two headed bird

anonymous asked:

I used to think that Farfetch'd evolved into Doduo, because the way they are represented in the PokeDex. One headed bird, two headed bird, three headed bird; I was six at the time but I sure as hell could count.

Hahaha, that’s not too weird! That sounds like it would make a lot of sense to a kid. I’m trying to remember some weird misconceptions I had when I first playing Pokemon as a child, but all that comes back is how I didn’t learn or realize you could catch more Pokemon, so I just had a really beastly Blastoise as my only team member.

Privileged (14/?)

Originally posted by bellsqueen

Originally posted by heroineclarke

“After the battle against the Grounders, *yn* is separated from the others and is stranded in the forest alone and severely injured. Meanwhile Bellamy runs into Marcus Kane and the other survivors from the Ark and unsurprisingly the two clash.” 

Warnings: Swearing, violence, fluff, some angst 

Notes: Based on 2x01 ‘The 48′ of The 100.

Series Masterlist


The crunching of the dead leaves underneath Bellamy’s boots mixed with his laboured breaths rung in his ears as he sprinted through the forest. A makeshift spear was gripped tightly in his hand as he ran, his eyes darting around as he desperately searched for fellow survivors and more importantly for *yn*.

He came to an abrupt halt and ducked behind a tree when he heard voices from up ahead. He began to slowly creep forward as the voices got louder and louder until he located the source of the noise.

“Monroe, Sterling.” He whispered in relief as he hurried towards them. They both jumped out of their skin when they heard his voice but were quick to relax when they recognised one of their leaders. 

“Bellamy- how are you alive?” Monroe hissed as he crouched alongside the pair.

“We knew the fire was coming so we ran but Finn and I got separated.” He explained.

“What about *yn*?” Monroe asked quietly. Bellamy’s face fell at the mention of her as he swallowed harshly in an attempt to suppress his emotions. 

“I don’t know.”   

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The Signs as Exotic Animals

Aquarius:
Shoebill Bird

Pisces:
Two Toed Sloth

Aries:
Birds of Paradise

Taurus:
Two Headed Turtle

Gemini:
The Mimic Octopus

Cancer:
Pigmy Tarsier

Leo:
Liger - Lion/Tiger Hybrid

Virgo:
One eyed Shark

Libra:
Okapi - Zebra/Horse Hybrid

Scorpio:
Shrew

Sagittarius:
Calleta Silkmoth Caterpillar

Capricorn:
Proboscis Monkey

The BF Reacts to the Primarchs

In which @asking-ask​ gives first impressions of all the Primarchs based on art I provided!

For each Primarch I listed the legion, name, and three pieces of art, two of which were always from Aerion’s Primarch Project, and the Iconoclasts portraits. Gonna be a long post, so just click the “read more” tab.

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Two-Faced Chick and Two-Headed Calf

Two-faced (diprospus) and two-headed (dicephalic) animals may look similar, but they’re different on the most fundamental of levels. Two-headed animals are simply conjoined twins that stopped separating very early in the process. They generally have two fully-formed cephalic regions, though sometimes one head is much less responsive than the other.

Two-faced animals, on the other hand, have a mutation in the Sonic Hedgehog (yes, it looks like a hedgehog and was named after Sonic) homologue gene. This gene regulates the symmetry and width of the head and facial features, and when the gene is mutated in a way that causes too much of the correlating proteins to be produced, diprospus animals are formed. As this gene is also responsible for brain and upper neural tube development, it’s uncommon for diprospus creatures or humans to live very long after birth.

When the SHH gene doesn’t create enough of its proteins, cyclopia (one-eyed, one-nosed) occurs.

Watch Emily and Anna dissect a two-faced calf on The Brain Scoop!

http://www.youtube.com/watch?v=i_diEm6st6o

Vindsie asked for a bit of Newt-centric Gramander fluff over on AO3:

your fluff is cotton candy is soft like baby hippogriff down, is amazing and you do seem to like Graves, which is fantastic, but more Newt more Newt please?

Newt fluff, you say? Hmm. What Newt fluff could I give you.

