this was a nice little scene

Ok, Ok,  what about this as a scene for the last episode.

*Inside Ursula/Chariot’s room*

Chariot: Come out, it’s getting late for the matriculation ceremony.

Croix: I won’t come out, I refuse to.

Chariot: Can’t be that bad.

*Croix coming out the dressing room wearing the Luna Nova teacher’s uniform*

*Chariot holding her breath not to laugh*

Croix: It’s horrible, I look horrible…and you’re laughing!.

Chariot: I’m not….*holding the laughter again*

Croix: You are, internally you are.

Chariot: I think you look cool.

Croix: I look everything but cool. How am I supposed  to teach modern magic in these old garments?

Chariot: You’ll find a way, you always do.

Croix: You should’ve let me die back there at Arcturus forest.

Chariot: Never! Oh, you’re forgeting something.

*Chariot takes a witch hat from her desk and puts it on Croix’s head*

Chariot: There, now you really look like a Luna Nova teacher.

*Croix making a pout*

Croix: Oh god, no! Not the hat!  just kill me, please.

Chariot: You look beautiful.

Croix: ……….. *blushes* 

Chariot: Now, let’s go!  *both leaving the room*

In the distance.

Croix: No, really, you should’ve let me die.

Chariot: I said, Never!

The Case of the Missing Scene

For those of you befuddled regarding these ‘extra-scene’ punting photos of the Poirot-less trio in The Case of the Missing Will (S05E04). Here’s a little breakdown to put that scene into context…

Miss Lemon is assigned by Poirot to dig into hospital records to find out what she can concerning a person in connection to a case. She probably takes notes on the hospital’s filling system - which is clearly not a match for one say cross-referenced at least five times…

Anyway, she finds a comfortable seat and ordered desk to read her findings alone…

(Here’s a nice extra close-up. Why not.)

Miss Lemon found what she set out to discover with heaps of time to spare. So why not rope in Hastings and Chief Inspector Japp for a little punt down the river. She’s in Cambridge after all! Might as well enjoy the location while she has the opportunity……and, what’s more, leap at the, perhaps, long-awaited chance to snuggle up to the Chief Inspector Japp with a cosy little blanket to boot. Whoever knew our little trio have outings on their own when Poirot’s not around…

And here we get to the reason why the trio is missing the Belgian detective. He’s attending a social hosted by the very person Miss Lemon’s been snooping up on behind her back. Bad influence is our Poirot…

All in time to deliver the goods to Poirot. Hastings even had time to spare to pick out yet another impeccable outfit from his well-stocked wardrobe…

All in all a good day’s work. No wonder she’s grinning like a Chesire cat.

What people need to understand is that Renew Your Vows isn’t beloved merely because Mary Jane is in it or because it serves the Peter/MJ shippers.

RYV is the beloved because it’s mostly great period.

Like…easily the best Spider-Man book no questions.

The Peter Parker of Renew Your Vows actually resembles the actual character as opposed to the pathetic mess we see in 616.

Mary Jane actually does shit in this book as opposed to in Iron Man where she joined Tony’s company and the plot promptly reduced her to cameo duty and little else.

Annie is endearing.

And the art is baller.

Aside from Scarlet Spider there is straight up no Spider-Man book with better art.

Bear in mind I’m not simply saying it looks nice.

I’m saying this is proper comic book superhero Spider-Man art work. It’s fast, fluid, dynamic, it delivers on the action scenes. It’s not just a series of pretty illustrations the reading order of which you can discern.

This is artwork that moves which is what Spider-Man art is supposed  to do.

So READ RENEW YOUR VOWS!

dasoni  asked:

if you could rewrite only one scene from the affaire days, which one would you choose? Why? And how would you change it? 😬

ONI my love!!

