they should have more scenes together

I love when people acknowledge how important james rhodes is to tony stark like,,,,,,

romantically speaking, they should be almost as big a ship as St/cky. lbh here, they’ve got a wealth of scenes that probably exceeds St/cky in shipiness. they’ve got more scenes together flat out. and they’ve got the backstory!! rhodey almost definitely kept tony alive at college! you better believe that tiny tony was trying to pick fights with the big kids. how many times did rhodey have to haul tony away, kicking and screaming?  

but then, people just block out how good friends they are. they care about each other. rhodey looked for tony for three months. tony helps rhodey with his PT - he’s likely got more important things he should do, pragmatically speaking. he built rhodey a suit!!!!

please just remember if you’re a tony stark fan that he believes you should love james rhodes

Meanwhile, in a parallel universe...

“Rvpph1r3 can’t become canon because Ruby and Sapphire have only had one episode surrounding their relationship. Obviously Pearlruby is going to be the endgame ship. They have more chemistry and interactions!”

“Rvpph1r3 can’t become canon because their personalities just aren’t compatible. Ruby is too angry for Sapphire, and Sapphire is too nerdy for Ruby.”

“Rvpph1r3 can’t become canon because it interferes with my other ships!”

“Rvpph1r3 can’t become canon because Ruby is too fat for Sapphire. They just don’t look right together. Now, Lapis? Lapis is sexy. That’s why Lapphire should be and is canon.”

“Lapis and Sapphire are LITERALLY living together! They have a pumpkin dog son! Are you guys fucking braindead?! Lapphire is canon!”

“The drill scene was just a joke. Ruby and Sapphire are friends, and ONLY friends.”

“Sapphire only respects Ruby for her soldier status. That’s not love. That’s why Rvpph1r3 isn’t canon and never will be.”

“I hate Rvpph1r3 because the ship is too popular.” (meanwhile, the Rvpph1r3 tag is filled with nothing but hate and people saying they prefer different ships)

“Rvpph1r3 shippers need to kill themselves. Their ship will never be canon!”

“I don’t like Rvpph1r3 because Ruby isn’t sexy enough for me.”

Now, read all of those quotes and read them good. Aren’t those rather rude and ridiculous things to say? Yes, they are. 

Now, replace all instances of Rvpph1r3 with “Amedot”.

Replace Ruby with Amethyst. Replace Sapphire with Peridot.

If these wouldn’t be okay things to say in a parallel universe where Rvpph1r3 isn’t canon, then they aren’t okay things to say to Amedot shippers in this universe.

if we ever see Rumbelle together at some point, I’ll riot. because there is NO WAY in hell Rumbelle should be together. shit Rumple should just die alone and unloved bc that what he deserves. he’s becoming more and more problematic and yet the writers still want to give him reasons and all. HOW ABOUT ABUSIVE AND MANIPULATIVE AND SELFISH HE IS????? I’m so proud of Belle to stand for herself right now but I’m so SO scared about her going with that piece of crap again one day. because I srly can NOT see how Rumple can be “””””redeemable””””” after everything he did. especially AGAINST HER WILL. 



(here you go, lovely Sherlollians. One-shot after the fateful “I love you” scene)

When Euros is finally taken away and Greg has asked all his questions, Sherlock and John are once more in a car together in silence. Blissful silence. After all that happened, he needs time to think, to process, to examine. What he needs is peace but as soon as John speaks, he knows he won’t get it.

“So are we really not going to talk about this?” asks John.

He continues to stare out the window into the darkness. “Talk about what?”

“Molly,” John says.

He realizes that he should have guessed John wouldn’t forget about what he said - what they both said. “Molly’s safe, John,” he says, sending only a brief glance in his direction. “She was never in any true danger. You know that. Is it necessary for me to remind you that you were there?”

“No. It’s not.”

He returns to staring out the window. “Good. Then please give me the courtesy of silence.”

