the leg movement on the first one

2

The showing of feet and their position is important to analyze the progression in their relationship. Body language is an important indicator in signaling internal stability and thoughts, and your interest level in another.

In episode 3 (the first picture) by the placing of Victor’s feet in between Yuri’s, and Yuri’s passive stance, you can tell that Victor is the more dominant, confident, and alluring one. He has no problem with breaking space barriers or asserting himself.

This is something we would have never expected from Yuri in days of past, yet as we can see, half a year later, in Episode 9, the roles have been reversed.

This time it’s YURI asserting himself. He has his feet in between Victor’s stagnant legs. Yuri initiated the first movement. This time Victor is the one timid, unsure, and frightful and/or hopeful even. Yet Yuri finally knows what he wants, and he has no problem with asserting himself, being confident in himself, and TELLING Victor what he wants from him.

That’s seriously character development for them both, it makes them so much deeper!!

3

thaeken made a post about Theo wearing chains. I noticed Theo’s movements are restricted. In the short amount of footage you can see he is in chains, however if you watch carefully you may notice Theo can’t raise both hands at once. The chains seem to go around him or more likely through his legs as you can see them hanging down, however in the first picture, one hand is up and the other is pulled backwards, when Theo lowers his arm, his other hand then comes into site and Theo stands more naturally. It seems the chains are either connected around his back or around his legs, meaning he cant run either.

It means Theo cant raise his hands, good for Liam and co to keep in under their control. He cant attack them, but it also means he cant protect himself should he fall, he wont be able to walk right if they are around his legs and because they are angry at him, they are more likely to lash out at him (As seen with Malia) meaning Theo is at risk of being beaten and he wont be able to defend himself and as we know … Liam has anger issues.

Theo right now is trying to act like hell hasnt bothered him, we know from Cody that Theo is broken, scared, traumatised by hell. We seen it in his eyes in this episode, yet now he is at risk of being beaten. Do they even take the chains off while he sleeps? Doubt it, those will be rubbing into him, they look tightly tied. 

He has always been led to believe he is a failure, but now the McCall pack is making him look and feel like a monster, who needs to be chained. 
Who needs to be threatened.
Who needs to be beaten.

This is just not right. 

Perfection.

She wakes up. One minute before the alarm alert. As designed. As desired. She stands erect, stretches, and begins the movements of the Bharatanatyam. Starting slowly and precisely, her hands arc in graceful, meaningful motions. Her legs bend deep while her spine never falters a curve. Gaining in speed and difficulty, there starts a glow about her. She’s sweating, which bothers her, but not enough to slow. The beads of sweat on her face begin to coalesce and slip down her form. Catching the glow and fracturing beams of light into the room. Her face, poised with concentration never letting a single emotion show, begins to loosen, even to smile. Light. Solid in form. As she moves her hands in one last motion the structure falls to the floor. Here is perfection, she thinks to herself, with a nod of approval. Grabbing a cloth off the wash basin and letting it slide into the pool of cool water, now glistening with a hint of the earie blue light that fills the room.  Cleansing the sweat off her body, she begins to inspect her creation. Are the angles correct? The sizing, the shape? Everything seems in place, yet there is still something missing. She circles the piece straining her eyes to defect the fault. Her skin begins to itch in the way it does when there is an error. She cannot find it yet it gnaws at her being. Her temperature is rising and she can feel reality’s grip letting go of her. Where did I falter? What have I not done!? Grabbing her PhotonBeam- aiming to destroy the fruit of her mastery. She looks one last longing glance at its beauty, but it’s wrong. Closing her eyes with her finger on the trigger she hears an electronic click, followed by a gentle whirring.

Her eyes flash open. Her ears poised like an animal. “What…. Where?”, she voices aloud.

 

Whirr—click

 

Her hair whips as she dashes towards the noise. Legs thrown out in the most poetic of advances. I know that sound like I know my own heartbeat! How can this be?! Running through the arches of her beautiful dwelling, searching. Tearing through room after room, not finding the source of that sound. Oh the Sound! Her heart is beating much faster than before. Her eyes are fervidly searching each room and doorway. But she finds nothing. She hears… nothing. The sweet song that played so quietly in her skull has retreated to the depths of that door she keeps closed in her mind. I am foolish. Disgraceful to be flitting about in search of a ghost! She mutters to herself in disgust. She retreats towards the security of her room, unaware of the glow emanating from the cracks in the door. As she reaches to grab the handle the change in hue is abruptly noticeable to her senses. What is this? She thinks to herself. The light once again lighting afire inside her. Taking a breath, not wanting to hope, she opens the door.

