okay without tbh)
  • Will dresses ever so slightly more sophisticated; hair slightly shorter, styled a little differently but still some unruly curls
  • More sexual tension, but make us wait just a bit more for an actual break in tension; I’m weird and want that build up again, just to reestablish the relationship and for it to feel more natural to viewers considering the dramatic way it ended
  • one big epic, passionate makeout scene; sex is fine, but the tension these two bring to the screen is almost better and more intoxicating imho
  • Hannigram fish together, either IRL or in a Will daydream
  • Hannibal gifts Will some fancy aftershave; Will only wears it sometimes
  • More thinly veiled conversations about their “becoming” —those really tense, sexually charged therapy talks where they’re literally just spitting philosophical shit about their bloodthirst while giving each other bedroom eyes

…to be continued as I think of more things

Originally posted by mcbrilliant

My feelings on the PLL Finale

This is the post I promised about all of my feelings about the finale and the show, now that it has come to a close. I don’t have many good things to say about it so I am warning you now before you start reading. If you enjoyed the finale and are the kind of person whose mood (and in turn opinions) can be affected by those of others if they don’t match their own, don’t read on. Unfollow me, because a lot of what I post or reblog from now until I stop using this account will not be positive.

I envy any of you who loved the finale, as I mentioned yesterday, because this show has been really close to my heart, and I wouldn’t want to be the person who ruins those memories for you because I know how easy it is to change your mind about how you feel about something if everyone (or at least the majority) around you doesn’t feel the same way as you. If I were you, I would guard my feelings fiercely (if I were content with the finale) and keep away from all accounts that might make me second guess my views. However, if you are interested and can tolerate diverse views, or if you share the same frustrations as me, you’re welcome to read on!

Keep reading

how many utterly ridiculous lines Avi Kaplan has uttered that can and will make me swoon and/or die and/or giggle featuring hits like:

  • girl, it’s been a long time coming, but i just have to say, “i love you baby” whoa-oa-yeah
  • I’m gonna pop some tags only got twenty dollars in my pocket. i-i-i’m huntin’ lookin’ for a come up. this is freaking AWESOME.
  • [stop!] shake your body down to the groooound
  • yeah it’s pretty clear i ain’t no size two, but i can shake it-shake it like i’m supposed to do 
  • television (whu-whu) rules rules the nations, oh yeah
  • let’s get it on, baby
  • *in german* i love you
  • be careful, it’s treacherous
  • call me maybe
  • ‘cause i got that boom-boom that all the girls chase and all the right junk in all the right places
  • [tells crowd to imagine a LOTR fight scene before singing an epic song because he always has to bring up LOTR] are you guys ready to go to middle earth ‘cause i sure am. 
  • DUMDUMDUM (x500)
  • i wear your grandad’s clothes. i look incredible. i’m in this big old coat from that thrift shop down the road.
  • ref, play it back! 
  • ‘cause you know i’m all about that bass.
  • *french accent* chesebeeergeeerrr
  • you’re my little pusher love girl
  • hi it’s just me avi.
  • i love my love, and well she knows, i love the ground whereon she goes
  • *dressed up as the cowardly lion* i can’t be tamed. i can’t be tamed. I CAN NOT be tamed
  • *casually singing some german opera like*  HEEEY DIGGLE DIE DIGGLE LOOOOOWWW-OOOOOH-OOOOOH *camera mic freaks out*
  • hey scotty, where’d you get that shirt?
  • time to let me UPGRADE YA.
  • far over the misty mountains cold, to dungeons deep and caverns old.
  • drop the BEAT
  • it’s my hips… there’s no lies… there are no deceits… i always tell the truth when it comes to my hips.
  • [emphatically] dragons. barbeque. and basses.
  • [tells people to stop saying dragons aren’t real, is willing to fight about it]
  • three is you and you and i (ONE)
  • it just so happens every single dwarf in that posse is a super-low bass. i don’t know where i was in middle earth at that time, but i’m sad that i wasn’t there.
  • AH-AH-AH-AH-AH-AH AAAAAAAAAAHHHH (guess which sing that is)
  • dirty diana whoa-oh-yeah
  • HI! *everyone cracks up ruining the shot* i’m very sad
  • imma teach you how to love, imma teach you. imma teach teach you how to LAAAAAHVE.
  • girl tell me how ya FEEL.
  • *very enthusiastically* we’re seeing a castle today!!!!
  • castles are my favorite things. besides dragons… and low notes
  • NANANA  (x500)
  • my body’s too bootylicious for ya, babe 
  • ooH-ho-ho NO!
  • we’re not gonna live. any other wAY.
  • *jazz scats summertime*
  • if i were the king of the FOREEEEEST! (not queen, not duke, not prince)
  • bLACK is the COLOR of my truuu-u-u-uuu-e love’s hair.
  • *to mitch* SHUT UP FOO’!
  • And! …Don’t forget to subscribe. (*^.^*)
  • [lucky charms, they’re] mAGICALLY DELICIOUS
  • *hums with low-tuned cello*
  • *looks up song lyrics on his phone* lyrics. for the bass.
  • *blows out speakers and gets chased around stage*


anonymous asked:

Re your tags on the Kira post: How I would watch a spin off with her, jfc. Like, just Kira being awesome and amazing and adorkable. Just, you know, written and produced and directed by someone COMPLETELY different though, because no. But Kira. ♥

Duuude, a spinoff of Kira on her own, learning to be a super powerful kitsune would be so awesome. Either after she’s finished the special desert training, or maybe they’re taking it in a direction she’s not comfortable with so she leaves–I kind of like the latter because her learning it all on the fly would be great. I love her shocked face whenever she does something cool and unexpected, I mean look at this. 

I want her to make that face every episode, it’s so stinking cute.

So anyway, she dips and just walks out into the desert to the highway, katana in hand (shut up, she took it with her, season 6 was terrible), and thumbs it to wherever she can catch a bus. Imagine that poor confused soul who thinks they’re picking up a helpless girl in the Mexican desert and then they realize she’s got a sword.

Personally, I like the idea of her chasing down information about herself. Now that I’m thinking about this, I’ve started googling the few scraps of info the show has mentioned, and apparently Trash Davis said Noshiko is a celestial kitsune while Kira is thunder, so her striking out on her own to track down info is totally doable, because her mom wouldn’t know everything about her, I’m assuming. There’s similarities, but probably a hell of a lot of guesswork.

So she finds an old school car abandoned in a lot and uses her power to shock it back to life (or maybe a Prius, she seems like she would be environmentally conscious about these things, but I’m really digging the image of her in an old muscle car with the windows down, singing along to the radio loud and off key), and takes off on the road. Traveling from town to town, saving people, hunting things gathering her tails, and learning all about what she can do. 

Oh, maybe she’s got to track down the only other thunder kitsune who dropped off the map, and she ends up in like, Hawaii, where this mythical, all-powerful kitsune owns a surf shop or a bar and is the chillest dude around who generally just wants to be left alone by the world. Their training montages would be great; him sitting back with a beer all “you got this, chill out, just try it” and Kira freaking out like “I set your shop on fire last time, I don’t got this!”

And then Kira becomes a local detective/superhero who people go to for help when things start getting weird in their lives. She works at the surf shop/bar and gets to meet tons of new people, constantly gathering information, and thinking “Stiles would love this!” or “Alphas can do that? I’ll have to tell Scott!” and gathers it all in a bunch of journals that she’s totally going to take back to the mainland someday, just as soon as she gets around to it. Like she creates her own bestiary, but from not from a hunting perspective, just the wonder of all these different beings and fun facts they’ve told her. 

I don’t know if they eventually find her or she goes back to visit, but it would be an epic reunion episode written by someone who is most definitely not Jeff Davis. 

Oooor, I’ve also had this idea at the back of my mind that she and Derek bump into each other in Mexico and have cool adventures while he tries to help her with her control? Pretty much based solely on their brief detective jacket twins scene, but apparently it left a lasting impression.

Also I think it would be real cool if a kitsune could eventually shapeshift into a fox. I know they’re not shapeshifters in the show, but that would be sweet, and then she and Derek can shift and just run. 

While Scott and Stiles pick up their discarded clothing so they don’t lose their leather jackets again, because they’re expensive, Derek.


Last scene of the series- the show coming full circle

“Although the show ends, the world continues.” -Marlene

“It was one of my favorites I was like I’m so glad that you (Marlene) put that in there because it didn’t necessarily shock me but it was epic and I was like (hits table) that is amazing, that sums up our show in a way, it was so that is so PLL.” -Sasha

“Just to know that the mythology of this town will always go on, it’s not going to end with the end of Pretty Little Liars.” -Marlene

Last scene with the girls

“I had the hardest line of the (last ever) scene, it was so sad. {Marlene: It sums up the whole show really} Marlene came in and was like we can’t understand you, I was crying so hard.” -Sasha