I could give you that time they went to Copan in Honduras, and Graves - poor, deluded Graves who thought that the history was the main thing to see - was staring in fascination at ancient stonework still riddled with runic wards, the stepped temples rising majestic out of the towering trees, the carved patterns and statues dotted around the abandoned site like so many stones on a gobstone board. But, see, Copan is home to a type of parrot not found anywhere else in the world, a parrot so rare that it doesn’t even have a name. It looks like a red macaw when you first see it, except that it turns its head and you realise there’s another head behind. It takes off with a flutter of four wings, two tails streaming behind it, and four sets of claws curl around the branches when it lands. They were sacred, back when Copan was inhabited, and there’s carvings of them chiselled into the rock all over the site.

Newt is entranced. The parrots won’t let him get close (the macaws will, the mundane cousins of these magnificent two-headed birds, but Newt has seen macaws before) but Newt drifts with them from tree to tree, trotting underneath with his head tipped back to watch them glide. He tries to work out how they fly, how their wings fit together - are they layered on top of each other? One set in front, one set behind? Are they laid out in a cross like a dragonfly? - how the one body supports two of every limb –

They’re drifting away from the ruins. He’s leaving Graves behind. “Stay where you are,” he begs them (it comes out through his language charm in a mix of consonants he’s never heard before) and he runs stumbles trips his way back through the forest. Graves has found a giant staircase, mostly in ruins but still guarded by a pair of statues at the base, and he’s gently prodding at the one on the left with his wand.

“Graves,” Newt says, breathless from the run and the excitement both. “You have to - this way - ” He can’t talk fast enough to say what he wants to say so he just grabs Graves’ hand and pulls. They run stumble trip together, Graves wrapping one arm around Newt’s waist to keep him from falling and Newt tugging insistently forward, fingers tangled together so Graves’ keeps up.

The parrots aren’t where Newt left them. For a moment he stares at the trees, aching from the loss. Creatures come and go and sometimes they don’t stay to be social, but he wanted Graves to see. “They were beautiful,” he says, lifting his hands and tracing an outline in the air. “They were all colours, like fire - you’d have liked them, and Graves their tails.”

He burrows close into the space under Graves arm and pokes morosely at his floating model, turning the feathers red-orange-gold with blue-green trim. Graves wraps an arm around his shoulder and buries a hand in his hair, kisses the freckles on his forehead.

“Green tails?” he asks. “Green-gold, with a really long blue feather trailing behind?”

He points, and Newt follows with his gaze. There’s a parrot - just the one, perched on the low-hanging branch of a tree. It squawks, mimicking a sound that might once have been a word, and flies off between the trees. Newt follows, a scramble of limbs moving with surprising care to keep from making a noise. Graves, fingers still entwined with Newt’s, also follows. The parrot leads them to a saber tree, one of the greatest and tallest trees in the forest. It loops once around the pair of them then flies up, straight up -

The branches are filled with parrots. They peer down, twin heads tilting to study the newcomers, and when they glide from branch to branch their feathers stream behind them, red-gold-blue-green that shimmer in the evening light.

Graves holds Newt from behind and Newt leans back into his chest, and Newt doesn’t have to ask to know that Graves understands. These moments are special. These moments are theirs. There are no words for moments like these, moments shared in wonder and in love. No words are needed.

Giving 31 pieces of masculine clothing, most small but all sizes

Mod Note: Everything has been CLAIMED. 

Hey y’all! I’ve got 31 pieces of clothing, generally considered masculine. I am in Ohio and am willing to pay for shipping in the US. I live in a house with cats. All the clothes are clean. I divided the clothes into groups, described below. Sorry I am not the most stylish exactly. Lemme know if you want any of the pieces, more info, better pics etc. Also apologies if I got any colors wrong, I do that sometimes. url is pongoabelii.tumblr.com

A. Large (XL?) shirts: 3 

brown with cobblestone scene, 

black with the blues brothers

black turtleneck, long sleeve

B. Medium shirts: 3

brown “Time is an Invention”

orange with tie-dye circle, front and back

blue, long sleeve

C. Small shirts: 4

green with Phoenix

green with Two-headed bird and stars

grey, long sleeve

green turtleneck, long sleeve, tight neck

D. Leg-wear: 4

khaki pants, 29 W 30 L

khaki pants, 30 W 30 L

black athletic shorts, small (but stretchy)

blue shorts, elastic band, small, not nice looking

E. Dress shirts: 4

small, brown long sleeve

small, red with checks, long sleeve

small, white with some red, short sleeve

green(?) long sleeve, really nice, 33 inch sleeves and 14.5 neck (i.e, kinda long for a small)

F. 13 medium and large shirts specific to my hometown. You probably don’t want these but hey, maybe you do.

4 large shirts from special olympics volunteering: 3 short sleeve blue, 1 long sleeve white. 

