what does it want from us

winter's end

She spends three days in Meridian. After the battle is over, once the recovery begins.

(She hadn’t been able to be there for the Nora after their homes were crushed and set ablaze.

Rost would have wanted to help.

Not because they’re Nora- even though that may have played a great deal into it- but because it’s people.

People who need help, and she, she has the strength to offer it.

She still remembers how his hands had shook on her shoulders and I never said the tribe wouldn’t need you.)

Keep reading

anonymous asked:

hey, not a witch but kinda been stalking your blog and saw a lot of things to do with Christianity and the Devil. If witchcraft is real - which it clearly is - does that mean that the Christian afterlife (or any religious afterlife) is too? I'm scared of life after death. I'm not religious and I just want an eternal sleep. Does witchcraft prove religious beliefs to be "real"? I hope you see what I mean by this. Sorry I'm so ignorant about this stuff!!! xxx

The Christian afterlife is only one of them. It’s one out of legions. 
I think it exists, but I’m inclined to believe it’s only accessible for its followers. 
Witchcraft is separate from religion. It does, however, give us hidden knowledge about spirits and spirit worlds. 
Belief of religion is separate from the Art. 
Traditions and lineages will do as they will, but witchcraft as it is, simply a skill, is not necessarily tethered to gods and their followers. 

anonymous asked:

How do you think daichi, suga, tanaka, and noya react to their s/o coming to school with a broken leg?

I’m like. Assuming they have crutches or something

Daichi doesn’t even think they should be at school. They broke a bone, they should be resting! But they’re insistent, so he does what he can to make their day more comfortable. He carries their books and bag to their classes, and very seriously tried to carry them after they got tired from using their crutches.

Sugawara signs their cast without them noticing, because he wants to write something funny. He makes fun of them a bit, for not paying attention enough and getting hurt, but he does so while tightly holding onto their hand. He figures they’re already under enough stress and pain, he doesn’t want his own worries getting in the way. He also helps carry their things around to classes.

Tanaka wants to sign their cast. Also wants to swing himself around on their crutches if he’s allowed to. He doesn’t immediately realise that them having these things means they injured themself, but after he does, he’s quick to start worrying about them. He’s always asking how they’re feeling, if their leg hurts, do they need any help.

Nishinoya wants to sign their cast. He thinks it’s cool, as he’s never broken a bone before, surprisingly. After being given the pleasure to do that, he finally asks how they managed to break their leg in the first place. His excitement at their cool cast soon turns to worry, as he scolds them and tells them to be more careful.

anonymous asked:

If the Hamilton/Monroe duel had progressed to the point of fire, what do you think the outcome would have been? Who woulda won?

There is absolutely no way for knowing. Let’s just say that the Hamilton-Monroe duel did carry through: who was the better shot? Both were American Revolution heroes and both were exceptional shots. If I had to say, Monroe was the better shot and it’s reported (I’ll provide sources you anyone wants but I’m typing this from my phone currently) that Monroe was a great shot, he’d been carrying a gun on his back since he was eleven and he started shooting and catching big game for his family by the time he was seven or eight.

We’ve figured that Monroe was the better shot, but what does that tell us? We aren’t even factoring in who would of gone first (if they took turns) or who would of shot first and if the even hit or missed. We’re not even thinking about the fact that it’s possibly one of the guns could of misfired.

To answer, anon, I really have absolutely no idea. It depends on positions, who would of shot first, and if the guns were right and proper. It’s possible if the duel did carry about, the one with Burr wouldn’t of happened in 1804 (either because Hamilton would of got it out of his system or because he would of died) or James Monroe would of never been our fifth president of the United States. Maybe no one would of been killed.

anonymous asked:

It sounded like the memory-blade was still in pretty early R&D, so do the blacktongues even know the exact effects yet? Or do they also need to just wait and see what happens?

It’s an extremely new tool, and largely exists as a way for them to work with Ruck’s venom independently of Ruck. Relying on a giant snakeman for academic purposes is inconvenient and unpredictable.

The Ilganyag are trying to use the venom along with Delicieu’s research to accomplish specific dissection and exploration of a mind. Say if they want a certain nougat of information out of a person, how do they locate it? Where do they cut to get that one specific memory out? How does a soul organize itself? Can you remove memories of negative encounters from a man and make him happier? Could you remove the moment a person learned that fire burns them, remove every memory associated with fire and heat, and make that person utterly ignorant that fire burns? Could you make him stick his hand on a hot frying pan without hesitation?

These are the kinds of questions they’re asking. The blade isn’t meant to be a weapon, just a tool in their studies.