“No,” John says. “We still need to talk about it.”

“About what, John?” he says. His patience is wearing dangerously thin, and he knows it is an inevitable result of all the stress they experienced.

“The ‘I love you.’”

He sighs impatiently. “I had to say it, because it was the only way Molly would say the release words. Again, you know this. You were there.”

“And it was necessary to say it twice?”

He swallows but he doesn’t answer. Of course it wasn’t necessary for him to say it twice. He said it once because he had to, or Molly wouldn’t say it to him.  But before he even finished the sentence, he realized he meant it, that it was true. So he said it again. It was almost like he couldn’t help saying it. His heart realized it the first time, but his mind didn’t register the truth until he repeated it. Is that something John can understand? Maybe.

His silence gives John all the response that he needs. “You said it twice because you actually meant it. You love her, and you’d have to be an idiot not to see it. You love Molly Hooper.” John lets out a halting laugh. “And here I thought you loved Irene Adler. But it was never her, was it? It was Molly. It was always Molly. That’s why you asked her to help you fake your death, wasn’t it? You couldn’t bear to have her grieve over you.”

“I’ll leave you to your deductions,” he says flatly.

He can’t see John’s face in the darkness, but he can feel the incredulous look on his face. “So what are you going to do about it?”

“Nothing,” he mutters.

“Nothing?” John practically yells the word. “Listen, you cock, Molly loves you and apparently you love her too, and you’re going to do nothing? Molly is in London right now, and you could be with her and be happy, and you’re willing to throw that away? Do you realize how lucky you are?”

He examines all responses that he might be able to give, and none of them will be acceptable to John. “So what should I do, John?” he says sarcastically.

“I’ll tell you what you’re going to do,” says John firmly. “After this cab takes me home, it’s going to take you to wherever Molly’s flat is. You will explain all about Euros, and then you’re going to tell her that you truly meant it that you love her. You’ll say that you’re sorry that she had to hear it from you that way so you’ll say it again. And since Molly is one of the kindest women in the world, she’ll forgive you. Whatever happens next is between the two of you, I don’t even care what it is.” John looks at him seriously. “You are at a crossroads, Sherlock. You can’t reverse time or take that 'I love you’ back. Even Euros in all her insanity knew that. You have a choice to make, and so help me, Sherlock, you will do right by Molly. ”


John ignores him. Instead he leans forward and tells the driver not to leave them both to his flat, but to take Sherlock to Molly’s flat instead. He looks at Sherlock expectantly and he mumbles out her address.

Neither he nor John say anything else the rest of the drive. When they reach John’s flat, John gives him a pointed look before he says goodbye.

And now he is alone - alone with his thoughts and worries that he may have finally pushed Molly just one step too far.

The ride to Molly’s flat passes by far too fast. He still doesn’t even know what he’s going to do or say when he reaches her door. He doesn’t need to knock; she’s given him a key a long time ago. Besides, she’s probably asleep anyway. It is the middle of the night, after all. But before he can even find the key, Molly opens the door herself wearing kitten pajamas, fuzzy slippers, and her dressing gown. He’s never seen a more welcome sight in his life. Her eyes widen when she sees him and almost immediately they fill up with tears. “Sherlock? What-….”

According to John, he’s supposed to explain about Euros first. But he doesn’t. Instead he reaches out and pulls her into his arms, burying his face in her shoulder. She wraps her own arms around him. “What is it, Sherlock?” she says with far more sympathy than he deserves. “What’s the matter?”

“I have a sister,” he mumbles.

She stills in his arms and pulls away to look at him. “You have a what?”

“I have a sister,” he repeats. “She’s mentally ill.”

Molly slowly blinks at him, processing the new information. “Sherlock, why don’t you come in and tell me about it?”

Her encouragement is all the invitation he needs. They both sit on Molly’s couch and the story pours out of him: Euros, Redbeard, Victor Trevor, Sherrinford, the torture games Euros put them through, Mycroft, Moriarty. All of it. But he isn’t able to address the “I love you.” Not yet. He only glosses over it when he mentions the coffin.

