there is not a single thing i find appealing about you

anonymous asked:

Can you list the Ron moments that the movie missed our changed?... or maybe give a link to a post which already has the list.

Okay, this is going to be done from memory so bear with me. 

Philosopher’s Stone

  • Ron offering to share his food with Harry from the moment they meet.
  • Ron teaching Harry how to play wizard’s chess (this is kind of in the film but not explicitly so I thought I’d include it.)
  • Staying over Christmas with Harry and trying to cheer him up after the mirror incidents (I think they did film a part of this but it was a deleted scene for some reason ??? why ???)
  • RON BEING THE CALM ONE DURING THE DEVIL’S SNARE SCENE NOT HERMIONE (’But there’s no wood!’ ‘Are you a witch or not?’)

Chamber of Secrets

  • Constantly defending Harry from Draco
  • The scene where Draco calls Hermione a mudblood and it was actually Ron who new what the term meant and explained it, not Hermione
  • Visiting Hermione in the hospital wing after she turns herself into a cat and bringing her all her homework that she missed
  • Ron going into a freaking forest full of spiders and tackling his biggest fear. Even though he was shaking the entire time and is so terrified he can’t even speak by the end of it and actually /throws up/ afterwards, he still went and did it because it needed to be done and he wasn’t about to let Harry go alone. (Okay so this was in the films but I really don’t think they actually captured the gravity of it, instead choosing to turn Ron into comic relief… Again.)
  • Being the one to go to the hospital wing so that Hermione will have someone with her so she’s not alone and to explain what happened when she wakes up

Prisoner of Azkaban

  • Actually being really concerned about Scabbers’ health and buying the rat tonic for him
  • Actual background to the Crooksanks v Scabbers business instead of just villainising Ron for the sake of making Hermione seem better
  • When he was literally woken up by Sirius holding a knife over his bed, who, as far as anyone knew then, was a mass murderer??? Why isn’t this talked about more ??
  • ‘YOU ASKED A QUESTION AND SHE KNOWS THE ANSWER, WHY ASK IF YOU DON’T WANT TO BE TOLD?’ 
  • Noticing Hermione’s weird af schedule and being the only one to aCTUALLY CARE about where she was going and what she was doing
  • Literally fucking pushing Harry out of the way when they see Sirius in dog form (who they think is The Grim) and consequently getting a broken leg + dragged by his arm into the Whomping Willow
  • Awkwardly patting Hermione on the head after she apologises, instead of that weird hug thing they share in the films
  • Taking on Buckbeak’s appeal and dedicating so much time and effort into his case. Call this boy lazy or apathetic again I dare you.
  • Standing up on a BROKEN LEG to tell Sirius, who, again, was thought to be a MASS MURDERER, that ‘If you want to kill Harry you’ll have to kill us too!’ whilst Hermione stood frozen in the corner
  • Making peace with Crookshanks at the end of the book by holding Pigwidgeon up for him to check that he isn’t evil (I love Ron so much)

Goblet of Fire

  • ‘We’ll pick you up on Sunday if you can come, and we’ll still pick you up on Sunday if you can’t’ (or something like that) when talking about the quidditch world cup
  • The background and reasoning behind the big fight with Harry (+the later argument they had where Harry threw the badge @ his head.)
  • The actual insecurity Ron suffered because of the dress robes, not just the comic relief side of it.
  • Helping Harry practice for the second and third tasks practically 24/7 (including letting Harry practice stunning on him!!! #dedication)
  • Getting Krum to sign his autograph + basically all of hIS HUGE CRUSH ON KRUM JFC
  • Just generally being there for Harry after Cedric even when Harry pushes him away

Order of the Phoenix

  • Again, just generally being there for Harry even when Harry is being an ass to him (+ the part where Ron desperately wants to tell him what’s going on but Hermione + all the adults insists that they can’t)
  • RON WEASLEY BECOMING A MOTHERFUCKING PREFECT
  • The year of quidditch which, although being an essential part of the book with the whole Umbridge arc, is not even MENTIONED in the film. Literally, it’s one of the only films that doesn’t feature quidditch yet it’s the book where I’d consider quidditch to be the most important.
  • Anyway, yes, quidditch. Ron getting a new broom and sneaking out to practice so he can try out for the team
  • HERMIONE KISSING HIM ON THE CHEEK FOR LUCK. I SCREAM.
  • Ron making it on the team and having very very very little confidence so he’s… quite terrible the first few matches.
  • The awful ‘Weasley is Our King’ song that Malfoy made and the Slytherins take to singing at. Every. Single. Match.
  • Ron gaining his confidence and destroying the other team at quidditch, during which, neither Harry or Hermione were actually there to witness it. And Ron is so happy and proud but when Harry and Hermione start talking about Grawp, instead of being petty and angry at them, he listens intently and tries to help
  • Always backing up Harry when Hermione is being slightly insufferable towards him and not really understanding of his needs. (e.g when she’s pressuring him to do better at occlumency and Ron tells her to back off)
  • The whole arc where Arthur gets injured and all the Weasleys are sat around the kitchen at Grimmauld place waiting for news + the parts in St Mungos (this was in the film a little but they really didn’t go into the effect it had on the Weasleys. Especially Ron and Ginny)
  • The miraculous plan they all come up with to get Harry into Umbridge’s office (which, admittedly, backfires, but hey. At least they tries) during which Ron plays a pivotal role, not just a struggling character in the background
  • Everything to do with the ministry tbh ??? From battling death eaters to the spell that makes him delirious to the brain almost suffocating him
  • Staying in the hospital wing with Hermione for the rest of the year and the scars all down his arms from where the brain attacked him

Half Blood Prince

  • When Hermione is talking about why girls find Harry attractive and Ron is all like ‘Look at me Hermione! I’m tall too! I have scars too!” 
  • Backing up Harry when he answers Snape’s question about inferi compared to ghosts (”Well what Harry said was the most useful! If I’m going to face an inferi I’m going to be looking for if it’s transparent not asking ‘excuse me are you the imprint of a departed soul?’” or something similar. Get wrecked Snape.)
  • All of the quidditch moments in this book are golden.
  • That moment where Hermione super awkwardly asks Ron to Slughorn’s party and Harry is just in the background like,,, what an interesting plant
  • Ginny antagonising Ron about never having kissed anyone and the subsequent Lavender disaster that followed
  • Everything to do with Lavender tbh. Like, their whole relationship, not just the comic version in the movies
  • Ron’s getting poisoned actually being a really serious thing and all his family showing up at the hospital wing
  • Pretending to be asleep when Lavender comes to visit (Ron Weasley how dare you, your mother raised you better than this)
  • Okay, I really want to make a separate post about this but the whole Luna/Ron friendship in this one is gold
  • I feel like we as a fandom collectively forget this one but Ron and the rest of the DA fighting the death eaters with felix felicis whilst Harry is up the astronomy tower with Dumbledore
  • Holding Hermione at Dumbledore’s funeral ???? Honestly that’s all I need in life
  • RON ‘WE’RE WITH YOU WHATEVER HAPPENS’ WEASLEY VOWING TO ALWAYS BE AT HARRY’S SIDE INSTEAD OF SITTING IN THE BACKGROUND LIKE A STALE POTATO WHILST HARRY AND HERMIONE PLAN

