the spark of the rebellion

Things the signs don't get enough credit for:

Aries: Their encouraging and motivating spirit

Taurus: Their ability to make people feel loved and special

Gemini: How they are always willing to talk and brighten the day of literally anybody and everybody

Cancer: Their leadership skills

Leo: Their ability to turn their own sorrows into something beautiful for others to enjoy

Virgo: how they always selflessly help you to do your very best and succeed

Libra: Their pure kindness and consideration for others

Scorpio: their extreme want and efforts to prevent others from feeling as sad as they do sometimes

Sagittarius: Their ability to take their curiosity and teach it to others

Capricorn: The strength of their heart, that is able to keep, not just themselves, but others alive and sane.

Aquarius: their sensitive heart that sparks each of their rebellions

Picses: Their wisdom and intelligence woven into their ditziness

When Hera Calls Kanan 'Love'

I’ve honestly been a little surprised this week by the wide variety of reactions to Hera calling Kanan ‘Love’ in the Rebels season three finale.

This is my take:

Kanan and Hera’s canon relationship status is established from their very first scene together in the pilot, in which Hera calls Kanan—you guessed it, 'Love.’

Hera continues to call Kanan 'Love’ or 'Dear’ repeatedly throughout the first season of the show as our heroes fight the Empire around their home base of Lothal and beyond. But then the season ends and so do the terms of endearment, vanishing entirely from her lips until we reach “Zero Hour.” (And we all collectively groaned “Whhhyyyyyyy????”)

This is where I think it gets interesting and says so much about Hera’s character. The real key, to me, is what happens at the end of season 1: the Ghost crew joins the Phoenix Squadron/greater rebellion—a move which was, first and foremost, Hera’s idea. And she quickly becomes a ranking member of the military group.

Suddenly, they are no longer just the space family roaming about solo anymore, they are part of something larger, and their missions, rather than being personal, are now professional, even when they are not with the rest of the fleet. Since before A New Dawn, Hera has been, is, and always will be devoted to and driven by her larger goals in life, and she quickly embraces the professionalism of her new role.

Thus, because we nearly always see Kanan and Hera in the company of others and on a mission, 'dear’ and 'love’ vanish from her public vocabulary. If you happened to work with your significant other (especially in a highly structured or professional environment), you wouldn’t call them 'babe’, hubby’, 'wifey’, etc. at work either.

Over the course of the next two seasons, Hera’s professionalism continues; she grows as a leader and her sense of command expands, until we reach the crisis of “Zero Hour.” The imperial bombardment rains down on Chopper Base, and we watch Hera’s expression shift from confidence/hope to a visceral fear/terror. Before the bombardment, she tells Kanan “You need to get back to base immediately"—a command, an order, properly phrased and neutral. But afterwards (and in front of General Dodonna, no less) that shifts to: "Now please, come home, Love.”

Originally posted by old-type-40

In the face of their mutual near death experiences, Hera drops her professional guard and for a single moment, they are just them. She’s Hera, and Kanan’s the man she loves, whose safety matters more than anything else in the galaxy. The moment is both minuscule and enormous. It’s just one slip, but it reassures us—it tells us that no matter where they go, what they do, or who they work with, Kanan and Hera are still Kanan and Hera.

Their private life may be private, but they are still as in love and devoted as ever. And this is beautiful to me.

I also want to note that her admission isn’t a weakness, in any way. Just a little while later, when Thrawn threatens Kanan to try to get Hera to surrender (certainly inferring the nature of their relationship himself), she stands as strong as ever.

Tough as durasteel and always in love with her Jedi, that’s my girl.

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“We’ve had this fight before, the three of us. You don’t have anything that can hurt me.”

“Maybe I do.” Kanan felt for the holder on his left leg where his lightsaber was hidden.

“Nonsense,” Vidian said, waving his hand dismissively. “If you had anything, you’d have used it already. Right?”