A flood of fuchsia light bathes her bare body, dancing off the sweat as moonbeams on the snow. Her creation has altered. It is perfection. She steps into the room, arms outreached towards the piece. Wanting to touch it, but afraid, she hears a voice behind her, “Miss me?”

She whirls around in haste. Terrified beyond comprehension. Words do not escape, but a small gasp manages to float through the air.

“Don’t answer, I can see that you did. This is nice.” Electric pink nails point to the now purplish-pink lit structure in the middle of the room.

Finding her courage, she whispers, “Where have you been?” She needs to find composure. She needs to stand tall, stand firm, but she cannot will the waiver from her voice nor the shine from her eyes. Her hands are shaking and her breath is stuttering. She always leaves me, why should now be different? When she is away the world crumbles and with every step she moves closer the world is crumbling still. Standing on a precipice of a canyon I cannot be saved. She is my savior and she keeps running away.

Feet shuffle awkwardly. “I had to do, something… look it’s not a big deal. I’m back, ok?” They say defensively. Hackles are raised and voices are deep in an attempt to appear without attachment. But the veil is thin. The façade weak. The crack in octaves a bit too noticeable for one such as she. She raises her eyebrows an immeasurably small distance.

“I’m sorry.”, they say sincerely, voice welling with unspent emotion. “You have no idea what I have been through! What I must do to make everything right! You don’t know, how hard it is…. to…to…” The voice breaks into sobs. They crash to the floor like a crystal chandelier dropped from grace. Shattering on the carpet, pieces spiraling out of control. Gasping for air they manage to breathe the words: “Satya… I can’t do this without you.”  

Satya, looking at the shards on the floor in horror, reaches down instinctively to fix the chaos. “My dear, please. Let me hold you.” She asks. Masking her confusion as to tearful display they had just shown. Emotions are hard to understand sometimes. And she had already felt too many this day. Gently, and timidly, she bent down and met the lips reaching out for hers.

Satya held them. No words were spoken for what seemed like hours. Satya gently stroking their hair. Relishing the moment before they left again. Which she knew would be all too soon. They fell asleep in each other’s arms. Clothed in moonlight and comfort.

In the morning, Satya wakes up. One minute before the alarm alert. As designed. As desired. She stands erect, stretches, and looks around. The room is empty save for her. She feels the anguish of loss, but she had known this was coming. She was well versed in keeping composure now. Beginning her morning the same as every morning, she walks to the wash basin. There, nestled on top, was a curious device not many knew of; a Translocator, with a note underneath.

               My dearest Satya,

I will ALWAYS return to you.

               Te amo mi amor.

 

Smiling, Satya put the translocator on the bed and turned to stare at her creation. The very likeness of the one known as Sombra, recreated in light. As only Satya saw her.

Perfection.

superpaperclip  asked:

*celebratory 4 mil lap dance?

eyyyyyyyyyyyyyyyyyyyyyyyyyyyyy


When Phil hits four million subscribers, Dan decides to reward him for the huge milestone by dimming the lights, starting “Earned It” over the speakers, and commanding Phil to sit in the chair he’s set out. At first, Dan rolls his hips in steady circles while running his hands tantalizingly down his own body. He slowly makes his way closer to Phil and then straddles his laps, rhythmically grinding on Phil with one arm around Phil’s neck and the other ruffling his own curly hair. He has to tell Phil ‘No touching’ when two hands settle on his waist to guide his movements. Then Dan spins around so he’s sitting in between Phil’s legs, still rubbing his ass on Phil’s growing bulge, and tosses his head back onto Phil’s shoulder with a moan that sounds so real and desperate… Phil can’t take it and he picks Dan up, carrying him away to their room for the rest of his reward.