Deathly Hallows

  • Giving Harry the how to charm witches book and actively trying to start a relationship with Hermione
  • Comforting Hermione when she’s upset and not being awkward about it !!!! Character development (I’m seeing a parallel to the head pat in PoA, anyone else?)
  • Standing up to the Minister of Magic at the age of seventeen like. Honestly Ron Weasley is such a badass I love him
  • Literally giving up a life of comfort and security to go and live as a fugitive in order to help Harry
  • Pushing Hermione the fuck out of the way when they’re found by Death Eaters near Charlesbury !!! Like, this boy is so brave and self-sacrificing I’m going to cry
  • Falling asleep holding hands with Hermione @ Grimmauld place
  • The severity of his splinching after the ministry debacle
  • The very real concern for his sister and Harry + Hermione’s apparent apathy that triggers the fight between him and Harry, not some motive entirely brought about by jealousy as the movies suggest
  • Okay, not Ron, but the movies really didn’t capture just how unable Harry and Hermione became without him. They didn’t talk to each other, they didn’t communicate in any way for like 95% of his absence. They were literally unable to function without him I’m so sad.
  • Saving Harry’s life and, importantly, the conversation they had afterwards where Harry reassured him that his insecurities were unfounded. And the hug. Where was my hug,Yates? Where was it?
  • Ron once again assuming his role as the heart of the trio; making Harry laugh, keeping the spirits up, getting them to function again.
  • Malfoy Manor. Just. Malfoy Manor. “NO YOU CAN HAVE ME, TAKE ME!” “HERMIONE! HERMIONE!” Literally being so distressed and worried for Hermione that he OFFERED UP HIS OWN LIFE FOR HERS AND LOST THE ABILITY TO THINK RATIONALLY. CAn we just. 
  • Even despite the mental anguish he’s going through, Ron still manages to come up with a solution for where Dobby should take them
  • Again, despite everything that’s happening around him, Ron does a near perfect imitation of Wormtail’s voice
  • Disarming Bellatrix fucking Lestrange
  • Managing to successfully apparate for the first time ever in a very high pressure situation in order to get Hermione to safety
  • Taking his shoes and socks off to lay on Dobby’s grave
  • Going back to Hogwarts and the reunion with the rest of his family; including Percy, which I really missed from the books
  • Literally like everything that happened during the battle of Hogwarts but especially:
  • “We’ve forgotten someone!” “Who?” “The house elves!” Like, guys, this is such a significant moment for his character and I understand completely why Hermione chooses this moment to kiss him 
  • How wrecked he was after Fred’s death. Like, in the books Ron is actually there to witness it. He sees his brother die. I am Not okay.
  • Hermione having to physically restrain him because he wants to go and get revenge for Fred
  • Ron punching Draco in his slimy little face “And that’s the second time we’ve saved your life tonight you two-faced bastard!”
  • Offering to be the one to go to the shrieking shack ?? ALone ?? He says something like ‘Harry you can’t go un case they see you, wait here with Hermione, and I’ll take the cloak and-” when they all know it could be a suicide mission. I’m.
  • BREAKING VOLDEMORT’S SILENCING SPELL
  • I’m sorry let me just re-iterate: RONALD WEASLEY BROKE A SILENCING SPELL MADE BY ONE OF THE MOST POWERFUL WIZARDS TO EVER EXIST
  • Taking out Fenrir Greyback with Neville
  • Being the first to reach Harry after he defeated Voldemort, along with Hermione
  • Just the part where the trio go to Dumbledore’s office because I just. That’s such a nice and well rounded ending I’m going to cry
  • In the epilogue, practically everything about Ron is great but especially: “Don’t worry, it’s me, I’m famous”

In Conclusion

  • I love Ron Weasley so much
  • The films do not do him justice

- Admin Kat

(Feel free to reblog this with anything I’ve missed!)

heart4hawkeye  asked:

Would you rant more on the differences between the "born sexy yesterday" trope and Wonder Woman? Because I definitely some similarities and some differences but couldn't put words to all of them, and was discussing it with a friend, and could find the words to describe the differences.

Originally posted by casnelson17

Potential Spoilers Ahead!

Okay, let’s break down piece by piece why Wonder Woman is not an example of the Born Sexy Yesterday trope. 

The Born Sexy Yesterday Trope is …

when a naive yet capable woman

I won’t argue that Diana isn’t naive.  She’s very naive when it comes to philosophical ideas like the nature of war and humanity.  That, however, is not the kind of naivety that makes this trope work.  

Diana is not naive about sex/sexuality. People (usually women) who fall into into the Born Sexy Yesterday trope rely on their love interest (usually a man) to teach about love and sexual attraction because they have never experienced it before.  Diana knows what sex and sexual pleasure are (and probably experienced them before Steve came into the picture), she doesn’t need Steve or anyone else to teach her.  When men Diana isn’t interested in express attraction to her, she’s able to recognize it and turns them down.  When men she is interested in do, she knowingly reciprocates and the relationship progresses on her terms.

Diana’s naivety isn’t used to make her more desirable.  Innocence, virginity, and naivety are part of the appeal of women who fall into the Born Sexy Yesterday trope.  While Diana’s naivety doesn’t detract from her appeal, it’s not the driving component of it.  Steve (and the audience) fall in love with Diana because she’s a beautiful, badass warrior with a big heart, not because she’s naive.

Culture Shock is not the same thing as naivety.  Diana not knowing what revolving doors and ice cream are doesn’t mean she’s naive.  It means she spent her entire life in a culture that doesn’t have those things.  Yes, there are things she doesn’t understand that Steve has to teach her, but there are also moments where Diana has to teach Steve about her culture.  Steve is equally as confused and fascinated by Themyscira as Diana is about Man’s World.  And you don’t see that turnaround very often, if ever, in the Born Sexy Yesterday trope.

is the over-sexualized love interest

There is a difference between being sexy and being sexualized.  Diana is extremely gorgeous and many of her outfits show some skin, but she’s never over-sexualized.  No one ever walks in on her while she changes, allowing the audience to see her in a state of undress, and there aren’t any gratuitous upskirt shots or close ups of her chest or rear.  Basically, unlike women who fall into the Born Sexy Yesterday trope, Diana exists to be more than just eye candy.

Also, there is a difference in having a love interest and being a love interest.  To have a love interest is to fall in love with someone over the course of a story while also doing other things.  To be a love interest is to serve as an object of desire and have little or no role outside of that.  Diana falling in love with Steve was just one part of her story.  An important part that had a big impact on the story, yes, but it wasn’t the only thing she did.  Much of her growth and development as a character happened outside of that.  Being a strong, female character, and being a woman in love with a man aren’t mutually exclusive.