Hera looked searchingly at Kanan as Vidian turned back to the console. Kanan began to reach for his secret weapon—but then he paused. Something, somewhere told him: No, not that. Not now.

Not yet.

– A New Dawn by John Jackson Miller

Lighting in The Last Jedi trailer and that scene we are all talking about.

Like many of you that last bit of the trailer had me screaming at the tv. After the initial freak out phase had passed, I began to slowly shift into the what if phase, meaning– are they baiting me? Now there are several theories out there about who Kylo is holding his hand out too. Some say its Leia and not Rey. What if I told you the proof is in the shot itself? 

I am about to give you a quick lesson in lighting, visual storytelling, and cinematography. 

Let’s go back to The Force Awakens as a reference guide. The lighting on Starkiller base bridge you know that scene where he kills his dad? 

Lighting was something they made sure to get right in this scene. Notice how Kylo’s face is half hidden in shadow and the other in light. Signifying his split.

JJ says this  “ And you see the light go away. And now they’re in this darkness. And darkness takes over.”

The play with light was even more apparent when Kylo and Rey face off against the edge of the cliff. 

Now I’m about to throw some cited literary sources about Film and Lighting just so it’s importance is established. 

“In visual storytelling, few elements are as effective and as powerful as light and color. They have the ability to reach the viewers at a purely emotional gut level”(Brown, 2012, p. 8).

Light becomes mood that gives its tone to a film. It calls upon our memory to react to physical phenomena such as cold, rain, fog, sun, or dryness, and come up with psychological equivalents such as annoyance, sadness, mystery, fear, anguish, comfort, joy, gaiety, etc. As these effects produce immediate impressions in viewers, the cinematographer is able to obtain psychological reactions out of mere technical means (Geuens, 2000, p. 153).


Architecture and Film both use perceptual psychology to get people to see spaces in a certain way. Architecture lighting designers skillfully illuminate buildings and rooms with psychological intentions.

Lighting designers think about a psychological response and how behavior is affected by lighting. Some examples are:

1. Visibility of vertical and horizontal junctions aids orientation.

2. People follow the brightest path.

3. Brightness can focus attention.

4. Facing wall luminance is a preference.

5. Lighting can affect body position (Ginthner, accessed April, 2013 p.2).

Just as lighting designers light spaces to stimulate human mood and behavior, Cinematographers light the space inside a movie frame with the intent to persuade a viewer’s perception. The way objects are lit in the frame will focus the viewer’s attention, the amount of shadows cast will limit perception, and changing lights can indicate a change in a character or opportunity (Brown, 2012).

However, unlike film, architecture has had a psychological study on how different light in a physical space effect human arousal, concentration, memory, work productivity, and Mood.

If you take any type of filmmaking class, this is one of the first things you learn. Nothing is a mistake in these films everything is as designed to serve a purpose. 

So let’s dive into the scene in question. 

Originally posted by mine-loves

First of all, let us talk about how these two shots are framed. They are close up only showing the faces of our characters. 

Close up shots typically contain just the face and shoulders of a subject, with a little headroom above. This prevents ‘floating head syndrome’ as the shoulders suggest to the brain that there is a body below! These shots are the most common of all as they can convey a real sense of emotion and help the audience to connect with the subject.

Second, let’s talk about the choice of lighting

They are both in a warm fiery glow. 

You can judge the quality of light in a film scene through the hardness or softness of its shadows. Hard quality light has dark shadows with sharp edges and often feels more raw than soft quality light. Soft lighting, often used in older films, has lighter, diffused shadows and tends to feel more sentimental.

And with advances in film technology, sharp shadows can also be quite romantic. Case in point, this still from the end of the 2005 version of Pride and Prejudice:

Third, let’s talk color 

Color temperature is one of the first things to note when studying the lighting in a romantic scene. Is it orange? Bluish? White? Most often, warm colors add to an inviting, romantic atmosphere. For example, the warm light in the sunset scene in Titanic draws the audience in, unlike the cold, blue lighting later in the movie, after things get dire.