9 medium shirts: mostly cross country shirts, including one long sleeve. Also includes a white volunteer shirt (says Body Forward on the front), a student council shirt, and several high school class shirts. Colors: most are red, one is black, one grey, one yellow.

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Solar eclipse, how it looked like at Zarathustra’s place - St.Petersburg Russia! The Cat is hunting all - two headed and one headed birds, Sun and Moon, the whole world is not enough! :) thanks to amazing photographer Dmitry Lovetsky for help to catch the epic moment!

Lets Talk About Captain EO Starring Michael Jackson part 1

by Terri Hardin ( is a puppeteer, artist, and  Disney imagineer)

Many of you know the Captain EO film. In fact, I know that many of you know it by heart.

For all of you, I’ll share a behind the scenes story and explain the journey taken to make Captain EO. It will take me 3 articles to tell you my story. I hope you enjoy it.

One day after working my job at the carpet cutting company, I received a phone call. The voice on the other end asked,

“How would you like to work with Michael Jackson?”

“Okay?” (I have to say that at the time, I wasn’t that interested in working with Michael Jackson in the beginning. My mother was the one who would have loved that chance.)

“How would you like to work with George Lucas?”

“Okay?” (This is getting better I thought, would he be willing to talk Star Wars with me after I ended up in Sky Walking, the story of George Lucas for seeing the film 185 times in theatres)

“How would you like to work with Francis Ford Coppola?”

“I’m in!” (I’d work for this man for free. I really wanted to meet him. I’m a huge fan of the Godfather films)

The next day I went to work at a Studio in Culver City. I was assigned to build the Whip Warriors, the ones who attack Michael Jackson when he tries to give a gift to the Wicked Queen. The job would last about 2 weeks I was told.

I was given a drawing and the size of the dancers who were to wear the suits. It’s important to ask what the dancers will be doing in these outfits so you can make sure the suits move with them and not hinder their performance. For those of you who’ve seen the Behind the Scenes video where the helmet of one of the Whip Warriors helmet flies off while he works to trap Michael, you know exactly what I mean.

The designer told me the dancers would be walking nothing more just build them. Then I got to see a rehearsal. The dancers were doing everything but walking. Not Cool. So I had to fix a lot of problems so the dancers could see better and move more. The outfits were still very challenging.

While working on these revisions on stage 11, back at my home, someone called and left a message about a new film for Disney called Captain EO, would I be interested in auditioning for one of the puppet roles? When I got home and heard this message, I returned the call and left a message.

“I’d love to but you don’t need to call me, just come by Stage 11 down the way from you as I’m building the warriors for that film and let me know all the details.”

At work I waited for them to drop by. Nothing happened, no visit from production.

Puzzled I returned home and again heard the message, a new film for Disney called Captain EO. Would you be interested in auditioning for puppet roles. If you’re not interested, please have the courtesy to contact us. Blah Blah Blah.

I couldn’t believe it. Had they not heard my message?

Not wanting this to happen again, I walked from my stage where we were building the costumes to the production room and introduced myself.

“Hi, my name is Terri Hardin and I understand you want to reach me. I just wanted you to know that all you had to do is walk that way to find me.”

I pointed to stage 11 and their faces dropped. I smiled, and an audition time was scheduled. At the audition the lead puppeteer told me he wanted to have me try out for a two-headed bird creature. I won the part of Idy and Ody.

What really landed the part for me was the fact that I could lift and perform these heavy suckers. Each bird head weighed 15 lbs. each and the body added to this weight by quite a lot. Many had auditioned before me without success. When I hoisted it up and made it live with little effort, I got the job.