This is an easy one for me - the second hotel scene. I’m still not over Aaron’s little face as he’s walking away and he knows Rob’s in the room with Chrissie and it’s k i l l i n g him because he’s so in love already. I just wish they’d been able to have a nice time together (nudge nudge, wink wink) before realising Chrissie was there and it still makes no sense to me why Aaron would suddenly want to close the curtains I mean he’d surely have been lost in Robert’s eyes within seconds and completely lose focus on anything else as soon as Robert kissed him so I just wish they’d been able to make proper use of the room before he’d had to leave ;) 

So I’d make sure Aaron got a good seeing and probably just to indulge myself I’d have made Katie/Chrissie not notice Rob’s car and just leave them to it. 

send me fluffy robron asks

anonymous asked:

There's two Newtina moments I love in particular. One being the way Tina tilts her head a little after the dining scene as if she's trying to understand Newt while he stands there looking uncomfortable. The other is on the rooftop when she smiles so sweetly at him when they talk about Dougal. And Newt's trying to look at her, but his gaze kind of wanders. Then she steps closer and it's all lovely until she decides to ruin the moment with 'Gnarlak' lol <3

Ooh, yes! I love those moments! Like, the entire dinner is great because while Jacob and Queenie are openly flirting in front of them, Newt and Tina are both looking around awkwardly like “…okay then”. And I do love Tina’s little head tilt - so cute!

And that scene on the roof: I even said to my friend “oh my god, it looked like she was about to kiss him!” I mean, they’re having such a nice little conversation to themselves, and when he’s like “he’s invisible” (about Dougal) she gives him this look that’ at first like “WTF” but then turns into “OMG you’re too cute” :3 And then there’s that bit where she smiles at him and they kinda look at each other…she steps forwards… “GNARLAK!” XD No wonder Newt looked so confused!

BtVS S7 (Rewatch) - Showtime

She will come for me.  -Spike

The Potentials are really annoying; I understand that they are just kids, but their non stop whining is very tiresome. I particularly don’t like when the scene gets crowded, in movies or TV shows, so the Summer’s house full of unknown characters bothers me a little. In this scenario, the only one who stands up is Kennedy, always being brave and wanting to fight. I like her smile at the end of Buffy’s lesson - it’s a nice “apology” to her rude commentary at the door (“This is a Slayer?”).

Nice touch we see when Buffy, Willow and Xander talk to each other telepathically and then leave behind a heated discussion with unprepared and scared Potentials to - by themselves - come up with a plan… (if they just had done that in another similar situation in a later episode… but then, The First was having its day).

Poor Anya, she is giving it away and anybody seems to want it… maybe it is the hair after all! And poor Giles, having to endure the details of Anya’s date with the demon…

On a more serious note, she saying that all the deaths are because of her (and Willow, Xander and Tara) - sad.

Eve is dead… it was the incorporeal First that was at the Summer’s house. So, “Eve” was sitting on the floor between two Potentials, and they didn’t touch each other, even slightly…

Buffy and her lesson - fierce fighter this girl when she is focused on the mission, I’m pround of her; besides, Spike was running out of time…

And Spike believes in her: “She will come for me.” And against the First Evil’s wishes, she goes. The way they look at each other… pure love.


BtVS 7x11

hey i know we’re super excited about brendon going on broadway for kinky boots and i think that’s super rad!! but i’m a little concered realizing a lot of people are going to go because it’s brendon, therefore might not go to musicals or plays much and concerts have very different ettiquete than theater so like. just please don’t go expecting it to be like a concert. theater has different rules

  • you only applaud after musical numbers or after acts/heavy scenes. basically when everyone is applauding
  • don’t call out names or cheer when the room is silent. it’s disrespectful

  • you can laugh ofc if something is funny!! that’s normal. just don’tr try to draw attention or distract anyone. it’s like a movie, they have to remember a lot onstage

  • don’t bring signs or anything like that

  • dress a little nicer. theater you try to wear like what you would to church. not everyone does but for instance i saw book of mormon when i was 16 and i wore a suit jacket style coat and nice shoes and it was passable. a lot of people were dressed even nicer at a comedy musical like that

have fun just don’t go expecting it to be like a concert. this is mostly just to younger people who may not have gone to these things?? yeah

Okay, I gotta fangirl for a minute here. Anyone who has followed my blog for longer than five minutes knows that my all time favorite character is Levi, okay. I love everything about that short, awkward, jaded stress ball and bruh, the animators CAME THROUGH on his appearence this season. 