Forth let’s talk context

This is not the same scene with Kylo. Rey is still wearing her resistance clothing. This is the beginning of the film. 

The context matters especially in this scene where Rey is talking about needing someone to show her where she belongs. Is this romantic? The answer is, no. Is it intimate? Yes. The scene can be set up this way without any romantic implications. But it is definitely meant to be intimate. Rey is vulnerable at this moment and is speaking from her heart to Luke. Please show me what to do with myself. 

Now let’s move to Kylo’s scene which is no doubt at the end of the movie (because his scar is healed.) 

Our big bad villain is bathed in nearly the exact same lighting and color as Rey’s shot, even the framing is the same. In no other shot ever has Kylo Ren been depicted in these colors. Not in the teaser and not in TFA. Kylo is always in red or dark. The context of this shot is very very important. He is reaching out palm up as to take someone’s hand. He does this slow and gentle. His face is soft with what I would say a plea. 

Yes, this is a call back to Darth Vader asking Luke to join him on the Darkside in Empire Strikes Back. But if you go back and watch that scene it is intimately framed (remember context matters), but the colors are pale. Lukes’ face is in agony. Vader extends his hand it’s rigid and forced.


Before I get into more examples, I want to point out that yes trailers are meant to give you an idea, and intrigue you but they are also meant to misdirect. 

Trailer Misdirects/Visual Storytelling and Dialogue

The misdirect of this scene is to make you believe Rey might join the dark side with Kylo or at least first glance. General Audience viewers casual fans who do not give it any second deep thought will accept this and move on. However, more dedicated fans will step in and try to dissect the scene by looking at the image and not the overall meaning behind everything we discussed above. The trailer isn’t designed to give anything away. Which leads me to say this is very smart editing on Rian’s behalf. While it doesn’t give us the answer of will, she or won’t she? It provides us with the question that we will inevitably discuss in length until the movie is released. 

 I would also like to point out there is a visual storytelling aspect of this trailer when it comes to the dialogue. 

One example of this not related to the scene in question comes from Poe Dameron.  He states “We have the spark that will ignite the fire to bring the First Order down.” The next scene we get is Finn. It is pretty clear that bit of dialogue was meant for Finn. He will no doubt help bring the FO down as other Stormtroopers defect as he did. Finn is that spark for the rebellion. Now let’s talk about the Rey/Kylo scene. The same thing happens here. Her dialogue coincides with the next shot of Kylo. Also, notice (scroll up if you need to) how their faces are opposite each other Rey is looking slightly to our left while Kylo is looking slightly to the right. Their positions are mirrored which is a recurring theme in the TFA (see the snow fight). This is beautiful visual storytelling. TFA was full of the same imagery lighting and storytelling. I have a post about it HERE

I went through and found scenes that mimic that of what we saw in the trailer, down to color, lighting, and frame.  I also chose male and female characters. Guess what, all of them were romantic. 

I chose this because of the flares in the background and the close-up framing of their faces. Notice yes the color is blue because they are parting (remember CONTEXT). 

Next, we have a scene from Pride and Prejudice, but beyond the romance aspect, I want you to watch the light change of this scene. Elizabeth is bathed in blue until she accepts Darcy, taking his hand. The sunlight beams between them warming the scene.  Skip to 3:10

Here is an oldie but a goody. I chose this due to the color. Now remember this film is old, lighting techniques have come a long way since the 1930s, but their choice of color is important, along with the shadows on their faces. 

Ah, Jon and Dany. This is very romantic (even tho its incest lol) But take a look at the lighting between them also this part is (NSFW) if you are gonna watch till the end. You were warned. 