Idk how I’m feeling abt this one

-Matt

Mark short prompts * for the queue

How to Walk Like a Man

Men and women walk very differently, so a key part of passing is to perfect your walk. This post is dedicated to walking like a man - a post on walking like a woman will follow!

EDIT: How to Walk Like a Woman is here

A few tips on walking like a man…

1. First and foremost, don’t swing your hips. A lot of women tend to walk  as if they are treading along one narrow line - one foot in front of the other - which leads them to sway their hips as they walk. Men on the other hand tend to walk as if they are treading along two parallel lines, setting their legs apart, hence reducing hip movement. 

2. If you’re struggling to walk with your legs more apart, try packing, either with a real packer or something as simple as socks. Having something in between your legs will naturally make you space out your thighs, and it’ll be harder to slip back into old habits.

3. Another common male mannerism is to place your hands in your pockets as you walk.

4. Try leading with your shoulders instead of your hips, as women normally do. 

5. Invest in some heavy boots. As well as making you taller, these will also weigh your feet down, which will change your stride to a more masculine one.

6. Take long strides. Men have much longer strides than women, and tend to walk with a sense of purpose. Walk as if you know exactly where you’re going, and as if no one can get in your way. 

7. One of the best things you can do is to watch how other men walk - maybe sit in a coffee shop and observe, then try to copy their mannerisms. Practice is the key here, and like everything else it will take time to form these new habits.

#Blackout Dates for 2016

Fragmentation.

It may not be a word that comes to mind when you think #BlackoutDay but it’s something we the organizers have noticed. As we prepare for the last #BlackoutDay of our first year, we have begun to reflect on what brought us here and how we can move forward. Our first year was a foundation year; with the unexpected scale of success from the first #BlackoutDay comes learning how to problem solve, move quickly, and how to give the movement legs.

Our successes have been great but we find that things are fragmented. Fragmentation is why there are conflicting narratives surrounding this movement, such as the change from monthly observances to seasonal ones, what the themes are, and what we are all about. Almost like a game of telephone, confusing information spreads from unofficial sources. While we encourage people to make their own posts regarding The Blackout, a lot of posts end up leaving out important information or presenting incorrect information. We haven’t officially observed the monthly Blackouts since May but there’s still a percentage of people that celebrate the #blackout on the first Friday of every month.

Sept 21st was the first time since March 6th that we managed to get almost everyone on the same page. We want to continue that trend and get us unified. So, while our next #BlackoutDay is scheduled for December 21st, we have already decided our dates for next year in order to combat some of this fragmentation.

As a team, we came together, debated, researched and finally agreed on the dates for 2016 and beyond.

The dates we agreed on are as follows:
March 6th, 2016
June 6th, 2016
September 6th, 2016
December 6th, 2016

It’s important to observe the March 6th date since it is our anniversary and to keep it as simple and streamlined as possible moving forward, our other Blackout Days will fall on the 6th of the other seasonal months. We’ve also made sure that these dates don’t  conflict with any major celebrations for other People of Color.

These will be our official #Blackout dates  moving forward with themes announced at least 2 months before each date. (We need at least 1 month to come up with a unique theme)  

Why promote these dates now? We want to avoid the fragmentation present in our first year as we seek to reach new heights in our second. So spread the word around and let’s get these dates to stick for 2016!

TL;DR: Please note that December 21st will be the last #BlackoutDay for 2015. For 2016 and beyond, it will fall on March 6th, June 6th, Sept 6th and Dec 6th. An easy way to remember is that the months are in multiples of 3 (3,6,9,12) and the day is always on the 6th.

in the very first episode they have a running sequence that lasts a minute or so, and this is how they portrayed their movement

the motion of ringos legs forms somewhat of a horizontal plane. his legs rotate from infront of him to behind him as he runs, similar to a carousel.

the technique gerorge uses to propel himself is most similar to that of a windmill. his legs vertically orbit his torso passing over one another, forming a full circle before his feet hitting the ground.  

thankfully, the viewer cannot see the ungodly movements of john and pauls legs, as im sure the animators found a way to make them even worse than the other two

Black and White

Bright spotlights turned on overhead, lighting up the glistening untouched ice that had been smoothed between early afternoon to that evening. A faint crowd was murmuring, a muffled sound of someone calling out a name. A shining flash went by through a camera shot as someone skated themselves to the center of the rink.

