waterfall scene

They told us Eurus, Redbeard, and Sherlock were all the same person in TAB

Do you remember the part where Sherlock drags his friends to Ricoletti’s grave and we think it’s real, but it’s actually mind palace?

The grave stone says “Emelia Ricoletti, Beloved Sister”

Sherlock jumps in and starts panting like a dog. He shovels dirt with his hands, digging like a hound with paws.

Sherlock is all three people.

“My husband is three people”

The Final Problem makes sense only in subtext. Whether you think it’s John’s MP or Sherlock’s MP, that’s still up for debate. I’m officially siding with Sherlock’s because there are flashbacks to the waterfall scene from TAB in TFP, which means both of those episodes must have been experienced by the same character, and I don’t think it was John for both.

Sherlock DID have a friend named Victor Trevor, but his death happened much later in Sherlock’s life. Because of that Sherlock took to hard drugs as a young adult, not as a child. There are two separate deaths he combined together to create TFP.

Redbeard was an imaginary friend. Sherlock didn’t have friends, we know this. He wanted to be a pirate – Mycroft remembers and misses that carefree child.

So what changed Sherlock’s mind? Why did the cold, logical, calculating machine take over and get rid of Sherlock’s imaginary friend?

Mycroft. He kept calling Sherlock “a stupid little boy”, saying “you always were so stupid”. Sherlock even says Mycroft thought he was an idiot. Sherlock stopped being “stupid” and tried to emulate his big brother – the only person in his life that would tolerate him. He tried solving the Carl Powers case and boom! Sherlock Holmes the little detective was born. This is why Mycroft brought up Redbeard at the wedding – “Hey, don’t get involved, remember when you had to resort to imaginary friends like a pathetic little child?” makes a lot more sense than “Hey, don’t get involved, remember your dead friend Victor who disappeared because our secret sister killed him?”.

Eurus represents the crushing logic that destroys everything Sherlock loves.

Because it’s happened before. Twice we’ve seen Sherlock’s mind explain how Victor died, we just didn’t know it.

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4

Alright, seeing that you guys are interested in it (which I really thank you all for doing that), have a sneak peak to the Undertale swap animatic! I am not sure if I would finish this before Christmas, but I am 100000% sure it’ll be done before New Years. That’s my plan. Special thanks to @eatincart and @teaandmuffets for helping me out. Looking forward to seeing this done soon. :D

(Underswap!au belongs to @popcornpr1nce​)

The Shortest Meta I will ever write:

At the end of TAB, Sherlock talks to John about what he thinks their life would look like in the future. He goes to the window and he makes his Victorian mind palace change to present-day mind palace. We never see him leave the mind palace because all of series 4 is that projection, exactly as he said it would be. That’s why The Final Problem features John’s Victorian chair and flashes of The Waterfall scene.

The reason “TFP as John’s TAB” is an excellent reading with only a few minor holes is because Sherlock is trying to see himself through John’s eyes – he did that multiple times in TAB. The times we believe we’re getting John’s POV in series 4 is actually Sherlock taking it upon himself to attempt to empathize. That’s why they can both see Mary in TLD. That’s why the greenhouse scene concerning Irene happens twice – once through Sherlock’s POV, once through John’s. Sherlock and John have so much in common, this isn’t a new idea at all. They were mistaken for one another in TBB. They are two halves of the same whole. Series 4 doesn’t switch POVs, it’s Sherlock controlling both.

“I’m you, aren’t I?”

What if after the waterfall sex scene on Aya Jaal and Ryder start sleeping together in her quarters. Half of the time he’s the one that drags her into bed when she starts pacing around her room, her mind hyper focused on pathfinder related things and her fragmented family. Jaal will coax her into bed gently knowing full well if he doesn’t she’s bound to stay up all night, eventually running herself ragged. 

The two of them savor the sweetness and warmth in these quiet moments. Safe and sound in one another’s arms. Jaal will stay up a little longer just to watch Sara’s sleeping face, eyeing the way her chest rises when she inhales and the way it drops as she exhales. He will sneak a few gentle kisses under her jaw or on her cheek, careful not to wake her in such a peaceful mesmerizing state. Other times he smiles, warmth flickering across his bright eyes, and hums in pure contentment. 