Molly sits patiently through the whole story. After he finishes, she stays silent for a long time. “Molly?” he says. “Did you-….”

“When’s the last time you ate, Sherlock?” she asks him. “I think you need a good cup of tea and biscuits. Maybe a sandwich?”

He blinks at her stupidly and frowns. He doesn’t understand her reaction - or rather, the lack of one. “Molly, did you hear what I just told you?”

“Of course I did,” she says calmly. “I heard all about what Euros did to you, John, and Mycroft. But these sorts of things are always better to talk about with tea. At least, that’s what my dad always said.” She smiles despite the horror she’s just heard, and he thinks that while John is the one who has fought in a war, Molly Hooper has fought her own set of battles. She’s a different kind of brave soldier, but a true solider nonetheless.  "So what kind do you want?“

"What kind of what?”

“What kind of sandwich and tea do you want?”

“I don’t know,” he says blankly. “Whatever you make is fine.”

“Okay, I’ll be right back then,” she says before she walks to her kitchen. He sits on the couch alone, wondering how she can possibly be so kind to him right now. He certainly doesn’t deserve it. As he waits, unbidden memories of Molly come to the forefront of his mind:

I was wondering if you’d like to have coffee.

Black, two sugars. I’ll be upstairs.

I’d say break it off and spare yourself the pain.

You always say such horrible things. Every time. Always. Always.

I am sorry. Forgive me.

But you can see me.

I don’t count.

If there’s anything I can do, anything you need, anything at all….you can have me.

You do count. You’ve always counted and I’ve always trusted you.

What do you need?


Moriarty slipped up. He made a mistake. Because the one person he thought didn’t matter at all to me was the one person who mattered the most.

I hope you’ll be very happy, Molly Hooper.

I can’t say it. Not to you. Because it’s true. It’s always been true.

You say it first….say it like you mean it.

I love you.

I love you….

As he thinks through his past with Molly, he realizes everything that has happened, everything that he’s done, everything she’s done….they’ve all led the two of them to this point, the point of no return. John was right. They’ve both reached a crossroads, and neither of them can go backward. They can’t rewind the clock or take back what they said. All they can do is continue to walk forward and he has the choice of how: together or separately.

And he knows which way he wants it. With new resolution, he rises from the couch and walks into the kitchen. Molly stands at the counter, humming softly to herself as she prepares two sandwiches. Without fully thinking about it, he comes behind her and slips his arms around her waist. Immediately her hands stop and her breath hitches.

“I love you,” he whispers.

A strangled sound comes from Molly - a mixture of a choke and a sob. “Euros isn’t here, Sherlock. You don’t have to say it.”

“Molly, please,” he says softly. “Look at me.”

Slowly she turns around to face him and lifts her eyes to met his. They are brimming over with tears once again and his heart clenches at the sight. Tread carefully, he can hear Mind Palace John say in his head. One bad move and you’ll hurt her even more than you have already.  "I am sorry you had to hear it first like that,“ he continues with a grimace. "Terrible circumstances, I admit. Hardly ideal for a declaration, I concede.” A single tear slips from her eyes and he gentles his voice. “But you also have to know that it’s true and I did mean it. I do mean it. I love you.”

Her gaze falters, but his eyes ask her - beg her - not to look away. Molly is the one who can see him, the one who always sees him. If she looks at him long enough, he has to hope that she’ll see his sincerity. Molly searches his face for a long time and he lets her, hoping desperately that she’ll find what she needs.

Finally her head drops and she nods slowly. “And I love you,” she says, her voice hardly above a whisper.

Something tight in him that he didn’t even know was there loosens, and he pulls her close to him, resting his cheek on her hair. His mind categorizes everything about this moment - the vanilla scent of her hair, the warmness of her arms around him, the faint hint of wetness from her tears on his shirt.