It was a women’s singles competition that was being broadcasted from France. Scores would count towards the Women’s Singles competition of the Grand Prix Final. Her pulse was rushing and her legs somewhat felt like they were shaking a small amount. Closed eyes slowly opened as green eyes surrounded by white sparkling makeup on one side and a black shimmer on the other in a bolder style. Two sides of one coin, black and white. The theme could always be altered in wording, and there was no issue as long as it was the same idea.

The Short Program period had begun at the first strums from  Tchaikovsky’s Swan Lake’s, Swan Theme began to play. The slow and simple movements started as the music did; delicate and sweet. However, once the darker theme came through a jump, the demeanor became harsher. Two sides of the same person in a constant struggle for dominance.

Beautiful and Wicked, Sweet and Villainous, synonyms to describe it. As the music began to reach its peak a combination spin was performed as the tone started to diminish and the final pose came with outstretched arms almost like wings, a shadow being cast along the ice.

The audience clapped and cheered loud enough that it became hard to hear the announcer on the microphone in the broadcast. “A beautiful yet terrifying short program by France’s own Angelique Candide! She truly has come aways and embraced both sides of the Swan tonight.” the announcer called as the blonde took a bow and started to get off the ice for the next competitor to get into warm-ups and collect her scores.

@sirotabekaltin

anonymous asked:

Why do you hate show birddogs so much? That American Cocker Spaniel was a good representation of the breed standard and all you're doing is complain. Why watch a show if you know you'll hate it?

ok pls dont send me more asks like this… im very much done with this debate… but ill humor it one last time


i mean… i dont hate shows. and I dont hate showdogs. i never said that. 

first things first, the amcocker. no, its not a good representation of the breed standard. im not in the amcocker scene, but one look at the standard (FCI) provides this lovely line: 

Ears, chest, abdomen and legs well feathered, but not so excessive as to hide body lines or impede movement and function as a sporting dog. (

(there’s more but like, i dont wanna do that thing where i list all the things i dont like about this years BIS’ exterior.)


i dont hate shows. i happen to quite like shows, as long as its not the most important thing, but theres issues with shows, dont you think? and sometimes i parttake in civilized discussion and sometimes i post a whiny post on tumblr about my pained gundog heart bc personally id like to see gundogs kept in high drive (they were after all meant for 8+ hours in the field and that fur in the forest youd bring half the forest home)

that doesnt mean its the Right™ opinion, bc yeah it doesnt really matter if the dog has excessive fur as long as it has good health. and it doesnt matter if the dog isnt hunting or doing agility or joring if the high drive isnt present in the breed anymore (which is the case with the amcocker) 


also i critize working lines just as much, in gundogs they’re riddled with linebreeding and other problems, its just that rn crufts is relevant lmao. 

zauns-insane-secret  asked:

Down a lone road in Demacia the white haired child walked slowly. His face was covered in bruises as he didn't seem to notice the tears coming from his eyes with a cold expression, his clothes were tattered and in his hands he would carry the body of a small bird gently, worried about bringing further harm to it.

Dreary. That was the only word that would come to her mind to describe the weather and today in general; It was her first day off in… when was the last time she’d taken a day? Walking along one of the backroads trying to not draw too much attention to herself Lux did happen to stop noticing something off. 

A child. Alone.

As she closed the distance between them she noticed the expression and quickly began to assess the situation, gently lowing herself so she was sitting on her legs she gave a gentle smile, “ Is this your bird?” Soothingly she cooed  being sure  to not make any sudden movements as to scare them. 

uncanny similarity @monophobicchild

            She was just about to leave the school grounds with her brother when she saw – no heard a yelp and couldn’t resist the temptation. The younger practically threw her bookbag to the black haired older, rushing off before he could even ask her what was going on. With a swift movement, she pulled up her hood, as if to hide from the cameras as a knife slipped into her sleeve, keeping herself slow for the humans to not notice anything off. 

              Then she came across the scene, fangs biting into her lip as she recognized some of the shit-stains that were hurting a first year from the look of it. One movement led to the next, her hands wrapping tightly around one of the jock’s wrists, pulling them back in a swift action before twisting and letting her leg knock theirs, causing the first of four to fall. 