Check this out…

I am sure that a majority of us can agree that this^ is easily one of the best shots of Levi in season one, and it truly is a great little scene. His eyes are all intense. His hair is nice and jagged for effect. His lips look all pouty and whatnot. 

BUT FUCKING LOOK AT THIS MAGIC OKAY:

LOOK AT THOSE LIPS Y’ALL. LOOK AT THOSE TIRED, NARROWED EYES AND BASK IN HIS VISIBLE IRISES WHERE YOU CAN ACTUALLY MAKE OUT THE COLOR IN THEM. GAZE AT THAT BOOPABLE NOSE AND ADMIRE THAT INCREDIBLY SHARP ASS JAWLINE. 

THAT FACE BELONGS ON VOGUE

It has been a two year drought of Levi animation in this fandom and I have been THIRSTY AS FUCK, but WIT came through with a sexy glass of cold ass ice water and I am HERE 👏 FOR 👏 IT 👏

This animation quality has me screaming at my laptop screen hype af like

jesus fucking christ yessssssssss fucking stand there Levi. Nod your head and talk boi fucking slay me with your perfectly animated face 

yessss bitch FLIP that cravat
FLIP THAT SHIT
BOI YES

SLAUGHTER THEM TITANS LEVI FuUKCniggksjdjhg

The 7 Elements of a SCENE

There are few things as soul-crushing in the writing process (at least to me) than getting a bunch of characters in a room with the intention of something happening, then the characters proceed to stand around and stare at each other.  

Or worse, look at you like this. 

My characters didn’t know why they were there. I didn’t know why they were there either. I had no clue what they were supposed to be doing, so I’d start throwing random instructions at them: “Fight, characters! You guys should fight now! Maybe fighting will make this event have a purpose!” Which inevitably resulted in characters going through the motions of battle for no apparent reason, like they had all lost their minds.

What was the problem? I didn’t know how to write a scene. I didn’t know what a scene was. I had a vague definition that it was something about changing scenery, or just “something happening”.

It’s not. And once I learned what a scene was, my characters got to stop pummeling each other, while wishing they could pummel me. 

So what is a scene? 

The definition of a scene is kind of like the definition of a story. Story is change, a massive change in the life of your main character. A scene is change too, but much smaller, and part of that huge story change. You couldn’t have the BIG change without these tiny changes. Thus, a scene is not switching scenery. It’s not flipping to a new Character’s POV. It’s one segment of change, which triggers the next change, which triggers the next, which gradually build into sequences, which build into Acts, which build into story. 

So what goes into a scene? How does it work?

1. Alternating Charges

If a scene opens positive, it will turn negative by the end. If it opens negative, it will end positive. Simple. 

2. Character Goals

Everybody in a scene wants something. If they don’t want anything, they shouldn’t be in the scene. And these characters, with their often opposing goals, are going to employ different tactics on each other to get what they want. Which creates …

3. Escalating Conflict

Conflict is created when one character wants one thing and another wants something else, right? So the characters in the scene are each pushing for something different, each new tactic increasing in determination. And what are these actions called?  

4. Beats

The beats of a scene are exchanges of action and reaction. One character does something, another character reacts. All exchanges (beats) are pushing the scene onward, building tension and conflict, until finally …

5. Turns & Revelations

The scene turns. The positive has changed to negative. Something has been discovered. The story has spun in a new direction.

6. Connection to Story Objective

Every scene must be connected to the BIG goal of the story, the main character is taking small actions to reach that big goal. If it isn’t obviously connected to this big plot, it won’t make sense. Your reader won’t know why the heck they’re reading the scene. Which brings us to … 

7. Logic & Necessity  

Every scene must be necessary. It must be able to be linked with the previous scene. “Because that happened in the previous scene, THIS must happen in this scene.”