And as for ‘Diana falls in love with the first man she meets so it’s the Born Sexy Yesterday trope’, that’s a misleading oversimplification (not to mention a little biphobic).  Diana doesn’t become immediately smitten with Steve the moment she lays eyes on him because she’s never seen a man before. Their relationship grows and develops over time until they both mutually fall in love with each other.  Diana also meets other men throughout the movie and develops relationships with them that aren’t romantic.  She doesn’t fall for every single man she meets.  She’s also canonically bisexual and she may have had relationships before Steve.  Meaning her relationship with Steve would be her first with a man, but not her first ever.  

 to an average, male protagonist.

First off Steve Trevor is above average, so jot that down.

He’s also not the protagonist.  There’s a reason this movie’s called Wonder Woman and not The Saga of Steve Trevor. This is Diana’s story. She is the heart and soul of the movie, and she doesn’t exist to play second fiddle to Steve.  The point of the Born Sexy Yesterday trope is to exist as an object of affection in another person’s story.  Maybe it can still work when the protagonist and the person the trope applies to are one in the same, but I can’t think of any examples. 


So yeah, there’s some elements of the Born Sexy Yesterday trope in the movie, but like how having eggs, flour, and butter doesn’t mean you have a cake, having those elements in the movie doesn’t mean you have the trope.

My thoughts on ‘Tales From The Yawning Portal’

I received my advance copy of @dndwizards​’s new book Tales from the Yawning Portal not quite a week ago. If you haven’t heard of this book here’s the gist of it:

TftYP is a collection of seven ‘classic’ dungeon adventures from D&D editions past, all updated with fifth edition rules. In this book you get…

  • Against the Giants (AD&D)
  • Dead in Thay (D&D Next)
  • Forge of Fury (D&D 3e)
  • Hidden Shrine of Tamoachan (AD&D)
  • The Sunless Citadel (D&D 3e)
  • Tomb of Horrors (AD&D)
  • White Plume Mountain (AD&D)

All of the maps and layout have been updated to make them easier on the eyes, while their traps, monsters, structure, and challenges remains largely unchanged. TftYP is a ‘best of’ book, rather than a remake or reboot of these adventures.

If you’re a millennial who got into D&D through things like Acquisitions Inc, The Adventure Zone, or Critical Role, my take on this book is gonna be of interest to you…because this book might be specifically FOR YOU.  

Originally posted by ewzzy


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for you pt. 10

Pairing: reader x Taehyung

Genre: badboy!Taehyung, angst, implied smut

Word Count: 5,1and something

A/N: Did y’all really think I wasn’t going to update before i left!? THERE IS ONE MORE PART LEFT. I AM EMO ABOUT IT SO PLEASE DONT ASK WHEN IT WILL COME OUT BECAUSE I AM SO FUCKING EMO ABOUT THIS YOU DONT EVEN KNOW

originally posted by vminv

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9 Part 10 Final

The door to the coffee shop opened with a bang as the handle of the metal door slammed into the wall behind.

“Sorry!” you heard a familiar voice shout as she made her way through the coffee shop and towards the counter.

You turn around to see Mina slamming her expensive bag down on the counter, and pull up seat. She is staring at you, giving you a look that can only mean one thing. You were in trouble. She waits, folding her hands in her lap as she waits for you to tell her what you hadn’t.

 But her short fuse gets the best of her, “When were you going to tell me that Taehyung was back?”

 "You’ve been busy.“ you shrug as you try to occupy yourself with the rack of clean dishes in front of you.

 "That’s no excuse, Y/N. We’re best friends. We are supposed to tell each other everything,” she hisses.

 A glass slams on the counter with a little too much force as you turn your attention to your best friend. She’s staring at you, unsure where your emotions are coming from. It is very rare that you raise your voice to anyone, especially Mina. That was her niche.

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anonymous asked:

ana bear, can i ask you something? can you write little quirks and mannerisms you love about our shining babes? like, a eprsonal trait, a habit, all things you think define them (like Taem's magic hands and stuff)

yes y e s  of course I can and I’ll be glad to - let’s start with:

taemin

quirks/mannerisms

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Study Partner (Taeyong x Reader)

Rating: M, with a side of fluff

(A/N) How goes my fellow nut busters? I’m jumping right onto the request train by giving you some fluffy and a little smutty study partner Taeyong! While our resident being of perfection may have enough sex appeal to shut down a male stripper convention, I think Taeyong/s sweeter side needs a bit more loving too. So I hope y’all enjoy this one because it was really fun to write!!

Originally posted by teeuai

Staring out the window of your classroom like some angsty anime character was one of your favorite pastimes. You wished every waking hour you were in this hell hole of a school to be outside, riding your bike through the streets, picking flowers in the park, playing in the stream that ran through town, anything but this class.

It’s not like you were bad at writing and literature, in fact, you were exceptional, the brightest in your class. But you hated the teacher, hated what he made you write. You didn’t want to write about the characters in a Greek tragedy, you didn’t want to analyze Jane Austin, you wanted to write soaring stories about adventurers, magic, and romance. This class made you despise writing, and you loathed that, because writing was one of your secret passions.

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Sick Day

Characters: Dean, Reader, Sam

Summary:  Dean has the flu

Word Count:  2311

Warnings:  None. I think I fluffed.

Tags are at the bottom.  As always, feedback is welcomed and appreciated.

Sick Day

Kicking the covers off, you give up. Dean has been tossing and turning all night, and you can’t take it anymore.

Crossing to the other bed, you shake Sam gently. “Mmm…” he answers.

“Sam,” you say, shaking harder, “Sam, scoot over.”

“Hmm?”

“Scoot over.”

He rolls over onto his side and you climb into his bed. When the three of you had to share a room, you always opted to sleep with Dean. Sam tends to take up the entire bed with his massive frame. Dean isn’t much better, but you still end up with a little more room in his bed.  

Sam rolls back over onto his other side, snoring softly. Dean moans incoherently in his sleep from the other side of the room. You’re not sure if bunking with Sam is an improvement in your sleeping conditions, but eventually, you drift off to sleep.

———

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Fate is a bitch - Bruce Wayne x Reader

Warning : I was drunk when I wrote this, just coming back from a friend place…I drunk two beers, and that’s enough for me to get drunk, how weak am I right ? It’s because I never drink…Anyway, that’s why this fic is shittier than usually blahblahblah it’s all fun and game until blahblahblah I thought about not writing this and posting it, but then I promised two stories for tonight so still did it and I’m an idiot yes thank you very much. Look how great Bruce looks down there. Damn hottie. DAAAAAAMN HOTTIE. 

Decided to group two requests, because the two together inspired me. So here for a shy reader, newly a Justice League member, intimidated by the Bat. As usual, feedbacks are very welcome, hope you’ll like it :

PART TWO

(My masterlist blog here : https://ella-ravenwood-archives.tumblr.com)

________________________________________________ 

Destiny. 

You strongly believed in Destiny. 

No matter what people could say, how many arguments against it they had, and how much they were sceptic about it…it wouldn’t change your mind. You strongly believed in Destiny.

Because it was impossible only coincidences brought you were you were now…in the Justice League’s headquarters ! 

It wasn’t a coincidence that your path crossed Billy Batson’s, aka Shazam, one of the most powerful superhero in the World (though he was barely ten years old), and that you ended up adopting him.