               Another moment passed, another two assholes were down, the dragoness in disguise spitting at them before she came face to face with the leader and – “Fuck off Hiroshi.” 

                “Oh the small fry DOES talk!” 

                 “Fuck off or else.” 

                 “Oh now that’s just cute.” 

                  If he wasn’t her brother his bones would have been snapped in fourths, but the child kept her anger contained, shoving him back with a flash of the knife before grabbing her phone and seeing the other boys scatter.

                  “S-sorry ‘bout that. Guess your new here with that scared expression on your face but uh… ya’ get used to the stupid trying to hawk you down.” She put out a gloved hand, a soft smile coming forth as she pulled the hood off her head. “They didn’t rough you up to bad though, did they?” 

The way Lance and Keith remember seeing each other at the Garrison for the first time is very different.

Lance: sees this guy with a short red jacket and mile long legs pull up to the Garrison on a speeder that looks like a dream and flies like one too, all smooth movement and aloof coolness. Instantly jealous and crushing

Keith: why did that guy just trip and fall on his face?

deadline.com
‘When We Rise’: Kevin McHale & Dylan Walsh Cast In ABC’s LGBT Rights Miniseries
By Denise Petski

Glee alum Kevin McHale and Dylan Walsh (Unforgettable) have booked recurring roles in When We Rise, ABC’s seven-episode event limited series about the gay rights movement, written and executive produced by Dustin Lance Black.

When We Rise chronicles the personal and political struggles, setbacks and triumphs of a diverse family of men and women who helped pioneer one of the last legs of the U.S. civil rights struggle.

McHale will play AIDS activist Bobbi Campbell. Walsh is Dr. Marcus Conant, a role based on leading American dermatologist Conant, who was one of the first physicians to diagnose and treat AIDS in 1981.

McHale starred as Artie Abrams on all six seasons of Fox’s Glee. He also stars in Hallmark Hall of Fame movie Hear My Song opposite Dustin Hoffman, set to premiere April 16 on CBS. He’s repped by Greene & Associates Talent Agency and M/C Talent Management. Walsh will next be seen in indie feature C Street and recently wrapped his role as Al Burns on crime drama series Unforgettable. He’s repped by Gersh and manager Bob McGowan.

Spy!Luke Part One

Part Two: (x) Part Three: (x) Part Four: (x)

You squinted across the tiny room, trying to identify the individual pieces of the boy that sat there in the darkness. He was propped up against the wall, arms tucked uncomfortably behind his back. Most likely they were chained to the wall, just like yours. His legs were most likely sore from being stuck in that position for over eight hours, just like yours. And every time footsteps approached the large metal door, you were certain his heart raced in fear, just like yours did.

He twisted his neck from side to side, attempting to loosen the muscles that had gone stiff under the tension. This was the first movement he made in the past two hours. A deep breath slipped passed his lips in a noisy sigh. It was a tell tale sign that his anger hadn’t diminished one bit during that time.

“Hey, Luke.” His response was just a short grunt. “You remember when we were little? When we pretended the cars were enemies and every street light was a security camera. We would deliver the witness to the FBI Headquarters and save the world from nuclear explosions.”

“We never got caught in those days.”

“No, we were invincible little kids.” Your ears perked up at the slight chuckle that left his lips.

“Do you remember when we rescued the President twice in one day and then flew halfway across the world to be undercover at a Tokyo car show?”

“We were busy back in elementary school. Our teachers just never understood that homework and spies don’t mix.”

“Oh, Mrs. Stevens hated us.” He said as he broke out into a full laugh. It pulled at your heart strings, finally seeing him happy again. It also made your stomach drop all the more when the door swung open signalling this was where Agent Y/N and Agent Luke came to an end.

I wanted to do something for featuringluke and acoustcmichael and their spy!5sos night but apparently I suck at blurbs today. Hope this suffices? Alright, bye.