So! To see how that all works, let’s break down a scene from Tangled. (Because I used it in the last post to map out how a premise works, and my little writer heart can’t resist symmetry.)

Which scene? The one right after this happens: 

Opening Charge: Positive. She’s realized everything. 

Rapunzel’s Goal: Rise up against her mother – finally. 

Gothel’s Goal: Regain control.

Escalating Conflict: They’re fighting over who controls Rapunzel, and this battle causes them to go from “mother and daughter” to “enemies”. The conflict builds nicely in this scene, causing the story turn.

Connection to Story Objective: Throughout the movie, the big thing Rapunzel wants is freedom, she wants her life to begin, she wants to have a new dream. This is the moment she figures out how to do that; it’s not escaping the tower, it’s escaping Gothel’s control over her.

So! Here’s the scene.

Beat 1

“Rapunzel? Rapunzel, what’s going on up there?”

Ignores her. Still processing the tremendous implications of this revelation. 

Beat 2

“Are you alright?" 

"I’m the lost princess.” (Dumbfounded. Almost whispering it to herself.)


Beat 3

“Oh, please speak up Rapunzel! You know how I hate the mumbling.” (Bullying.)

“I am the lost princess! Aren’t I?” (Fighting back. She will not be bullied anymore.)

Beat 4

Gothel stares, stunned. She’s rendered temporarily speechless, because her secret’s been revealed finally, and her victim is actually fighting against her.


“Did I mumble, Mother? Or should I even call you that?” (Accusing. Drawing herself up taller. Looking down on Gothel and glaring. She’s seeing her clearly for the first time in her life.)

Beat 5

After a pause, thinking up a tactic. “Oh, Rapunzel, do you even hear yourself? How could you ask such a ridiculous question?” (Laughs. Ridicules. Attempts to make her feel childish, dumb, worthy of being mocked. Tactics which have always worked. She even begins to hug her.)


Rapunzel pushes her. “It was you! It was all you!” (Still accusing and angry, but pain is beginning to show. It’s almost like she’s giving her a chance to explain herself.)


Beat 6

“Everything I did was to protect you.” (And Gothel doesn’t say anything redeeming. She’s holier than thou, regal, bestowing kindness on an ungrateful, stupid child. Trying to control through guilt.)

Rapunzel rams her out of the way. 

Beat 7

“Rapunzel!” (Shouting. Now trying anger.)

“I’ve spent my entire life hiding from people who would use me for my power …” (Leaves her.)

Beat 8

"Rapunzel!” (Still trying the anger angle.)

“But I should have been hiding from you.” (Throwing the truth at her.)

Beat 9

“Where will you go? He won’t be there for you.” (She’s tried everything else. It’s time to attack her heart.)

“What did you do to him?” (Fear)

Beat 10

“That criminal is to be hanged for his crimes.” (She’s keeping up the disapproving mother act, but striking her right where it will hurt her most.)

“No.” (She’s stopped. Shrinking in on herself. Staring, horrified. And Gothel thinks she’s won.)

Beat 11

“Now, now.  It’s alright. Listen to me. All of this is as it should be.” She goes to pat Rapunzel’s head, a gesture symbolic of her superiority, her physical, mental, and emotional control over her victim.


Rapunzel grabs Gothel’s wrist. “No! You were wrong about the world. And you were wrong about me! And I will never let you use my hair again!" 

Beat 12

Gothel wrenches free, stumbling backwards in shock and anger, breaking the mirror in the process. 

Rapunzel walks away. She’s escaped Gothel emotionally now.

Beat 13

"You want me to be the bad guy? Fine. Now I’m the bad guy.” (Well, now emotional control is over. It’s time to start stabbing Rapunzel’s boyfriend.)

This action has no reaction, interestingly. It leaves us hanging, a cliffhanger created with only beats. 

Closing Charge: Negative. She’s now a full-fledged villain, the motherly persona shed, and she’s determined to get what she wants whatever the cost. 