And now for the grand finale TFA cliff scene. Oh, I chose this little diddy to drive home a point. Kylo and Reys’ faces are framed intimately (which signified they would have a more profound connection later and at that moment they were finding the Force together) But also notice their faces are bathed in mostly pale colors due to it being cold. Yes, the lightsabers flicker red and blue onto them. Yes, that holds meaning as well, the fight between the dark and the light. But the overall pallet is pale frigid colors. Also, the context -- there’s that word again– of this scene is they are enemies fighting. Kylo does want to teach her, but he’s aggressive and forceful, to say the least. It is a stark contrast to what we see in TLJ trailer. Where he is calm relaxed and in warm, inviting lighting. No aggressive posture, no forceful plea.

If you want to contrast another couple, please refer to Pride and Prejudice again. I can’t upload it here, but this is the link. This is where Darcy says he loves Elizabeth, but she rejects him. They have close-ups, but the color and lighting are not intimate. Its pale lighter and blue. All things that are associated with sadness rejection etc. You get the point. 

So in conclusion. It is my opinion based on all information gathered on cinematography, that yes the relationship between Kylo Ren or perhaps Ben Solo at this point has drastically changed. It is no longer one of animosity or hate. Judging by the warm colors, and the soft shadows and above all else the context of the gesture/posture/facial expression of Ben it is romantic or at the very least (for the skeptics) a special relationship– Remember Rey and Ben are similar in Force power according to Luke- this gives them a bridge to each other one that will take them to understanding and COMPASSION. I am not saying they kiss, I am not saying they are a couple at the end of this movie. I am saying that it’s possible that it will move in this direction. They no longer hate each other. How did we get to this point? Well, we have a whole Act 1 and 2 to get through for that answer. 

I will stress that I believe that yes Ben/Kylo is holding his hand out to Rey. And no, it is not out of malice or deception. He is not asking her to join him on the Darkside… He is asking her to go with him and for acceptance. 

I made a follow-up post to this because this was so long! Please click here to see more examples and extra information

America's Education System

You know what school teaches you? It doesn’t efficiently teach you how to get along with people, pay taxes, ace a job interview or even more importantly: be happy with yourself when others aren’t, know that you don’t need a significant other to be fulfilled, or that everyone is equal. You know what school teaches you? School teaches you to be a homework machine, to spit out worksheets and keep formulas in your head until the next test. It teaches you how to stay up late studying things you don’t even understand and sacrificing time with your family to put yet another number on your transcript. It teaches you to volunteer not because you care, but because colleges like people who volunteer. It teaches you to follow all their rules and then you get into the world and people wonder why everyone is the same, dull person.

If anything in recent American history bears comparison to the Watergate scandal, it’s this. If anything demands congressional action, it’s this. But congressional action depends on the Republican Party, which holds majorities in both chambers of Congress. And with few exceptions, Republicans are uninterested in challenging Trump’s actions. The GOP has all but abdicated its role as a check on executive power and a defender of constitutional government and seems indifferent to this latest—and most serious—assault on the integrity of our democracy. Which raises an unsettling question: Is there anything Trump could do to spark rebellion from the Republican Party? Any action that breaks the thrall of partisanship?
Astrology Milestones

Age 12 - First Jupiter Return: The ancients celebrated puberty because the biological God and Goddess of creation had been awakened and it was a sacred time in one’s life. This was recognised with jubilance and honour. Jupiter rules hormones and cultural conditioning. In modern times we shame and denigrate the phase, remarking on hormonal changes that inconvenience society, and yet we wonder why teenagers self destruct, rebel, and turn to substance. This changing biology transforms the lower body and activates the spirit, and yet we are not prepared or nurtured for this powerful change. 