On the rare occasions when Jaal falls asleep before Sara she takes the time to study his naked body. Ghosting her fingertips against his chest as he dozes, completely unaware of her curious exploration of his body. It doesn’t matter how many times she’s slept with him. Both sexually or non-sexually. She still takes the time to let her hands wander. Purely innocent intent as she goes over the places which are vastly different than her own. When she’s too tired to let her curiosity take over, she shifts within his arms, nestling deeper against him when his arms relax and begin to lose their grip on her. Sometimes Jaal wakes up to her moving around. Sometimes he doesn’t. When he does his grip tightens around her, providing a solid wall of love and comfort for the one thing he truly loves to death. He’ll kiss the top of her head a few times before falling back asleep.

The very first time they sleep together he questions her clothing, the loose fitting pajamas she chooses to wear to bed. Sara explains their use and the reason some people wear it. Convenience. For a brief moment, she mentions a type of sleepwear meant to be revealing and even thinner than normal pajamas. Jaal questions her why someone would wear such a thing for it sounded like it provided little warmth or practicality. Sara turns beet red. Her voice silent as she stares up at him shyly. Jaal is perplexed by her reaction, knowing she flusters easily if he mentions anything sexual. Eventually, she sputters, explaining the reason someone would ever wear something like that. Jaal remains silent for a better part of a minute or two, humming deeply. He admits he’d greatly enjoy seeing Sara in such a thing, if it were possible. 

Jaal erupts into laughter as the blush on Sara’s face turns a deeper shade of red than before.

Yuri on Ice BD audio commentary translation - Volume 2

Translation of the audio commentary of the BD/DVD vol.2! By Mitsurou Kubo and Kouki Uchiyama, voice actor of Yuri Plisetsky. Unlike the commentary of vol.1, that contained lots of things already appeared in countless interviews, this one has some VERY interesting information that I’m sure everyone wants to know. For example, we finally get to know more about Yurio’s family… There really is a lot of stuff regarding Yurio!

The commentary is only for episode 3. Episode 4 has no commentary. In a way it’s still not a full translation because I didn’t really translate every single line, but I think I translated/summarized basically everything they talked about. Therefore, it’s also really long… As in vol.1, since the format is different from normal interview translations, you can find my comments too (mostly in brackets).

Since it’s long you can find it under the cut. Enjoy!

Keep reading

anonymous asked:

How do you interpret the waterfall scene in tfp where sherlock envisions it? if we truly are in john's mind bungalow then that doesn't make sense... I don't subscribe to the dream within a dream within a dream theory because of its complicated and (imo) anticlimactic nature, and s4 does seem to be from john's pov due to the sherlock/ mary being friends thing and john's self-deprecation and sense of uselessness which is illustrated in numerous instances. But this waterfall is confusing!

I love that y’all want to hear my thoughts on this stuff, but you might be disappointed b/c nothing like this is bothering me. 

For me, the meaning of S4 is not unlocked by simply asking, “whose POV is it?” or “whose dream is it?” or “whose head are we in?” I don’t think the window we get into anyone’s head this season is from the unfiltered, raw perspective of a dream, or from being “in” one person’s head at all. Being “in” someone’s head implies for me that we’re privy to the thoughts they haven’t yet shared, an unedited version of things. I think what we’re seeing in S4 is a final, highly edited, polished product of the story that John wants to sell to the public, the story that gives one explanation of how Mary died and John ended up back at Baker Street, but for various reasons that shine through if you look hard enough, is not the real one. Fresh paint to disguise another smell.  

The Great Game was never solved by being able to answer “whose dream” or “whose POV.” It’s about reading in between the inconsistencies of a story sold to the public to extract the truth.

And in writing, Watson was never covering for just himself, either. Any detail that John couldn’t have known himself is easily read as a flourish added by Sherlock on final review before the story goes to print. Frankly, every time there’s an aside conversation in S4 about oh jeez, what about Rosie, what’s the gender of the kid who died, what’s Greg’s name, etc. etc. is, in my mind, a tiny breach of the fourth wall where John and his cadre of editors are making sure he’s keeping the story straight. The official story at the beginning of T6T was reviewed by committee, after all.