He doesn’t know what the future holds for him or Molly, but he doesn’t have any doubts in his mind that whatever comes they’ll face it like they always have:


thanks to Julie for:

- having a scene with all the girls together, laughing and being adorable

- having a parallel scene with all the boys together



- “you’re not getting any of it. It’s not good for you

- smiling soft boyfriends!!!!


- Magnus x Vilde aka “taking desperate to a new level”  can we talk about Magnus’ face when he looks at her???? He’s so gone

- …everything honestly??? this clip THIS SHOW is perfect???!!


Tumblr Christmas Party Participants

Here are the list of people who have already confirmed with me that they’re participating:


















@ second-chanceau










Okay, so here’s the general idea, you’re going to be drawing your persona or OC doing something at the xmas party and if you want, you can work with one another to create a small scene in the picture. The picture of the character should be transparent so i can put it together easily. If you do traditional art, you can have someone trace the art and color it for you or you can ask me to but I’ll need to have the colors. I’d like to keep one character but if you really want more than one, two is the max. When you’re finished with your character, you can submit it to me and I’ll save it. The deadline is going to be between Dec. 20th and Dec. 22nd, and if for whatever reason, if you cant do it let me know.

One more thing, if there’s any questions, feel free to send an ask to my inbox and I’ll answer it so I don’t have to message everyone who has the same question.

I think this’ll be everyone taking part in the huge collab thing! It’s already a lot of people so I think this list will be final if there is someone who really wants to do I’ll see if I can fit more people… I don’t know how many people I can fit in one picture so yeah.

Thanks again to everyone participating!


#major kudos to andy for always having the right expression for jake #especially in more intimate/emotional scenes like this one #and that last gif does say it all #jake likes amy so very much #(i honestly wouldn’t be surprised if he’s already made up his mind that she is the person he wants to spend the rest of his life with) #but that’s just him #he never lets his own feelings overshadow her’s #if she doesn’t think they should be together then he’ll accept it #heartbroken maybe but that’s just the way she wants things and that’s okay #and if she wants to say ‘screw it’ then that’s even better #i’m so deliriously happy #things seem like they might be turning around for jake #and after all the stuff that happened to him in season 2 he deserves a break #and to be with the love of his life obvs #i say it’s all because he’s a gemini #but who knows

The more i watch the episode, the less mad I get. The scene still grinds my gears, but I think I was being a bit unfair to alec during my rant last night. He was still in the wrong, and should of slowed down, but im holding hope they address what actually happened next week.

The other parts of the episode were actually really good, and I was able to appreciate it after my 3rd watch.

I love Simon and Maia together ❤

The writers, editors and whoever else involved should have added at least 10-15 secs longer to that malec scene to see if Magnus put a stop to it, or at least gave consent.

But over all, the episode wasn’t as bad I was making it out to be. Im dramatic, and protective of my ship, and I won’t be sorry for that. Im still disappointed, but I will just learn to lower my expectations.

Nico felt Kotori’s hands beneath her clothes, roaming upon her. The direct skin contact made her feel it all the more and the fact that it was happening in the club room didn’t help.

“Look at them,” Kotori said, her voice low, “Look at how happy they are.”

Though she didn’t want to see she couldn’t tear her eyes away from Umi and Maki, walking side by side, happy. She should have been the one to be by her side instead, to bask in her smile, to- No. No, she told herself. She didn’t. She had no right. The one Maki loved was Umi after all.

“Let’s be happy too Nico.”

Nico didn’t give Kotori a reply, instead choosing to imagine that the one taking her was Maki.