It wasn’t a coincidence that you so happen to be a meta-human too, being able to manipulate the four elements. 

It wasn’t a coincidence that your son got noticed by the Justice League, nor was it a coincidence either that soon, the leaguers discovered he was only a ten year old boy in the body of a grown ass man (when he used his powers) and therefor, discovered that he had a mom…you. Who almost grilled Superman because you thought he wanted to hurt your boy. 

You believe strongly in Destiny, because hell, if all those chain of events were just coincidental, then wow…It just didn’t make sense. It was just too good to be true you know ? From your first meeting with four years old Billy to now, sitting in the League’s headquarter, in fucking Space ! 

The first one you met was Batman, and damn that guy was intimidating…But when he spoke to you, and when he congratulated you to have raised such a good boy as Billy, something weird happened in your heart. 

At first, you pegged it for a stupid teenage like crush. Like the slight infatuation you’d have on the most popular boy in school, or on a teacher, knowing damn well you’d never have a chance with them. But then…Then it was more than that. The more you saw and talked to him, the more you had…feelings stirring in your belly and such. 

Destiny. You strongly believed in it. 

So, when you started to fall for the Bat, you decided it was also Destiny…Only, sometimes fate could be a bitch, and would destin you to be a sad miserable human being. Because there was absolutely NO chance that you’d ever get with a guy like Batman, he was way out of your league. 

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Yousana's Endgame Symbolism

This is quite a long analytical post so bear with me. If you read the whole thing, thanks and also, I commend you. Below is my analysis on the idea of fate and all the symbolism that makes Yousana, endgame.

Swan:

This animal has different meanings but for the most part it is the symbol of beauty, strength and loyalty.

Swans are associated with fidelity, loyalty in marriage, and monogamy, because they mate for life. Everlasting love.

They are also associated with transformation of something into something beautiful.

Blue Scillas:

The Scillas mean a couple of things: constancy (the quality of being faithful and dependable, and also the quality of enduring or being permanent) and it is also associated of forgiving and forgetting.

Yousef gives these flowers to Sana, as a symbol of his enduring and faithful love for her). Sana keeps these flowers way past their lifetime, by her bed. She forgives Yousef for kissing Noora, and forgets it too.

Carrots:

The symbol of fertility and lust. It is also seen as a symbol of spiritual nourishment.

This season the carrots symbolize her desire and love for Yousef. Initially, Sana is drawn to Yousef only physically and seeks to appeal to him physically as well. During Inshallah, she eats the carrot, delicately, while staring at Yousef. It’s very sexually suggestive at first (lust). But then, in the kitchen, it evolves into something more profound.

The carrots bring them together, and are what start the true spiritual connection between the two.

We see carrots throughout the season. They are a representation of their spiritual connection and their attraction for each other. At one point, Noora chews on one, loudly and annoyingly. Then we see rotten carrots on the floor, when all seems lost. The carrots appear once again, except Sana is holding one, without doing anything with it. Finally, the carrots reappear in cooked form in their final date, and they both eat them happily, and at the same time; meaning their connection is complete and they have both accepted the fact that they love each other and want to be with each other in every way.

The Number 12:

This one has been sneakily thrown at us throughout the season. It’s been slightly more subtle than the others. The talk of 12 kids, “One dozen eggs” hanging in Sana’s kitchen, Yousef asking if he’s “12 or what?”

Now according to various sources, the number 12 is the symbol of cosmic order, completeness and perfection. Which is really what they both are, when they are together. They complement each other, and balance each other out.

Fate:

Finally, although this isn’t symbolic, the idea of fate, it is meant to be, it is written in the stars and if God wills it.

Throughout the season, every single thing points to Yousef. Everything Sana does, reads, hears, no matter what she does or how she tries to avoid it, points to Yousef. Somehow, “the roads she takes” lead to him.

This is seen very pointedly in a few scenes:

Fy Faen: Sana is standing alone, balloons blocking her face and view. As soon as Yousef stands in front of her, the balloons magically move out of her way, giving her full view of his face.

I Feel It Coming: She’s praying, and at that moment the music plays. She walks out of her room and right into Yousef. Elias could’ve been there with him, or she could’ve entered through the bookcase room where Elias was. But no. Right into Yousef.

Inshallah: The most obvious one. Sana’s mom asks Sana about who will feed her children, and if she’s going to let them starve. Her response: my husband will do the cooking. “Inshallah”. And then Allah wills it, and minutes later, Yousef walks in and shows her how to peel carrots properly. How does he know? He cooks FOR CHILDREN at a kindergarten. It gives me chills whenever I think about it.

Unfriended: After finding out that Yousef isn’t Muslim, she decides to unfriend him and move on. She researches ways to get over someone you love. The final shot lingers on the final rule of getting over someone you love: Remember, There Isn’t Just One Person Out There For You.

Det Beste Fra Islam: After following the rules listed in the article, she goes to Grønland, to meet the next love of her life. A cute, good Muslim boy. As fate would have it though, Elias somehow ends up getting wasted and she ends up spending her evening with Yousef instead.

Spiller Alene: She’s throwing the ball, trying to score. At some point the ball bounces back, past her, as if pushed by a mysterious force,and lands directly at Yousef’s feet.

Kitchen Talk: Momma Bakkoush discovers that it is Yousef, the one Sana loves. She doesn’t dissuade her from pursuing something with him explicitly, but goes on to list all the ways Yousef isn’t good for her and explains exactly what she needs in a husband.

Maghrib: So far, her mom has given her the most logical explanation ever as to why her and Yousef would never work, and Sana is strong in her decision to forget him, because by all logic, it makes absolute sense. She says “I’ll meet other soulmates in the summer”. Then…Allah wills it once again, while she’s praying, and I feel It Coming starts playing. At the most perfect time. Everything points to Yousef.

To top it off, Yousef, again as if invoked by Sana’s mom’s words, goes on and demonstrates that he is the one for Sana, and shows her, inadvertently, that he’s exactly the man Momma Bakkoush wants Sana to marry.

The most beautiful part of this season has been the inevitability of Yousef and Sana as a couple, as life partners, and their love story. The mystical nature of their relationship and the forces that keep bringing them together. You just know they will end up together forever. There’s no doubt about it. It is beautiful and I’m glad Skam went there.

P.S - The songs: This is the only season where songs have been played more than once, in a season. Straumnes, 5 times; Into The Woods, twice. I Feel It Coming, twice. Again, just continuing with the pattern of constancy… There it is.
Soulmate Joshua

Part of the Seventeen Soulmate Series

Your soulmate must have been an incredibly careful person. Incredibly careful. Because you were pretty sure you had barely ever received anything from them. You had grown up watching your friends gasp happily whenever they discovered some new item showing up in their backpack, or when they reached a hand into their pocket, or even materializing under their seat or at their side.

Sometimes, it made you a little sad, to have less of a connection to whoever your soulmate was, but at the same time, it was endearing to see how careful they were.