Things other than the actual content of the show that make no sense outside of tjlc

• Mark and Steven saying that TPLoSH is both their favorite movie and that it’s one of their biggest inspirations for BBC Sherlock.
• Mark and Steven being as excited as they were for the waterfall scene.
• The fact that Mark and Steven have explicitly said they lie about major plot points, when all they’ve really talked about is not doing johnlock and the baby.
• The LGB surveys BBC put out right before making Sherlock.
• Everyone on the show and the commissioners really, really liked the pilot, and only remade it so it would be longer and more polished.
• The writers going on and on about LGBT representation, proving that queerbaiting is not an option for this show.
• Amanda accidentally saying that they’re bringing a “hus- wife for sher- john” (damn she did that)
• Arwel posting elephants nonstop when they clearly know that we know what the elephants mean, so either they’re queerbaiting (which they aren’t) or they’re planning to address the elephant in the room
• “love conquers all”

The effect of John's blog on EMP

This is all pretty interesting because I believe in EMP, but I also really like the idea that series 4 follows the style of John’s blog. I guess that sort of makes sense; the end of HLV had a touch of that, but was still an immediate continuation of the real narrative, so Sherlock was able to imagine it realistically. Then he passed over to the next dream level for TAB (he probably has John’s blog entries catalogued in his Mind Palace, which is how he could remember A Strange Meeting through John’s eyes, and which later contributed to the fuckiness of series 4); the Victorian setting worked well as a metaphor for his suppressed feelings, but also aided in distinguishing dreams from reality, although we saw in the graveyard scene that you can’t trust all “modern” scenes to be real.

BUT - here’s the weird part: we thought that Sherlock woke up for real at the end of TAB, right? Well, there are two reasons why this might not be the case:

  1. According to EMP, none of the tarmac was real, so unless he wakes up in the hospital bed, that isn’t very convincing.
  2. We get the very last scene with Holmes and Watson in front of the fire AFTER the tarmac. This shows that he is still in his Mind Palace, and also that (as the camera pulls back) this dream can bleed into the “real” world setting.

Does Sherlock know that he’s not awake yet? Maybe he’s been submerged too long to remember that he’s dreaming (and he’s probably being given drugs in the hospital, inspiring the tarmac-level overdose, and the Victorian-level cocaine use. This is why he’s acting so manic and citing a “natural high” at the start of TST; in his mind, he hasn’t taken any drugs lately, but the reality is that his body is still hooked up to the morphine, along with anything that Mary might have given him), or maybe the weird haircuts for John and Mary are a way for him to keep track of reality. Either way, he’s slipping.

Upon “waking up” for TST, he begins solving cases very very rapidly, completely throwing himself into the Work. Maybe this has to do with feeling unable to confront his feelings for John directly… OR it’s because he feels like John only wants him for the exciting cases, and he’s worried about letting John slip away. Just think – he’d come back from the dead, used cases to distract from the impending wedding but then watched the wedding go through anyway, and then John disappeared for a whole month and he relapsed on drugs. He managed to rope John back in for the Magnussen case, but that went spectacularly wrong. John forgave Mary. (But only in Sherlock’s head; in real life, he still doesn’t know who shot Sherlock.) So now, Sherlock is trying to be exactly what he thinks John wants him to be. That’s why there’s such a huge fixation on the blog. We get Sherlock analyzing the blog content, trying to see things through John’s eyes. He’s looking for the elements of the cases that John likes, but inevitably begins to pick up on the negatives, which is why we get Sherlock The Semi-Sociopath again (not paying attention to John, always on his phone – versus series 3 Sherlock, which was from his own POV) and John’s feelings that he’s nothing more than a sidekick.

Sherlock is using the blog entries that he’s catalogued as a template for TST, but also trying to resolve the Mary storyline that he set up in HLV. (Remember, we still don’t know the truth about Mary; these are all predictions by Sherlock.) He gets the A.G.R.A storyline from H.O.U.N.D. and from his own torture experiences (which is why Ajay is a Sherlock mirror), and the Thatcher busts from The Six Thatchers blog entry, and never quite figures out if Mary is a villain (she shot Sherlock) or a hero (John loves her). So he writes her more action scenes (remember what he imagined her telling John in TAB: “it’s not your going that bothers me, it’s your leaving me behind!” based on how she rushed after them at the wedding reception, and how she insisted on coming along for the Happily Ever After case on John’s blog), and gives her a heroic death, trying to figure out how John would react once she’s out of the picture.

He imagines that John would not react well at all. He is probably thinking about how greatly he underestimated John’s grief at this own fake death, and mentally combines that with all the times John has ever been angry at him and blamed him for things (especially the Fall). So Sherlock imagines that not only is John taking Mary’s death very hard, but he is blaming Sherlock for it. Sherlock tries to figure this out by imagining John’s therapy sessions, although he changes the therapist because it would take to much effort to also imagine Ella, who he doesn’t know too well (and he had tried imagining her in TST). Remember, Ella was the one who made John set up his blog in the first place. Maybe Sherlock consulted her to get a better idea of how to structure the narrative.