Age 14 - Jupiter opposes Saturn: The resistance to authority and conditioning is activated here, along with self consciousness and the lure into danger. This is the moment a young person can typically choose between ‘indulgence, laziness, and self pleasure’ (Jupiter) in leaving school or ‘responsibility, expectation, and conforming to authority’ (Saturn) in remaining in school or focusing on the future. The karmic lesson is revealed around this period. We face intimidating figures of authority, often threatening with ‘what until you’re in the real world’ shaking confidence even more 

Age 21 - Uranus squares natal Uranus: 21 is the age globally recognised as completed transition into adulthood. This period indicates self expression and experimentation, a time for tattoos and lilac hair and inspiration. It’s a favourable time for sparking people’s interest in astrology. Political activity, protest, and rebellion can begin around here. Cosmically, this is a time where people learn a lot about themselves and generate good self awareness, they start to feel wholly in their body, or as if fogginess has dissolved 

Age 28-30 - First Saturn Return: Everything you have built until this point is under threat. Saturn writes his first report card, and it will rely on how intimate and satisfactory you have been in facilitating Saturn’s condition in the natal chart. This is the biggest overhaul we experience on a physical/mental level, when the anchor of the chart completes transit and writes a new criteria. We are given 29 years because the reading material and substance is so profound. Harsh reality hits with shattering force. It’s time to become an adult. 

-C.

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Inmate #0801, [interrogation video]

Found in BL/ind archives, shows footage of 20-year-old Gerard Way, who would later turn into the infamous rebel leader known as Party Poison, interrogated after being taken into custody by S/C/A/R/E/C/R/O/W operatives for refusing to wear his BLI headphones at the appropriate times and levels. Way claimed that the daily broadcasts were “unnatural” as he continued to show disinterest and even laugh through the interrogation. Many experts say this is the event that sparked the rebellion that would make it’s mark on Battery City history.

In astrology, emotions is represented by water and it is the medium that the water signs (Cancer, Scorpio, Pisces) use to express themselves.

Water is one of the few substances where its solid form (ice) is less dense than its liquid form. This is why ice floats above water. The reason why ice is less dense than water is because the bonds between the water molecules are more loose. The bonds are not as strong.

Ice is usually tied to being very cold and restrictive in an archetypal sense. In many stories and movies, characters that are associated with ice often tend to hide their emotions until they feel safe enough to warm up to someone. Ice only looks “strong” because it is a solid. Ice, compared to water, looks more “put together” because they are able to maintain a shape rather than be defined by a container like liquid water. However, since ice floats above liquid water, it stays at the surface level. Those who put up emotional walls will only establish surface level connections because they can only create weak bonds with others.

Liquid water, which represents freely expressed emotions in this case, is different. Showing your emotions nowadays is seen to be an expression of weakness due to societal norms. Unlike ice, liquid water does not have a shape unless it is placed into a container. With no shape, it’s implied that liquid water lacks control, and with no control, you have no power. However, the bonds within liquid water is stronger. The bonds make liquid water denser, which will place them in the deeper level. Those who express their emotions freely can establish deep, fulfilling relationships because they can create strong bonds with others.

Emotions are a strong force. Emotions are indeed messy, for they can flow into difficult places and make things quite confusing, but it is not a weak force. It is represented by water, a substance that can rise as tsunamis, erode the tallest of mountains to a grain of sand, and create life. Emotions can melt a cold heart, spark rebellions, and most importantly, keep a person alive. Emotions are powerful.

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long ago, back when i thought i had self restraint and impulse control, i stumbled upon an old ask from gav-bot innocently asking id i’d consider a gem-stuck au… 

jk, this was just a very fun way to exercise drawing different body-shapes and silhouettes. ask about fusions if you’d like, i’ve already got a bunch sketched out! (& info for everyone down below since i had so much time to world build while working on everyone and i’d like to get it out somewhere :3c)

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Backup Copies

A/N: So after watching Guardians of the Galaxy Vol 2 last night I woke up this morning with my muse telling me I needed to write some Yondad Yondu and teenage Peter Quill fluff because I’m in desperate need for it. Yondu may be rough around the edges but he cares so much for Peter and does his best to make him happy.

Word Count: 920

Warnings: None.