ReWalk’s sixth generation exoskeleton is its fastest and most precise fit yet

We are hearing more and more about the use of exoskeletons to help give people with spinal cord injury mobility. ReWalk is a leader in this field and last year they made headlines to be one of the first exoskeletons approved by the FDA for home use. This week, ReWalk unveiled its sixth generation exoskeleon, the ReWalk Personal 6.0, which is its most customizable yet.

Keep reading

Hand without leg, leg without hand

This is one of the first principals of Baucher, and the solution to training horses that are dead in the mouth or sluggish off the leg.  But what does it mean?  You can’t be riding with no contact, right?  And you may need to use the leg and the hand together, for instance during lateral movements.  So this, one of the most important rules of this method, is often misunderstood or dismissed out of hand by anyone who hasn’t studied the explanation for it.

In it’s simplest terms, “hand without leg, leg without hand” means that the hand that restrains the horse from going forward and the leg that drives the horse forwards must never be actively applied at the same time.  

That’s all.

The reason for it is this: if you apply those aids at the same moment, the horse is forced into ignoring one or both of them. He will become dead to the mouth or dead to the leg.  Sometimes both.

“Ah yes but it’s more the seat and the leg pushing to the hand so he steps under his center of balance and blah, blah, blah.”  

NO. Full stop.  When you are talking about a horse stepping under himself with his hindlegs, you are referring to a horse that is on the level of piaffe!  Who has been systematically trained to respond to the leg by dropping the HQ and stepping under.  But this can take YEARS.

In the meantime, the horse is misunderstanding because of unclear signals.  There is no magical miracle that happens when the horse is forced into these positions wherein he decides, “Oh yes, this driving seat that is forcing my back down, sandwiched between the hand and the leg acting at the same time, I’m going to shorten my base and raise my back into that hammering, restrictive pressure!” Do you… do you realize how counter intuitive this idea is for the horse?

For some of the more talented horses, who have been bred with conformation that means they are half trained already, you can use these methods and sometimes they produce the movements ridden with a facsimile of lightness, but so often you see heaviness, tension, incorrect movement.  

And what happens when you have an untalented horse?  Or one who has been screwed up by bad training?  You have no chance, you’ll almost certainly be forever stuck at the lower levels or the sport.

Hand without leg, leg without hand.  When I use my leg to signal the horse forward (and at the very beginning of training that’s ALL the leg does) the hand is giving the rein towards his mouth in the movement so that the horse feels free to stretch forward seeking the bit and gamely step lively into the new gait.  Conversely when I use the hand to balance him back in order to slow down I soften my seat and take the legs off completely, being very clear that forward is not the answer I’m looking for.  This principal doesn’t mean you ride with no contact!  It just means that the contact should be forgiving in the upwards transitions.  That the leg doesn’t drive him into the downwards ones.

The main purpose of this idea is that you want to minimize the physical effort that you, as a rider, are expanding while the horse offers more and more.  The ability to separate and control the aids independently, with adjustable variations depending on the individual horse, means that you can develop a very nuanced interplay of the aids.  You use your sense of feel to discover what the horse needs at any particular moment, and in this way you create a dialogue with him.  This has a consequence of awakening the horse to the aids and making him light, while at the same time calming him down and establishing more control.  

To make the horse light this way requires many, many transitions wherein you’re absolutely clear with the separation of the aids.  And then after a while you can start using your hands to balance and your legs for impulsion a little closer together, and then a little more, progressively improving the timing until you’re using your hands and legs not at the same time, but with just a second or so in between.  But if you’re using your hands and legs within a second of each other, the horse should need less than a second to react, to give you the full reaction you need. Otherwise it’s too soon.

And then, when all this training has been done and the horse understands and has a good balance in relaxation, you begin to create in him an incredible wish to go.  You ride many upwards transitions, getting him incredibly light off the leg with lots of impulsion.  And then once you have developed this desire to go you can combine it with the superior balance you’ve been working on to come to piaffe.  Eventually it can be a relaxed, lightly aided, powerful piaffe that you maintain with your seat, while ceasing use of the legs and reins.  It’s a very wonderful feeling, to have so much power with so little effort - but it doesn’t happen overnight.

Hand without leg, leg without hand.  It doesn’t mean that you’re not allowed to use your hands and legs at the same time, it just means that you shouldn’t be “…using the accelerator and the parking break at once.” ~PK