Turn: It changed from positive to negative,  and now we’ve got a Flynn-stabbing witch to deal with.  

Revelation: She’s always been evil. She has always been the bad guy. The motherly act was just that, an act. 

Logic & Necessity: This scene fits with the previous scene, and the one that follows.     

Though I’ve seen these concepts in many books, the place I first learned about it (and the best resource for scene design in my opinion) is the book Story by Robert McKee. It’s helped me countless times, is one of my favorite books on storytelling, and I highly recommend it if you write anything.

I realize that these definitions were a little vague, so I’ll be explaining things more thoroughly in subsequent posts. 

Pink is the Tiniest Diamond!

Crewniverse tricked us into thinking that Pink’s palanquin is a lot bigger than it is - same with Pink, herself.  When Blue walks up to her own palanquin, it’s obvious that it’s just the right size for her.

But when she’s next to Pink’s, there are a LOT of optical illusions going on:

  • Blue was kneeling or crouching by it at first, making it look bigger.
  • When Blue stands up, she still looks shorter because she’s slouching.
  • The way the palanquin is leaning makes the roof look higher.
  • The flowers obscure the bottom, making it hard to see just how big it is.
  • The palanquin is on a hill, making it higher, and thus bigger-looking.
  • The legs are extended (the ones on Blue’s were retracted), making it higher.

In the above image, you can already see that Pink’s palanquin only comes to Blue’s shoulders.  Let’s take a closer look and find out just how big it is:

Already we can see that the palanquin is a lot smaller than it initially looks.  Let’s find out how much smaller Pink really is next to Blue.

So it looks like Pink is probably less than half as tall as Blue.  Maybe about halfway up her thigh, give-or-take.  Looks like Pink’s palanquin lends credence to:

  1. The common theory that Pink is the newest Diamond.
  2. A theory I’ve had that the Diamonds, unlike their Gems, grew up.

If so, this would mean Pink is even newer than I thought!  That would explain why Blue (and Eyeball and Holly Blue and even Yellow) seem to act as if Pink was especially precious: She’s just a little kid!

EDIT: (In case anyone sees this.) Nice to see this post getting attention and some good discussion! =D I’ll note that I’m experimenting with how much detail to include in a theory post, and how to best present information. Some stuff has been brought up that I left out on purpose for readability, or because it wouldn’t make a huge difference in the end result. That said:

  • It definitely looks like Crewniverse was trying to make the height difference hard to notice, and the height difference is consistant thorughout the scene.  To me, the scene screams “We’re leaving subtle hints about things we haven’t revealed, again!”
  • Blue isn’t much closer to the camera than the palanquin, so there shouldn’t be too much of a perspective difference.
  • The ‘How Are Gems Made’ Minisode states that Gems suck the life out of the ground to skip childhood (I suspect Peridot will grow).  Gems are probably designed to do that because the Diamonds wanted them to get to work right away.  If the Diamonds don’t have that feature, however, they’d experience childhood.
  • I do think dialogue hints at Pink being a child, rather than a runt.  For example, Yellow calls Pink’s zoo “silly,” suggesting a childish nature.
  • I do think that young Gems and Diamonds would still grow up very, very slowly. Remember that Pink would have to be a MINIMUM of ~1,000 years old by the time she was taken down; probably much, much older, especially if the Gem writing in Off Colors is any indication.
  • I suspect that Blue and Yellow are already fully grown.  Between that, and the previous bullet point, we wouldn’t see any height difference with Blue between The Answer and Steven’s Dream.

I guess I got some good feedback on how much detail to include, and I’ll try to adjust accordingly for future posts. Thanks!

What happened at the Wayhaught Panel

I watched the Periscope and I tried to quote as much as I could. They might not be exact quotes though cause I’ve got hearing issues and tend to hear things wrong but I tried to quote as best I could. Anyway. This is the important stuff that happened at the Wayhaught ClexaCon Panel.