Originally posted by thorsmightythighs

A grimace pulled on Yondu’s mouth as he stomped down the hall towards Peter’s room. Ever since the boy hit puberty it seemed like a switch turned on in his brain that made him go out of his way to disobey Yondu at every turn. When he asked Peter to turn his music down he just turned it up louder. When he asked Peter to clean up around the ship he’d make an even bigger mess. And when he asked Peter to get his ass into gear bright and early so they could get to work, Yondu was stuck going to Peter’s bunk and yanking him out of bed and dragging him along. He was sick of it.

He didn’t bother knocking on Peter’s door and instead whipped it open until it slammed against the wall. He could almost feel a blood vessel in his head burst as he looked at Peter, curled up in bed with the blankets over his head. Without a word Yondu swiftly flipped the sheets back to look at Peter, who was facing away from him.

“Boy have ya lost yer damn mind!?” Yondu yelled, gesturing wildly. “I’m tired of yer petty little mind games here! If ya don’t git yer ass up I’m gonna eat ya like I shoulda done years ago!”

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anonymous asked:

#4

4. Keep it up and see what happens

Every time Harry tried to move budge, the ropes around his wrists would only become tighter.

The white sheets looked so pretty compared to his tanned skin, skin the color of honey and graham crackers. When he arched his back, his tattoos would come alive against his skin, making the butterfly fluttering on his tummy seem ironic.

“Please,” He murmured, resisting the urge to pull on the ropes again.

Y/N sat dainty on the corner of the bed,
unbashfully admiring the man tied in front of her. He was powerless, completely under the will of her hands and whatever else she decided to do to him. Carefully she climbed up his body, leaving chaste kisses up his chest and settling her lips on the crease of his neck and shoulder where she sucked and licked.

Connecting her kisses like stars in a constellation, she kissed every freckle on Harry’s jaw, purposely avoiding his lips that tried to catch hers every time she skid by. His fists clenched into themselves, every time his kiss was denied, a huff leaving his mouth.

“It hurts.” Harry groaned, giving subtle hip thrusts to where his shaft knocked into her thigh, rolling his eyes back when it touched skin.

“Be good.” She scolded but his hips didn’t stop their movements. Without his hands, every touch he got felt more desperate and primal, like it was going to be taken away as soon as he got it.

“Y/N please. Please touch me, please. I need it.”

Y/N slid down his naked body, settling right before his shaft and leaving feather soft kisses on his thighs.

“Beg.” She whispered. “Keep it up and see what happens.”

Harry moaned, pulling on the ropes as he tried to clear his head of the fog. “Please. I want your mouth. I want to be inside. Please love, give it to me. Please, please, please.”

Y/N reached up and took his tip just past her lips, meeting it with her tongue before she pulled off. She licked a bold stripe up his shaft watching hoe he he moaned out, snapping his hips forward in search of her mouth.

“You look so pretty like this. I could sit here and watch you for the whole day.”

“You wouldn’t fuckin’ dare.”

Y/N narrowed her eyes, catching the sudden spark of rebellion in his. He breathed heavily, his shoulders twitching. In all honesty, she hadn’t tied the ropes too tight and eventually Harry figured that out, as one wrist snapped loose. With wide eyes he snapped the other one off, yanking Y/N forward and climbing atop of her. She gasped at his dominance, groaning out as his hips sunk into hers and filling her to the brim.

Harry held her hands down his his own above her head, the remaining tied bits of the rope still clinging to his wrists.

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kc au week  ⇏ day 1. crossovers and fusions

        ↳ red queen (by @vaveyard) au: Klaus and Caroline are silver-blooded royals. Born into rivaling houses, each loathes the other in equal measure. But when the little lightning girl lights the spark that will fuel the fires of rebellion, their worlds are turned upside down. Thrust into a world of court politics hiding dark secrets and unforeseen enemies beneath its cold, sparkling surface, Klaus and Caroline are set to be wed in the hopes of brokering a tentative alliance between House Mikaelson and House Forbes. As rumors of Scarlet Guard sympathizers arise and tensions grow between Reds and Silvers, they realize there is worse company to keep, especially when working together may be their only chance at survival.