And besides, you knew they were out there. One time, right before a really important assignment where you had to give a speech, you lost the flash drive with months of hard work stored on it in the form of your notes and your power-point presentation. Right in the midst of your panic and stress, suddenly, out of no where, the flash drive popped back onto the table in front of you.

Your soulmate had lost it on purpose. So that you could have it back. The thrill of the encounter made you so confident that the speech went better than you ever could have expected. You could already feel yourself loving your incredibly careful, incredibly thoughtful, soulmate.

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A Series of Unfortunate Events : the recipe to a good adaptation

This is a short analysis of the recent adaptation A Series of Unfortunate Events by Netflix. I will not mention everything here, it would require much more time and analysis but here is a general appreciation. Careful for spoilers !

Adaptations are quite tricky to accomplish because being true to the original work while bringing novelty to the piece is not so easy. The best adaptations are often the ones that manage to channel the spirit of the original work. A Series of Unfortunate Events is a very successful example of this. It was already visible in the first trailer where Lemony Snicket actually walks on the set of the filming to tell us not to watch this series. Right here, you have three core elements of the original series : our narrator-character, the breaking of the fourth-wall and the plea not to look into this horrific story. That last element actually is a known way to catch the reader/viewer’s attention and make him want to know more.

When it comes to A Series of Unfortunate Events, the character of Lemony Snicket is crucial. Therefore the adaptation needs to be perfectly true to his features. As a child, I really believed Lemony Snicket was this mysterious author hidding from malevolent authorities. The fact that Lemony is actually out of the story ,since he is the author/narrator, and a full part of it builds the whole myth around this series.
When I saw the movie, I did not get that feeling of mystery around Lemony mainly because it is not cleary explicited that he is part of all this : the viewer doesn’t see on-screen any important hint that Lemony is a central character of the story, he is presented above all as the writer.
In the Netflix series, Lemony is the first person the viewer visually encounters, just like in the books. The fact that you can see him entirely makes him a reassuring presence throughout the show : he is your guide. The show stages this aspect very cleverly by blending Lemony in the situations the Baudelaires find themselves in, usually through his costume.

Thanks to this process, the narrator’s role is fully depicted. A narrator that addresses directly to the reader/viewer is usually out of the story and Lemony is indeed “out” since he is telling the events. But Lemony is also “in” as an important character. The show drops hints along the way which keep getting bigger gradually : his investigation, the letters to Beatrice, the fact that he is being chased, among other things, and of course the reveal of the picture with Olaf in the last episode.

All these proofs show that Lemony really is involved in this story. It is very fortunate that they kept the dedications to Beatrice at the beginning of each segment of the story because she is the one who ties Lemony to the story. She actually acts as his muse, she is the main reason why he writes, the name Beatrice being a reference to Dante’s own muse.
Since he is an « in-between » character, literally the bridge between you and the story, Lemony is the one who constantly breaks the fourth-wall. This aspect is so crucial in A Series of Unfortunate Events. It allows Lemony to act as the antic chorus or Prologue : “If you are interested in stories with happy endings, you would be better off reading some other book. In this book, not only is there no happy ending, there is no happy beginning and very few happy things in the middle.” (The Bad Beginning).
With those few lines, the essence of the plot is completely laid before your eyes, just like the ancient tragedies. In the series, apart from those lines, the opening song has the exact same role : “Every single episode is nothing be dismay.”
The breaking of the fourth-wall is also at the core of both series because story-telling mecanisms are explained through it. In the Reptile Room, Lemony explains the dramatic irony which is then again an aspect of the antic tragedies. As I remember it, the book series crossed the fourth-wall to teach something to the reader : a word, writing techniques and less straightforwardly, literary references. All these elements were fortunately brought into the show as well.

Now Lemony is mainly the one to break the wall, as allowed by his narrator status. What is unsettling for the viewer is when Count Olaf breaks it, usually to advertise the TV show and stare at the camera for a couple of seconds. This leads to the other important aspect of an adaptation : the creativity. The writers did not only represent Olaf, they actually add depths according to the new medium : what would Olaf do if he was in a TV series ? Break the fourth-wall and sing its opening sequence !

A short word on the amazing cast, especially Neil Patrick Harris who pulled out a very good Count Olaf. This character is very complex to play, he needs the right amount of villainy, humor and the talent of an actor who can play a character playing other characters. Jim Carrey brought too much of his own eccentricity to the character and you saw more of the actor than of the character. Neil Patrick Harris really understood and nailed all of Olaf’s facets.

Hence adaptations would be rather dull without creativity and novelty.
Sure a lot of dialogues are actually taken word by word from the books because they are good as they are but an adaptation needs to adapt precisely even more when the media is different.

A book and a  TV show are of course very different mainly because of the images. In a book, a description can only be completed by the reader’s imagination. In a show, what you see allows very little space for imagination. This is why a successful adaptation is one that can get the spirit, the ambiance of the world, conveyed by the original words, and transcripts it on screen. From the language of worded images to the language of filming.

The unsettling ambiance, the faded colours and surreal pastel imagery are very fitting for the Baudelaires’ story. The main aspect of the series is its dark humor and stories that you find rarely in children’s book : one death if not more per book, usually a gruesome one. The TV show manages to render the baudelairian world : this very specific atmosphere, the feeling of being oppressed by all the places in which the Baudelaires find themselves.

Finally the most important aspect of an adaptation is that it must appeal to all audiences.What is complicated about making adaptations is that they are received by two different audiences : the one who knows the original material and the one who doesn’t and their first interaction with the original universe is through the adaptation.
That’s why getting the atmosphere right is so important, it shows the specificities of the work in another way which should not “betray” the original story.
An adaptation is full of references that will be immediately recognized only by the ones familiar with the original piece. These references show the adaptors love for the original work and also creates a complicity between them and the well-aware viewer. Which book lover did not scream at the sugar bowl in episode 2 or at those four simple words : the world is quiet here ?The beauty of references is that they are hidden, they could be seen as completely normal by an unaware viewer : the scene of the sugar bowl seems very innocent.

It allows the adaptors to play on what the reader already knows. Take the first appearance of the Quagmire mother and father: most of the book readers thought them to be the Baudelaire mother and father even though they know very well it is impossible. This builds up until the revelation in the first part of the Miserable Mill. Not only this plays with the well-aware reader but also stages already the Quagmire trio and most of their backstory. Being already intertwined since the first episode with the main story, they meet naturally at the end of the season and do not appear previously unmentionned like in the books.

As thrilling as this is, if the adaptation is only met for the experts, it won’t be a total success. An adaptation also needs to speak to new viewers who have no knowledge of the original work. This is why there is a need for balance of references so the newcomer will not spent his time on Wikipedia trying to figure out what happens. How the series introduced right away the Quagmires is actually rather clever : it allows the newcomer not to be lost in all the key characters.

Lastly, this show really catches the core humor of the original work by playing on the fact that it is an adaptation and therefore needs to depart sometimes from the original sequences. At the beginning of the Miserable Mill (episode 8), Mr. Poe freaks out because the Baudelaires are gone and in the middle of his panicked speech, he says : “It’s off-book !’. And indeed it is, because in the books the Baudelaires don’t go to Lucky Smells Lumbermill by themselves but are brought there by Mr Poe. An adaptation makes choices and the show plays on that aspect.