“It can always get gayer” Emily Andras about Wynonna Earp

“On a scale of one to gay…pretty gay” Dominique Provost-Chalkley about Wynonna Earp

Kat cut her hair specifically so she wouldn’t have to wear a braid anymore. She wanted Nicole to “Be sexier” Like she asked permission first and Emily said yeah. She said she wanted Nicole to let loose a bit more so she changed her hair. She thought the braid was a bit tightly wound.

Emily got asked about how she balances a happily ever after and still makes the relationship real and have the occasional problem like a real real does and she said that “You have to believe that even when they’re fighting they’re fighting for each other”

There’s a new cast member. I couldn’t really hear her name but I THINK Emily said her name was Tamara Duarte. (Correct me if I’m wrong)

They’re gonna continue Nicole’s Tumblr! And Waves might be involved as well!

When asked if Wynonna would have some thoughts on Wayhaught Kat,Dom and Emily all went “Oh yeah oh yeah.” In unison.

Wynonna does like Nicole but she’s very protective of Waverly.

Kat teased that there might be some tension surrounding Wynonna and Nicole since they both have very different personalities. (Possibly having to do with Wayhaught) “She thinks no one is good enough for Waverly much as she loves Nicole.” (Wynonna is who they were talking about)

Dom said she absolutely loves how Wynonna’s reaction and the way she feels about Wayhaught was written!

Wynonna and Nicole have a scene that Kat loves that they’re shooting on Thursday and it’s one of her favorite scenes she’s read of them and she can’t wait to shoot it.

Wynonna is oblivious to a whole new batch of things in season 2

Wynonna Earp is gonna be on Netflix in everywhere that doesn’t have it yet in May.

In season 2 “Waverly has such an insane season”

“Every episode is like what’s Dominique’s special skill this episode”

“Everything was nice for Nicole but this next season the barrier of nice is broken and everything gets a little more emotional and a little more frustrating”

Nicole’s “Barrier of nice” is broken and everything gets more emotional and frustrating for her.

WE GET NICOLE’S BACKSTORY. And according to Emily “It’s crazy”

“Doc has some really fun relationships this year with people who are unexpected”

They did a five second improvised Wayhaught scene that I couldn’t really hear.

There are two more posters they’re gonna release at various times

Emily said that the fandom is proof people want to hear stories about queer characters and strong women and now is a better time than ever to tell them.

Heart on the Line (part 1)

Masterlist

You and Bucky had your differences in college, but now you need a place to stay and he needs a roommate, and in order to make ends meet, you two start a phone sex line together.  

“For a Good Time, Call…” AU


author: sugardaddytonystark (formerly buckysbackpackbuckle)
pairing: Bucky Barnes x Reader
word count: 1516
warnings: smutty smut smut and dirty talk (future chapters)

Keep reading

“You had to play bloody cat and mouse, didn’t you?”

Just like everyone else (and Chell, ha) I was blown away by the unexpected reprise of “Suddenly Wheatley” during the boss fight. Everything about this scene was perfectly done and pretty chilling. Brilliant execution by the folks at @geekenders!

Drawing this was a lot of fun - I haven’t drawn anything unhappy in years so it was a little weird, but a fun challenge. Nice way to ruminate on my broken heart, ha.

Practice

Requested by @captaindanindlovu​. I hope you like it!

Summary: Jared Padalecki x reader. Gen gives Jared and the reader permission to do what they’d like.

Warning: Smut, dry humping

Word Count: 2500

A/N: I’m still new to this RPF thing, so I hope y’all enjoy this! XOXO


Sex scenes aren’t the most comfortable scenes to shoot.

Sex scenes are even more uncomfortable when you’re shooting in front of the guy’s wife, who just happens to be visiting and has been given permission to be on the closed set.

Sex scenes are even more uncomfortable when you’re trying to get over the attraction you’ve developed to said married guy.

And sex scenes are incredibly uncomfortable when the married guy who you’re simulating sex with gets an erection. In front of the visiting wife.

Keep reading