The return of characters 

“He (Jason) is not going to be back in the finale. There are a couple of actors we really tried to get but they were booked on other shows and legally they can’t come back to us so he’s one of those but someone we tried all season to get back who is in the finale is Melissa, Torrey Devitto, so we are really excited about that.” -Marlene

On reveals/loopholes/identities

“A.D & the people that have been helping A.D were also chasing a few threads & a few clues themselves. There have been other people looking for A.D & the identity of A.D. Some of that you’ll find out in the finale.” -Marlene

On which couple has the most shocking scene in the finale 

“Oh. Gosh. Wow, Maybe. Gosh it’s so hard to say without giving something up. Shocking…is Emison.” -Marlene

“You find out the baby’s daddy.” -Sasha

On who has changed the most after the one year time jump


On the Alison Dilaurentis-Field on the chalkboard

“We love to drop Easter eggs and hints so you know maybe, tune in next week for sure and find out.” - Marlene

On wrapping up the show/the most difficult scene 

“It’s a tie between the goodbye scene for how the fans will see it which we didn’t shoot as our last scene because we would ruin it, we would no be able to handle ourselves and then the actual last scene that was so emotional because the way we were filming is a character was on camera and the rest of us weren’t and so, we were in the scene, but when they called cut we knew that’s it, we’re done and there were so many people around the monitors so there was probably 100 people including us and we all had our PLL jackets on and it was like that’s it, it was the strangest feeling- it was surreal.” - Sasha
Road of Ruins
by momotastic, with art by whimsycatcher
By Organization for Transformative Works

Author: @momotastic27
Artist: @whimsycatcher
Pairings: Merlin/Arthur ; Gwaine/Lancelot/Leon ; other minor pairings ; a LOT of characters (check AO3 for complete list)
Rating: NC-17
Word Count: 72,377
Warnings: All of them. Violence, references to sexual abuse of children/minors/adults, suicidial thoughts (not acted on, not glorified), blood, gore (relatively mild, all things considered), racism, ableism, murder, slavery (incl. sexual slavery). For detailed info about the warnings, see the posting on AO3.

Author’s Notes: Phew. Another tiny monster for ACBB. I’ve been thinking about this story for at least a year, and writing it took more than half of one. Fusing characters from one franchise with the plot/setting of another is always a challenge, but given that this is my third (well, sort of fourth, if you count the fairy tale) time doing this, you’d think it’d be easier. It’s not XD The cast of characters just sort of kept growing, and with them the plot had to adapt, change, and grow to accommodate all of them. I could’ve used fewer characters, but then where would the fun be, right? (Note how I’m able to laugh about it now that it’s done and I’ve stopped crying and tearing my hair out…)

I have more stuff to say, including a large host of THANK YOUs in the notes on AO3, so I’ll cut it short(ish) now.

Artist’s Notes: It was beyond fantastic to work alongside Momotastic this year! I couldn’t help but want to prematch after hearing that her concept was inspired by Mad Max: Fury Road! Coincidentally, I had just purchased the concept art book for the film, so I was already inspired by the aesthetics of the setting and characters. Combine that with my Merlin obsession, and I was revving to go! I loved getting to read drafts throughout Momo’s bountiful progress, and I enjoyed the opportunity to provide some input for how the plot developed! I loved that, despite the obvious references to the film, she wrote something very unique to suit this fandom’s beloved characters… Well, early on, there was already so much material for me to get ideas from, and it was super hard to settle on just a few scenes to draw! I initially had a list of 30+ scenes, and it took some help from Momo to really cut that down, ahh… I decided on a style more realistic than I’ve done for previous Big Bangs, so I knew that would take me more time, but I still wanted to do so much! I’m pretty happy I managed 8 illustrated scenes, along with some additional graphics (divider, poster, album) though stay tuned for a couple more scenes that I had sketched out but have to save for later! All my pieces were challenging in their own ways, but I had so much fun with the gritty textures, various palettes… and skin and scruff, galore! ;) I hope everyone enjoys looking at my art as they go through this epic fic!And as always, many MANY thanks to the mods who keep our fandom alive by running this fest so wonderfully!


Emrys, he whose power is greater than any before him, shall return magic to its rightful place. At his side will fight a man born from pain, raised in blood, then cast away. With hair as bright as gold, and an arm like a forged weapon the likes of which haven’t been seen in centuries, the Mother will have a warrior to fight for her life’s blood. Together they shall bring peace and prosperity to Gaia once more.

Arthur has no doubt that he’s the Warrior from the prophecy. With the help of Uther’s prized wives, he ventures North to find Emrys, and to return magic to the land that his father killed.