Of course, this show would need a 300 pages-long essay because of all the references and allusions not only to literature but also foreshadowing the main story. This show completely smashes the movie adaptation which did not manage to really transcript well neither the atmosphere nor the characters.

Remember, an adaptation is not a search of perfection because it will never be exactly like the original material. The change of medium requires changes in the story and the story-telling. The intelligence with which the choices are made makes all the difference between a good and a bad adaptation.

Okay, so, I stepped into the Iron Bull tag, which given my current introspective mood (I’ve been drafting parts of Prodigal and it always leaves me thinking about Bull’s nature when I do that) was probably a mistake.

Because now I’m gonna write what I’ve been trying to put into words since the Bull tag started exploding.

Obs. beyond this point are spoilers for Trespasser. I realise my blog hasn’t been spoiler-free at all these past few days (I’m excited dammmit!) But I’ve been trying to tag and warn everything, and keep it solely to the text post. That said, if you do not want to be spoilt, do not read this post.

Okay, here we go.

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The Anatomy of a Blowjob

please place all blame squarely on the shoulders of @caramelkru WHERE IT BELONGS

rated M
read on ao3 here

If there’s anything Bellamy has learnt in all his years of life, it’s that the more alcohol someone puts into his friends, the more ridiculous the texts they send him are.

For example, one time Miller messaged him at half one in the morning asking him if he knew where he could find breadfruit because it was ‘super important’. Another time Murphy sent him the entire Bee movie script, which resulted in his number being blocked for at least a month.

Honestly, those aren’t even the worst of it.

Tonight, he’s decided to stay home, so he’s expecting the usual barrage of texts, as well as a slurred phone call around 1am from someone asking if they can either crash on his couch, or for a drop home.

Sometime after nine, his phone buzzes, and he’s halfway through getting ready to tell Octavia that no, he can’t spare a few hours to come hang when he has a veritable mountain of grading to trudge through, but stops short when he sees that it’s Clarke.

[9:24pm] Clarke: are giving blowjobs like riding a bike???

[9:24pm] Clarke: as in, you never forget how to do it no matter how long it’s been??

His phone doesn’t quite slip out of his hand when he reads it, but comes startlingly close to, and he finds himself fumbling to keep it within his grip, accidentally opening his camera in the process. Meanwhile, the pen cap he was gnawing on while marking essays falls out of his mouth.

The text is still there by the time he rights himself and gets back to his messages, and he fucking pinches himself to make sure he’s not dreaming.

Finally, he manages to gather his bearings long enough to type back,

[9:28pm] Bellamy: How the fuck am I supposed to know???

He’s still staring dumbfounded at his phone, trying to wrap his around all of this, by the time she replies, sending several texts in quick succession.

[9:30pm] Clarke: because you’re the only other mga person in our friend group

[9:30pm] Clarke: well, besides raven, but she only ever dated guys before luna and idk luna that well to ask her about this

[9:30pm] Clarke: but you’ve only hooked up with girls for a while before hooking up with a guy right?

[9:30pm] Clarke: so like, was it hard??

[9:30pm] Clarke: pun intended lmao

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Leather

Written for @thing-you-do-with-that-thing’s favourite things challenge.

Prompt: leather jacket

Dean x reader (established relationship)

Words: about 1300

Warnings: smut, sorta rough oral (male receiving), unprotected sex.

Beta: the ever lovely @mamapeterson

You loved everything about it; the rich smell, the way it felt between your fingertips, the way it hung over his broad shoulders. It was a bit old, you’d agree to that, but Dean was born to wear it. That was why you were so stunned when he came home with another. It was nice, black and soft, with a rock n’ roll edge to it. That being said, it could be as nice as it wanted to, it wasn’t Dean’s leather jacket.

“You got a new one?” you eyed him curiously and walked over to him. You let your fingers glide over the new, black leather. “Aren’t leather jackets sorta expensive?”

“Let’s just say I got a bit of a discount, sweetheart,” he said, winking at you, the green of his eyes twinkling in the light seeping into the motel room from the window. “You like it?” Dean puffed his chest out, trying to give you the full effect of his new purchase.

“Sure,” you said and tried your best at a convincing smile, “but you didn’t throw the old one out, did you?”

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anonymous asked:

Did you like this chapter? Thoughts?

Yup, I liked it a lot. Thank you for asking this question, because I have many things to say about this chapter. Forgive me in advance for what I feel it will be a long reply. 

First of all, I was surprised (though I shouldn’t have been) at Akira’s coldness towards Kaneki. I get where she’s coming from and I understand how hard it must be to digest this sudden change, and everything that goes with it. Flat out acceptance would have been unrealistic and the result of bad writiing, because Akira couldn’t possibly have gone from a mindset in which she represented Justice, and she had no reason to doubt her moral standing, to one where she must admit to herself that her worldview was limited and bigoted, and that the world isn’t as black and white as the Academy would have liked them to envision. 

Despite that, I wasn’t expecting for her to shut Kaneki out completely (and for killing Arima on top of that, which is a lie for f*** sake Akira c’mon, you can figure that much out!), because however confusing her feelings might be right now, he’s one of the few people she’s closest to in Goat, and that’s true the other way around, too. I feel like Akira needs Kaneki’s perspective on this new situation she’s been forced into by her own rash decision-making, because unlike Seidou or Amon, who are in it because of circumstances, Kaneki is her only ally that’s in it because he fully believes in what he’s doing. Amon is getting there, too, what with his forgiveness of Touka and with his newfound way of channeling his anger and grief towards the unfairness of the world instead of random scapegoats like faceless “Ghouls”. But I don’t know. I feel like Kaneki’s perspective is important, too. And having Akira’s approval is even more symbolic for him, I reckon. 

She’s still a mother figure for him. We all can agree of how positive of a character development this could lead to, if he were to finally have a healthy and supportive mother figure for a change. Eto has always used him for her machinations. He needs someone who can guide him and respect him without asking anything from him, without taking anything from him. Akira can (and will) be that person, imho.

Anyway, I’m positive that she’ll come around eventually. She’s smart, strong-willed and perceptive. There’s no way she won’t pull herself together in order to follow her heart instead of suppressing her feelings and get things taken from her, even if her whole narrative wasn’t centered around the theme of being left alone. She just needs a bit of time to sort out her feelings and find a new reason to fight. and that can happen only after she talks it out with a few characters currently part of Goat. I’m really looking forward to her confrontation with Hinami and Touka in particular, though I’m also curious about her feelings towards Takizawa (if he’s not dead). 

On a side note, I really love how Ishida pointed out the irrationality of Hinami’s feelings towards Akira. Grief doesn’t obey logic, and even though she does realize that Akira has nothing to do with the cold-blooded murder of both her parents, she can’t help but associate her with it, anyway. It’s a curious diversion from the usual theme that states “the children pay for the sins of their parents”, because even if Akira didn’t do anything wrong per se, she’s not innocent, since she did approve of her father’s doing and she would have done the same in his place. She doesn’t see Ryoko’s and her husband’s death as a sin at all, and instead used the quinque derived from Mr. Fueguchi with the obvious pride of someone who thinks they’re fighting for the right side. So I’m curious as to how Ishida intends on smoothing out this particular conflict, and how it will affect both Akira’s and Hinami’s character development. 