Meanwhile, someone must have just given him another dose in real life, because in TLD, he’s absolutely losing it. He points out his ability to predict people’s behavior up to two weeks in advance; this is proof of the possibility of EMP, since he could easily imagine those situations in his head. (But this also shows that Sherlock thinks he always gets these predictions right… but we know that some of these characters seem to be acting a little off, so we know that he hasn’t gotten it completely accurate.) He pictures Bill Wiggins keeping him company… is this how he acted when he only had Billy the skull? We clearly see that Faith was inspired by John, specifically by their first meeting in ASIP. In the hospital, a number of people bring up John’s blog, stating that it’s gone a bit downhill (rather like this show has, now that Sherlock’s spiraling into blog-style characterizations instead of realistic depictions), and he gives a speech to the kids about how logic and reasoning is the most important aspect of crime-solving, not John, because he thinks that’s how John sees him.

He imagines a plot line with a memory drug, because he’s starting to forget what the purpose of this whole exercise was, or whether or not he’s still dreaming… and a killer… there was murder somewhere, wasn’t there? And a hospital? He remembers a hospital, and a sinister blonde person threatening to kill him if he spills the secret of their murderous tendencies… but he’s got it wrong, all wrong, and Mary has told him to do something, and John is in the dark, and he’s really dying this time. (Is someone trying to smother him in real life?)

But then – John saves him. Because of course he does. John, who saved his life in ASIP and who has always followed and protected him. “There’s always two of us.” But he remembers how much Mary’s death must be affecting John, and he imagines that John would still be angry with him. He saw John speak to him at his gravestone, and so he personifies Mary, to try to guess how John would act with her shadow still over him. (Also, a part of him remembers that John is still in danger from Mary, hence the sinister ambiguity of her first scene in TLD.) Rosie is off somewhere – who knows, who cares. Sherlock remembers the wedding, which was supposed to be perfect but which featured an attempted murder anyway.

Perhaps the TLD hug reminds him of the Stag Night, when he thought they were headed for something big but weren’t quite able to reach it. That was the Mayfly Man case… he thought is was unrelated, but it turned out to be tied to John and his wedding, and his previous romantic interest… and so we get Eurus, the unexpected danger. Because Sherlock can’t actually imagine anything past that hug; he’s still unsure of how John would react.

TFP could be a number of things:

  1. Sherlock’s imagining of what John’s Mind Palace would look like after he gets shot (because they can’t have a happy ending; John is in danger and Sherlock has been stupid and now he might lose John forever).
  2. Sherlock has fallen down another dream layer, like the waterfall scene in TAB.
  3. Sherlock is on so many drugs and/or he’s been in the Mind Palace so long that everything is getting reeeeeeally weird.
  4. Someone has the TV on and is watching horror movies and Bond, and/or Sherlock has taken the blog influence too seriously, and now things really are written in the style of John’s blog: romantic and clipped and half unbelievable.

—–

TL;DR: Assuming that S4 is all EMP, Sherlock is using John’s blog as reference when creating the narratives for the three episodes. We saw him read the entry about their first meeting in TAB; this shows that Sherlock likely has some (if not all) of John’s blog entries stored in his Mind Palace, and he is now drawing from them.

YURIO - YURI ON ICE META - Yuri Plisetsky and His Crush on the Other Yuri?

Recently, I saw an interview from Kubo-sensei which suggests Yurio might have a crush on Yuri. I had been thinking the same thing for a while, but it wasn’t until I saw this and yuuriyurio-plisetsky’s meta that I decided to get these thoughts out on paper. So here is my contribution to the Yuri Plisetsky meta!

I’m going to dare to say that Yurio noticed Yuuri before Viktor did.

We’re taking this from the top. Back into history when Yurio was a wee lad. Now, Yuuri is 8 years older than Yurio, so that means he’s probably been in the senior division of competitive skating for most of Yurio’s skating career. I believe that Yurio has admired Yuuri for a long time, the same way Yuuri admired Viktor when he was young.

Why would little Russian Yurio even notice a Japanese figure skater, who didn’t even make GPF until 23? Well, because they have the same name. That alone would have drawn Yurio’s attention. He even makes a point to emphasize that when they first meet and to make sure Yuuri knows who he is.