I got a problem

So… I love Mon el… I do… but I’m a supercorp shipper 100000000% at heart thanks to all the amazing supercorp fanfic writers and shippers here. I got a teeny… Tiny… little problem….. SUPERGIRL WRITERS PUSHING KARAMEL FORWARD. Don’t get me wrong… I do love Mon el. I still think he’s an adorable puppy that should’ve had a more sibling type of relationship with Kara because she doesn’t really have that with Kal El since he’s not there as much, and it just fuckin seems better that way. Tonight’s episode really got me with all the goddamn supercorp scenes and shit!! Like, holy fuckin shit I loved all their scenes together!!! I say we all start anarchy on the supergirl writers until we gets our damn SUPERCORP!!! And have Kara and Mon El as sibling type of friends!!! Lololol. Who’s with me?? XD

Originally posted by doctor-whonicorn

me: i love rilaya and rowbrina 

some ugly lasagna stan: i think you forgot that lucas and maya had a scene together once? sorry sweaty but that proves our legendary and totally original ship is canon. riley is a bitch and should die because she is so bad to maya and inconsiderate of maya’s really bad and hard life. and why do you always ship two completely platonic people together? why cant you let two people be friends? i act like that with my best friend all the time. peyton and sabrina have 102039402 times more chemistry than rowan and sabrina will ever have and we have so many theories that confirm that my white faves are dating. like, so many. remember that one time they were at the same place at the same time? all they have to do is announce they are gonna get married. all those other girls better step off daddy peyton because he’s sabrina’s man. these fucking rilaya stans cant handle other peoples opinions. just because i dont ship an icky gay ship in favor of a much better and prettier straight white cis ship doesnt mean im racist or homophobic! its called having an opinion. maybe you should try being more forgiving of people who think differently than you. 


me: anyways i love rilaya and rowbrina

anonymous asked:

You made a good point on the consent issue but I think we should be able to have more for Malec in terms of couple scenes. There shouldn't be any double standards. You say we don't need to see more than we already have but LGBT couples are regular people with sex lives and that shit needs to be normalized. I'm not saying raunchy sex, it's a show not porn, just them undressing a little or waking up together would be enough.

noctit  i know a lot of people have beef with chapter…

i enjoyed that chapter…. playing it anyways.. I think the game as a whole is lacking in the story telling area… but don’t get me started on that 8|||

l i sten….. the salt in my veins about how these chapters are put and pushed together, the side stories, the character interactions, how it ‘fits’ together are sloppy. some scenes had substance and others were hit and miss, pointless or held no additive to the story line. the plot holes in the story are deeper than the Crestholm Channels. you were held at gun point at more points in this game like ‘holy shit i’m getting background story that matters–’ and then the character cuts out, end scene, ‘mission complete’ –next thing is here. wank wank wank, miss holes, SIDE QUEST GALORE, WARP POINTS THAT SHOULD HAVE BEEN WARP POINTS. 

8|//// my salt mines are pure sea salt cover bitterness o kay. and i ain’t even official done with the game yet.


This is perhaps one of the most fascinating moments of the film for me because there is so much going on. I love that Jupiter puts the pieces together, figuring out that Balem’s motive was ideological. I love that she refuses to be afraid. I’ll also contend that every small and intimate moment of violence between Jupiter and Balem is infinitely more telling and interesting than the big bang-bang setpieces. The violence here, while disturbing, is necessary and inevitable because it is rooted in Balem’s history and emotions; his violent response to Jupiter’s putting two and two together says all we need to know about the truth of the matter.

And I really, REALLY hate that the cut away from it to show us a manly pep talk between Stinger and Caine. Don’t get me wrong - they needed the manly pep talk. It’s just that they really should have let this scene finish first. It’s made ten times worse/more infuriating because they cut back to it only to have Jupiter and Balem entirely separate and engaged in extremely tense contract negotiations. It’s clear that something else happened here, but we don’t get to see it.

Also, that little pull of Balem’s lips just before the cut is really intriguing to me - it suggests that he’s smiling involuntarily, delighted by her even as she fills him with rage and anger. It’s another symptom of his insanity and the blurring of Jupiter and Seraphi.