Forgive me for my obvious bias, but Ayato too deserves a small mention, here.

This scene gives me SO MANY FEELS for so many reasons ;n;

The way I see it, this scene wasn’t portraying just Hinami’s grief. Just look at Ayato’s expression right before he goes to comfort her. Ayato knows where Hinami’s coming from. He too lost both his parents, and he too knows what it feels like to have his own life saved at the cost of his mother’s, who chose to stay behind in order to buy her children time to escape. Just. He knows how she’s feeling because he’s already felt it all, too. 

I love that their relationship isn’t based on forced companionship. It might have been like that at first, but they grew to be such mature and strong people thanks to the support and trust they gave to each other, thanks to the shared burdens and mutual understanding of each other’s pain. Idk, this scene might have been really brief but it meant a lot to me. 

Moving on: Amon and Touka’s talk. *Deep breaths* What can I say. It beat all possible expectations I might have had. 

I think that in a sense it was exactly Amon’s unyielding sense of justice that brought him where he is now. He says it himself: he doesn’t hold a grudge against Touka specifically anymore, but he would have arrested her anyway, if he was still an investigator. That was the right thing to do; setting a moral example for everyone to see so that no one else will have to undergo the same pain. That’s the kind of justice of a ghoul investigator. But this sense of justice itself was flawed, because it didn’t take into account Touka’s own take on justice, and how it was Mado the bad guy from her perspective. So arresting her can’t be the answer. Not only that, but he’s no longer an investigator, so he can’t appeal to the sense of justice of one. 

He himself has changed, and so his moral grounding has to change, too. So then, it comes to this:

This scene is one of my favourites of the whole chapter because it doesn’t just represent Amon’s character development, but also Touka’s absolution. You see that shocked face Touka pulls? I can assure you that Amon’s forgiveness means a great deal to her. This was Touka after Ryouko’s death:

“It doesn’t matter if a murderer like me dies.”

She doesn’t sugarcoat it for her own sake. She’s aware that what she does, killing people to survive, is wrong. She doesn’t conveniently brush it off as something she needs to do because she’s born that way, unlike other characters. She’s always felt this conflict more than other people. Killing never came easy to her, and deep down, she feels obvious guilt over what she does. So having Amon, a former human and enemy, come to her specifically with the intention of telling her that the real evil is not her nature but the circumstances that make men monsters, is really important for her character. For the first time, someone who has every right to hate her, to want her dead, is offering her acceptance. If Kimi’s comment about Touka’s kagune was meant as a “you’re as valid as I am” moment, I consider this talk with Amon as a “you’re as evil as I am” moment. Both were very important for Touka’s character development, and a necessary step towards her own acceptance of her dark past in order to move forward. 

Then there’s Furuta’s moment of glory. Gosh, he leaves me speechless every time. :’D The way he’s not taking the ceremony seriously is very significant imho. Once again, he proves that his role in the story is that of the comedy to Kaneki’s tragedy

Take this single panel as an example:

Kaneki’s group is facing an internal crisis? Meanwhile, Furuta is at the peak of his power. Kaneki despairs because he’s a horrible leader and his organization is only held together by the lack of other options, meanwhile Furuta laughs in the face of his own success, and all of his scheming give way to the exact outcome he’s envisioned. 

I love how he keeps being the comedic aspect of this whole tragicomedy of a story, how he keeps up the facade of the “six year-old” while feeling dead inside, and I love how he chose to wear a stupid mask the moment he reached his goal, because it only stresses further the artificial nature of his own playfulness. 

Just think about it from a narrative perspective: this is the moment that we, as readers, should feel threatened by him. This is the moment he officially becomes the Enemy, because everyone in the CCG accepts him as the leader. Instead, we laugh at him. We don’t feel threatened at all. We’re asked not to see him as the final villain, but as a joke, as another victim of the system. A guy who in his moment of glory, when everyone’s looking his way, chooses to wear a mask, and chooses to treat his victory as a laughing matter. Idk, the more I think about it the more it makes me want to cry. This guy doesn’t have anything (or anyone) else but his sense of humour, and he clings to it like a lifeline. It’s such a lonely, empty existence… I know I shouldn’t pity him after all he’s done but…

Anyway, anyway. This post is already long as it is so I’m going to stop there. Thanks again for giving me an excuse to vomit all my thoughts/feelings of this chapter! o/ I hope it was an interesting read :’D

anonymous asked:

Hey there! 😃 I want to buy my first tarot deck, but first I want to know some things, like, how do you bond with it? How do you get to know it? I'm pretty new hehe😅 oh and is there something else I should know first? Thank you in advance!😄

There are many ways to bond with a tarot deck tbh; I talk more in-depth about it [here]. I don’t just want to copy-paste the same information if it’s already on my blog, ya know?

Here is another post on [Ways to Bond With Your Tarot Deck].

Some other useful tarot posts:

You can find many more useful posts in my [#tarot tag].

Introductory tarot spreads:

I think the big things to keep in mind are…

Go with a deck you feel drawn to / like the art style of. This will help with bonding with it, at least it did in my circumstance. The first big thing I heard about tarot was having to like the cards, at least a bit, because it helps form a connection on its own that can then be built off of.

What sort of art style that is, is up to you. Some people say the cards that feature the traditional tarot symbolism are the easiest and best for beginners, because they try to tell the meaning of the cards in the art itself, so you begin to rely less heavily on the book. Which is great, if you’re into that. If you think you will understand the card readings without the symbols, go ahead and get whatever appeals most to you.

Speaking of the book, it’s okay if you have to flick through it to find card meanings. I’ve been reading for over two years, and my crap memory prevents me from memorizing all 78 card meanings. And it does come with time. I definitely know a good portion of the cards by general memory by now, but not all of them. You are not a bad reader if you still use the book.

Your deck does not need to be gifted to you, or secondhand, for it to be powerful. This was another one that I heard a lot of starting my own tarot journey, and I have bought every single one of my decks. They are all powerful in their own ways, and ridiculously (painfully) accurate. Not everyone has people in their lives who read tarot who can gift them a deck, and some people really like to hold on to their decks anyway. It isn’t necessary.

It will take time and practice. I was doubtful of all my readings at first too, but seriously, the more you use them, the more familiar you get with the cards, the easier it will be to tell what they might mean in a situation. It’s important to pay attention to your intuition, your initial gut feelings when you see the cards - sometimes that proves to be the more accurate answer than what the book may say.

It’s also good to sometime deviate from the book. If you find this card keeps showing up in these sorts of readings in similar positions, take note of that. Not every deck behaves the same, so while one deck may show a pattern like that, others may not. They are each unique and have their own reading style as well as art style. Your deck will show you its reading style in time. (Mine are all really straightforward, blunt, almost in a harsh way, but they know I need to be told it like that or it won’t sink in / impact me.)