Keep reading

Who they really are (pt. 2)

Okay so I forgot to mention in the first post that we actually have heard Sherlock’s theme played romantically, at the end of a finale episode: the moment with Sherlock eavesdropping on John in the graveyard, at the end of series 2:

(For context, here’s the end of series 4:)

There’s also a kind of light, playful version of Sherlock’s theme at the end of TAB:

Now, I don’t think series one had this, because it ended with that pool scene cliffhanger and the frantic violins, but I just checked and series three does end with Sherlock’s theme too, this time the usual “the game is on” version:

So, yeah, it’s probably just a thing that the show does, because we get that recognizable motif right before the other big recognizable motif (the credits), but I think it’s interesting to see how it changes based on the context. Series two was playful, hopeful but also with a lot of weight and romantic wistfulness because it showed Sherlock forced to stay away from heartbroken John; series three was completely straight and playful, as John told Mary “there’s an East Wind coming;” TAB was all light and bouncy as the setting faded from the Victorian era to present day; but series 4 was very heavy and romantic, almost heartbreakingly sad, with a full orchestra. In fact, it kind of reminded me of this song, which was used when Sherlock looked out over London in TEH, and then during the waterfall scene in TAB:

Thoughts?

I threw some wild ideas at a fandom friend today, and this is what I ended up with: I just removed Mary from Sherlock.

You know, if TFP was the planned outcome all along - as bad as it was - you don’t need the whole Mary arc for it. Just cut her out.

We have TRF. Sherlock jumps (or not). Anyway, he’s removed from the story. 

Now, just erase all of S3. Sherlock jumps and is presumed dead. We see him last on a graveyard. Afterwards is the tho other one scene from HLV, where Sherlock’s future is decided. He is send on a plane, into exile. Then we start with TAB. Of which I only take the waterfall scene - a reminiscence to TRF - as the  case doesn’t matter. No Mary, just Sherlock, Moriarty and John at the waterfall. Fighting. And John and Sherlock at Baker Street. Without Mary. Transitioning into today.

In the end, Sherlock jumps. And flies.

Now, cut TST and TLD - all this Mary stuff. Boring.

We’ll start again with Sherlock. In TFP. As a girl on a plane… like he’s o a plane at the end of HLV.

If TFP was what they planned as the outcome for BBC Sherlock, the solution - you don’t need Mary for it. Sherlock was empathic before. There was no significant emotional growth from Mary’s death. So just cut it.

I see it like this: End of TRF - the other one scene from HLV - Sherlock being send away - on a plane, high, fantasising - fighting Moriarty and jumping - then back at 221b. Suddenly, Sherlock is a girl on a plane. Then, we are again at 221b Baker Street, and Mycroft explains what happened in Sherlock’s childhood. Mary doesn’t feature, not even while they are running thorugh Sherlock’s sister’s terror maze - neither for John nor Sherlock.

Sherlock discovers he has a sister, he accepts her, he saves John and they rebuilt their lifes together. It ends with Sherlock holding the bison skull. Forget thoese DVDs.

Remember, there never was a real living person called Mary Morstan. ACD mentioned her once, then forgot her name before letting her vanish during hiatus. There is no Mary Morstan. Just ignore everything with her in it.

The series ends with Sherlock grabbing that big horn.

I see myself out.

Thatcher bust as a mirror for Sherlock's MP

(Posting this on its own because it’s an alternative to EMP and I don’t want to spoil an EMP conversation as I enjoy reading them and I feel no need to prove anyone wrong. This is just an alternative perspective.)