(A table of contents is available. It will be kept updated throughout the series. This series will remain open for additional posts.)

Part Eight: At the Peak

This is it, writers, this is the big moment. This is what readers have been waiting for. This is that explosive moment when everything comes to a boil. Actually, more accurately, the climax is the scene where the pot actually boils over and makes a huge mess all over the stove. The rising action, all that middle meat of the story, has been a sort of rolling boil where things are happening and there are threads beginning to emerge, character relationships are cementing or falling apart, and you’ve come to the moment when you need to tie it all together. What should your climax achieve, though? What should you be watching for?

Think about how your plots and subplots interact. I know I still owe that anon a post on subplots, and I promise it’s coming up. That said, subplots shouldn’t be left loose and waving in the windy undercurrents of your main plot. Your climax will be a more well-rounded moment if you can find a way for the outcome of that subplot to help or hinder this climax moment of your main plot; or, if your subplot hasn’t wrapped up yet, consider how this climax of your main plot will impact what happens to that subplot. Subplots often occur between characters that are a part of the main plot, so the way things change for those characters because of the events of your subplot will influence how they react to things heading into this big throw-down.

Think about how your characters have changed. Throughout writing, sometimes from the very beginning of setting pen to page, you should have gathered an idea about how your characters will be affected by what happens to them. In the course of your story, your characters will find new worldviews on some subjects or they find themselves in a completely different circumstance than they’re comfortable with. They’ve made decisions during this tale and now they have to face up to those. They’ll stand strong or they’ll fall; change or not; struggle, and fight against forces, thoughts, events. This is their moment. This is what justifies their change or what shows them that they have no choice but to change or fail. This is it. This is their turning point or the reinforcement of a previous turning point. 

Plan climaxes less than your rising action scenes, and accept shorter word counts than you think a “defining, climax scene” needs. I’ve noticed this tendency where the bigger the impact of the scene, the longer we think it’s going to take to tell. This part of your plot is only one moment. On our plot diagram, it’s again only depicted as the single point where the line of the rising action and the line of the resolution meet. It is one scene, and it is not going to take a billion pages to tell it. The climax should be the length of one of your standard chapters, maybe two depending on how many layers your climax has. Climaxes, by virtue of what they do–bring all the tension to a head–are exciting scenes. They’ll be interesting to your audience because of that, but you have to get your readers to stick with you until you get there. I say “plan your rising action more than your climax” not because climaxes don’t need planning but because the rising action has more moving parts, more scenes, more opportunity to lose the interest of your audience. The climax needs planning in order to make the whole story feel “right” by the end, like the characters are justified in their actions and decisions, and like what happens makes sense for the world and for what’s happened before it.

Write a list of all the plot threads you have in your story. While not every single one of these needs to wrap up in the climax, many of them should be addressed. By pulling in as many as you can make logical sense of, your story begins to have a cyclical feeling, which can help your audience feel a catharsis–a feeling of peace and “right with the world”–in regards to how your story wraps up. What cyclical doesn’t mean in this case is that things end up right where they started, but rather that you’ve thought about and integrated all these parts you brought up previously. It shows the audience that these things were important and they were neither tangents nor things you forgot about. It will make you seem like a better writer, and help your audience toward leaving the book with a good feeling. Making sure that satisfaction carries through to the end, though, is your job in the resolution.

Next up: Resolution, not revolution!

anonymous asked:

It doesn't sound like the Nick and Jess scenes were very memorable, if you had to think about if they had any together. Are you getting screeners for the next few episodes? I'm counting on more happening between them in those.

Honestly, I just have a lot I’m doing right now, as well as answering these questions, so it took me a moment to think about the entire episode and see which scenes had just the two of them.  I promise that’s all it was, because I actually thought this was a good Ness episode. 

As far as the next few episodes, I should be getting screeners for them.  Out of this entire season, I only haven’t gotten a screener for one episode.  So once the screeners are up, I will let everyone know.