Disney is really not keen on letting folks know that creatures seen in films of this nature have puppeteers working them. They’re more comfortable promoting the people who wear the costumes. They believe that this helps the creatures appear real. To Disney, it’s easier to promote the actors wearing the costumes. This sounds better then telling the world they’re puppets. As a result puppeteers go through life not being credited for the work they’ve done. This was the case in Captain EO.

All the creatures had suit performers. For Idy and Ody as well as Hooter the little elephant, little people were cast. The construction of Idy and Ody posed a problem for the two performers cast to play them.

Because they were a two headed bird with three legs, the performers of this creature had to be tied at the waist and their outside arms and legs became the arms and legs of Idy and Ody. The performers inside arms they put around each other and their inside legs together were placed inside the middle leg of Idy and Ody’s. When they walked in this costume it was much like when you run a 3 legged race.

The heads of this costume had very little animation ability, so most of the scenes (with exception to the walking ones) the puppet was used. 90% of the performance of Idy and Ody is my work.

However, Tony Cox played the little elephant Hooter. His suit fit him like a glove.

Most of the work you see he did himself. He was able to animate this creature very well. There was only one scene Hooter was just not able to do. That scene was the Push the red button scene. This scene called for Hooter to jump up and hit the button with his trunk. The costume restricted Tony’s head so he couldn’t jump AND move his head to push the button. A duplicate trunk was made so the puppeteer could hit the button on cue. After a couple of passes the puppeteer for Hooter began to get fatigued and Francis Ford Coppola barked in an angry voice.

“I need a strong Puppeteer! Where the heck is that bird puppeteer!” So I was brought in to do the scene. I offered for this puppeteer and I to do the scene together, after all everything is better with a team. But this didn’t make her very happy and she walked off the set leaving me to do the scene. The next time you see this scene you’ll know who is really pushing the red button.

Fuzzball, was both a puppet and created optically. Rick Baker’s team, were the masterminds behind the success of this creature.

When a film goes into production, the first thing the director does is to call for a table read. This involves calling all the performers together to read the script and to discuss the filming schedule.

Francis Ford Coppola called us all together. I was a little nervous as I was such a fan, I didn’t want to appear all geeky when I met him. When he did walk up to me, he was dressed in a plaid shirt and Bermuda shorts and I didn’t recognize him.

“Hello, welcome, I’m Francis.”

“Nice to meet you Francis.”

When he walked away a cold wash of sweat covered my body as I realized I’d just shaken hands with the Francis Ford Coppola.

We all took our seats around a huge table. The suit performers were to read the lines of each creature and puppeteers were to sit and listen. Everyone was in position. Francis Ford Coppola, George Lucas and Angelica Huston. The only person missing was Michael Jackson.

Finally Michael came in followed by a huge entourage. People scurried around him like a swarm of bees. The only seat left at the table was next to me.

So Michael Jackson took his place next to ME!

Arthurian Parallels in Dream Thieves

While the Raven cycle is not a retelling of Arthurian legend, nor are the characters direct allegories of Arthurian characters, there are a lot of powerful correlations. After all, on a quest for a sleeping king, what better model could there be than Arthur, his knights, and their largely ill-fated grail quests?

But the biggest reason why the Arthurian parallels are relevant to the Raven Cycle is that Gansey so clearly wants to be Arthur, wants to have his loyal knights and go on merry adventures. We see in Dream Thieves when he makes the comment about Glendower traveling with magicians,then modifying his telling slightly so as to include Blue.

Gansey punched Ronan’s shoulder. “Glendower traveled with magi, did you know? Magicians, I mean. Wizards. They helped him control the weather; maybe you could dream us a cold snap…They also told he future,” added Gansey, turning to Blue.

“Don’t look at me,” she said shortly. Her lack of psychic talents was legendary.

“Or helped him tell the future,” Gansey went on, which did not particularly make sense, but indicated that he was trying to un-irritate her…[Dream Thieves, p. 11]

 In this brief moment, we see that Richard Gansey wants his world to imitate myth so much, he is willing to alter the myth to create the same effect. (Which is fine, of course, that’s what myths are for, to a certain extent). 

So sorry, Gansey, but I’m going to instead turn this discussion toward someone who doesn’t give a darn about what legendary figure(s) he may or may not be emulating, but who encapsulates elements of their characters nonetheless: Ronan Lynch.

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