Seeing a long thread on Sherlock saying “she” instead of he 3 times [EDIT: correction - - - that’s actually 1 erroneous “he” and 2 erroneous “she"s] and the “sorry for the loss of your daughter” as being EMP evidence.
But is the more obvious explanation not a foreshadowing of Eurus? That in the real world he unconsciously knows he has a sister? The T6T parents are then mirrors for his own. Which is why there’s all the water imagery as he thinks about Thatcher. Foreshadowing the well. And the name thatcher may indeed be a trigger - provoking memories of youth? It certainly sits nicely with Mycroft as the political player and his repeated references to the PM. That if we think about Thatcher we should think about him and about power. (I’m definitely not of the mind that Mycroft comes out of s4 looking redeemable because he “loves” Sherlock. He blames Eurus for everything Sherlock has become but in fact it’s his fault. He had the power at any point to tell Sherlock and his parents the truth and chose not to. And that nearly killed Sherlock multiple times over. But as with everything else in s4, bad behavior has no consequences. But that’s an aside.)
The table neatly laid out - a shrine kept in place - until he notices something is missing. The gap. The missing bust. Of a woman.
Thatcher, and the boy in the car, and saying she destroyed the file rather than he - all are unconscious references for Eurus. In TAB, the bride was really Moriarty. But in s4 it gender switches yet again so that “behind” Moriarty is a woman. Even cross dressing Hooper is a Eurus foreshadowing. All are pointing toward a concealed or veiled woman that Sherlock knows about but only on a deeply buried unconscious level.
I have massive problems with the Eurus storyline and if the waterfall in TAB was meant retrospectively to be water imagery connected to the well I think they should have written it differently because it’s not for me convincing. The emotional stresses in that waterfall scene don’t sit well with Trevor’s bones and John down the well TFP.
But that said, the pronoun switching works narratively even if everything in s4 is occurring in the real world and not EMP. It all points forward to the gender reveal of “the other one” and a secret Sherlock *doesn’t know he knows*. In TAB inside his MP he is unwittingly coming very close to finding that truth. As with the Thatcher bust, the carefully constructed concealment Mycroft has built to keep Sherlock’s own memories at bay is breaking up. Like the AGRA file hidden inside the bust, there is a file of memories of the “truth” of who “she” is and it’s hidden inside Sherlock. The truth will be revealed if the head/mind breaks.
And it’s a psychological adaptation of RETI - Mycroft uses a false memory of a dog to keep the well (and this Trevor and thus Eurus) hidden inside Sherlock’s mind palace. Just as in RETI a dog kennel hides the well where the bodies of the wife and her lover have been hidden.

Even the Vernet in Mycroft’s notebook on the plane in TAB does not require EMP as a clue foreshadowing Eurus - rather it was canonical reference to the Vernet family DNA in GREE and “the art in blood” and the very origin for “Sherrinford”, the country squire, in canon. Except the fan-created secret sibling here is female instead and “strangest form” is not Mycroft’s intelligence but now Eurus as totally psychotic and super intelligent - beyond either Sherlock or Mycroft’s abilities discussed in GREE.

The Thatcher bust is a metaphorical “disjecta membra” - for both how Mofftiss break up canon to have it pieced back together and for Sherlock’s mind/memories of Eurus.

7

Shenandoah National Park

Scenes from my trip to Virginia to visit this beautiful place. The park is long and narrow with a central road called Skyline Drive running through the length of it. I spent the time there driving on the beautiful winding roads, hiking several of the trails with breathtaking views of either waterfalls or the valley below, enjoyed watching the sunset while the fog slowly creeped its way through the trees, then stayed even as night fell in order to see the whole scene bathed under the moonlight.

Photographed by: Paolo Nacpil ( tumblr | instagram )

Mass Effect Masterpost

This is a masterpost for me to keep all of my Mass Effect writing in one place. Updated as I post more.


Friends and Lovers:
As Scarlett Ryder embraces her newly romantic relationship with Jaal, she has to reassure herself that her past with Liam isn’t going to bite her in the ass.

Also, Jaal has never had ice cream before. This must be corrected.

The Last Goodbye:
Pathfinder Macen Barro asked Avitus Rix to oversee his entry into cryo. He said he wanted Avi’s face to be the last thing he saw in the Milky Way.

He got his wish.

Tavetaan
Tavetaan has more than one meaning. Applied to a person, it is a trusted friend or comrade. As a place, it is somewhere you feel at home.When it comes to Scarlett Ryder - both definitions apply. 

(The famous waterfall scene and what happens after the screen fades to black.)

anonymous asked:

All I can think of is how I want Kylo to be shirtless somehow in front of Rey in TLJ.

SAME TBH, like i’m trying to manage my expectations down to ‘Kylo’s just going to be shirtless in a bacta tank scene’ but on the other hand i’m like ‘but would he really get THAT RIPPED for ONE SCENE.’

this is totally fanficcy and not likely to happen at all, but i love the idea of there being a scene that kind of mirrors Kylo’s unmasking in TFA, except with him being shirtless, where Kylo’s sort of smug about it and Rey’s kind of stunned. and then she’s like

Originally posted by thatsnarkydragon

3

It’s so cold here still, but damn if Nature doesn’t know how to paint her landscape.  Trees dressed up in ice and the ground in a mantle of snow.   The waterfall rushes through a curtain of frosted rocks.   The rush of water under the ice is a haunting sound, mixed with the icicle chimes of the frozen tree limbs.

Not lifeless, but wild and weird is a Winter Waterfall.