Okay, that’s what I’ve got for now, I hope it helps. Best of luck to you on your tarot journey!

Why Aren’t my Spells Working?

A break-down of why your magickal intent may not be taking effect in your life

Hi there! So, if you’re reading this, you’ve probably had this problem at one time or another; in fact, almost all witches experience a ‘fizzled’ spell every once in awhile… but what happens when you’ve been casting multiple, and they all just won’t take? Here are some reasons why this could be happening:

Originally posted by cherrycola-crystals

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  • The spell was not transferred enough energy to take effect. Think of this as filling up a balloon with helium ~ If you don’t put enough in, the balloon with just roll around or float a few inches above the floor, rather than floating high in the air like you intended for it to do. This can also happen with spells! There needs to be enough energy transfer (The energy you put in, the energy you’ve taken from something/someone else, etc.) to allow the spell to ‘take hold’ and manifest strongly and in the way you preferred. 
  • You’re not helping the magick along when it requires you to do so. For many spells, such as magick geared towards jobs, people, physical events, etc. there needs to be more than just one magickal variable working towards your intent to manifest. You need to work for it; If you cast a spell for a job, you also better be turning in that application and resume along with it ~! A spell can increase your chance, luck, and appeal, but it cannot contact your employer and set up an interview. 
  • (A break-off from the above reason) Your conditions just don’t allow the magick to materialize easily. This is the most possible to happen in weather spells, such as those to bring heavy rain to a dry climate area, or magick for something that your life/area just cannot manifest. For example, imagine somebody trying to cast a spell to ‘make one of their friends fall in love with them’ whilst having not a single friend in their life; the spell is incapable of materializing, because their are no variables for it to work with! It is a sad thing to think about, certainly, but this example shows how casting a spell that is wrong for your life situation can cause it to work improperly or not at all. (Tip: This person should have cast a spell for new friends first! This also shows how you may be casting spells that are wrong for the situation) 
  • Your wording was not the best. Similar to how people will often word things in a positive or future-tense manner (EX: ‘I AM BRAVE’ / rather than ‘I WILL BE BRAVE’) during spellwork or how in some fairytales the genie will grant a wish in a horrible way according to the wording of a wish, you must be careful to be clear and concise in what you’re wanting! Stay away from vague or general wording; You’ll wish you had when you try to cast a spell for a person to love you romantically, and later find that they love you like a sibling or best friend ~ 
  • You forgot to/incorrectly grounded after a spell. Grounding is not only important to maintain your own energies, but it is also a good tool for assuring that the energies of your spell don’t simply go on floating ‘up in the clouds’, failing to come down to earth and manifest! Grounding after a spell also increases the chances that it will work faster. 
  • Your focus/energy was off during the spell. Common for those with a low rate of focus, who’s mind wanders easily, or with low/confidence and doubt (which can especially put off your energies) you might have broken the intent of the spell while casting it. Not to worry, for spells can be re-cast and focus can be sharpened, but be sure to have a strong mind when performing visualization or transferring your intent into a spell! This can lead to a spell manifesting in a different way than you intended (which may not always be a bad thing) or just all-together not working.
  • (For people-directed magick) The person on the other end of your spell has a protection ward. If you’re simply trying as hard as you can to curse, heal, bless, cast upon another witch without their knowledge, there’s a chance that they have up some magickal barriers of their own. Be cautious with curses on other witches especially, since there are wards to reflect curses back upon the sender, and you never know! This can also be so if you are casting magick upon somebody to improve an aspect of their life; they may unknowingly be mentally/spiritually guarding, or ‘closing’ their energy, making it difficult for the magick to attach to them. 
  • Further tip: Have patience! Some spells take a while to manifest or come to be, and if you’re becoming discouraged after them not working within a week, you need to have a bit of patience.



Keep in mind that these are things anybody can do without knowing; they do not at all make you a bad or incapable witch, but it is important to know and accept why they may not be working. I hope for those that experience it, these reasons can provide some insight ~ This post was inspired by all of the anons who have been asking this question frequently

Send me a message if you have any questions or comments ♡ Thank you!

~Rainy

anonymous asked:

Top 5 best sexual tension in hq??

This is the best top 5 for Valentine’s Day, isn’t it? ∠( ᐛ 」∠)_

Warning: this top 5 is heavily influenced by my experience as a smut writer. 

1. Oikawa and Iwaizumi. The iwaoi royal deluxe ship wins by a landslide. You can either have sweet sweet loving or hardcore sex, it doesn’t matter because they can make anything work. Every single kink, every single au. Oikawa is flirty and seductive while Iwa is extremely strong and passionate (harsh Iwa and Oikawa who lets him dispose of his body as he pleases always a big yes), together they’re an explosive mix and overall a blessing for every single smut writer out there. 

Originally posted by oikahwatooru

The subtitle is wrong, he said: I’m going to make you scream my name later, Shittykawa

2. Kuroo and Tsukishima“They kinda share that really” aka the only couple that I can make work both ways, if you know what I mean. Actually, Kurotsuki is the pair I have most fun with when it comes to kinks (especially with bsdm). They are equally teasing and dominant, but at the same time they like when the other is in charge. They’re the worst when it comes to fluff, but if you’re in the mood for an insanely intense and deep smut scene, they’ll never ever let you down. Hottest couple, hands down. 

Originally posted by uver-chin

3. Bokuto and Akaashi. Ah, Bokuaka. These two are an interesting couple, too bad it’s really hard for me to find smut that I enjoy reading due too the characterization problems. They have a unique sexual tension, fueled by Akaashi’s glacial sex appeal and by Bokuto’s heat that can make him melt in a moment. My Bokuto treats every single kink like it’s the most natural thing, he’s not embarrassed by anything (literally, anything), he’s impulsive, playful and powerful to the point of not being able to handle his strength properly, but at the same time is extremely selfless and aware of Akaashi’s needs. And Akaashi…well, he likes to be controlled, played and spanked by him…so much. A+ awkward after sex fluff. 

Originally posted by silvermusichunter

Thirsty, Akaashi?

4. Daichi and Sugawara. Finding characters to make the domestic-long-term-boyfriends sex work is incredibly difficult (established relationship is the hardest au in my opinion), so thank you very much for them. It’s a couple that gets off on how much they love each other, spiced it up with the fact that our beloved Suga is a sinnamonroll personified.They win the best fluff award, but this goes without saying. They’re a classic and, like all the classics, their perfect sexual tension immortal. 

Originally posted by vikuuri

5. Hinata and Kageyama (eventually). I’m not a fan of Kagehina smut. At all. I can’t read it, I can’t write it. I’m still in the stage where my favorite boys just kiss, cuddle and hold hands, but I can’t deny that the tension is there and more they’ll grow, the more the bond they already have is going to grow deeper and deeper and would probably explode into some mind blowing smut. I’m gonna let them explore while I wait for them to reach their 3rd years, then we can’t talk about this more. 

Originally posted by craziiwolf

Thank you for your message and happy Valentine’s Day to you and to all the OTPs! 

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