I find it sooooo funny (aka annoying) that straight people will never truly understand the real goals of the gay community

Like they think all we want is to be treated like everyone else. To not be ostracized for being who we are. And they’re right.

But then they take this goal they think we have and somehow in their tiny Het brains it translates to “they want to be seen as straight people, they want to conform, they want gay to become a meaningless label”

So then ally culture becomes “I don’t see gay people as any different, I don’t care about sexuality, the only difference between us is who we love etc.”

And they completely miss the point that we loooove being gay. We love pride, we love talking about our sexuality and how it affects us (if we’re safe to do so) we love having a sense of community and belonging.

What’s gross about this mindset is it stems from the fact that straights cannot even fathom treating gay people like their equals without erasing our identity and forcing us to conform. “I don’t care about your sexuality, I still love you” is false allyship, and in the long term does more harm than good. What gay people truly want is “I see your sexuality, I recognize that your struggles and goals are different than mine, and I’m still going to treat you like a human and give you the rights you deserve”

If you can’t see me as your equal while also recognizing that I’m a lesbian, you are not an ally.

what's a fire and how does it - what's the word? - burn

so i have this disney playlist i listen to usually when i’m driving and i was blasting poor unfortunate souls this morning and i was thinking

what if ariel didn’t sign the scroll?

because she’s about to, okay, and she looks at the paper. the parchment made of seaweed, the ones that’s specially treated to survive underwater. and she thinks of her cave of treasures, her books that remain perfectly preserved underwater. “no thank you,” she says slowly, becoming keenly aware of air of this place, of the not-people she’d seen who hadn’t been able to pay the price for sea witch’s bargain. “i – no. thank you. but no.”

ursula tries to convince her otherwise, but ariel runs. she goes back to her cave, destroyed as it was by her father’s anger, and thinks.

she’s the daughter of triton. her books never got wet, though she lives in the ocean. she feels a pull inside her, to the land, to somewhere else, but what if – what if –

what if she doesn’t need the sea witch or her father to perform magic for her? what if she has her own?

ursula had wanted her voice because that’s how she performed her magic. singing in this cave had given it powers and protection, and when she saved her prince from the sea – she sang then too, to keep him safe, to guide him back to life and away from death.

so she has magic. she only needs to figure out how to use it.

so that’s what ariel does now. she’s quiet and keeps to herself, and her father and sisters think that it’s because she’s upset with her father, that she’s busy licking her wounds. she’s moved on from that. she has no trident, and is uninterested with fueling her magic with the souls of the damned like ursula has. so she needs to figure something else out.

she does what she’s not supposed to do, and goes where she’s not supposed to go, slipping past the guards and patrols to the one place in the sea that is forbidden to all of them.

the crevice in the earth where what remains of her grandmother lives.

ariel goes to amphitrite, and the sea goddess is so much bigger than ariel, the size of great whale as she curls at the bottom of the sea floor, too old and too tired to do anything more than sleep. “granddaughter,” the great being croaks, opening an eye as blue and as unfathomable as the sea, “you look like me.”

“they say i look like my mother,” she says, and to herself adds: that’s why father can barely stand to look at me.

“you have more of me in you than your mother,” she says, and she shifts and pulls her mass of red hair over her shoulder. “more of me in you than your father does, even.”

“i have magic,” she says, pulling her bravery to the fore as she swims closer to her grandmother, “i want you to teach me how to use it.” amphitrite pushes herself up, and it’s the first time she’s moved in a millennia, and ariel notices for the first time that her grandmother isn’t a mermaid – she has legs.

she has legs.

“you have power,” amphitrite corrects fiercely, “and i will teach you to wield it.”

and so she does. ariel spends her nights by her grandmother, learning to harness the power of the sea that runs in her veins, and sleeps her days away while her sisters and flounder and sebastian grow more and more concerned, but she refuses to tell them why. she refuses to be stopped.

but her heart still aches. she fell in love with her prince, and she wants him still. so she swims to the edge, goes to the beach where his castle resides in the dead of night when her lessons with her grandmother are complete, and sings

. she’s careful not to let any magic leak through, only her voice. she does not want to enchant him. she wants him to love her as she is. so she sings, her voice clear and powerful and cutting through the air. she hopes he can hear it.

then one day a figure walks to the beach, and it’s him, her prince. “hello?” he calls out, “are you out there? are you – please, it was you that saved me, wasn’t it? won’t you come out and let me see you?”

so she does, waves her tail at him until he catches sight of her and takes hesitant, disbelieving steps closer.

“you’re a mermaid,” he says, eyes wide, “i thought i saw – but it couldn’t be.”

“i am, and it can,” she says, heart beating wildly in her chest. he’s just as handsome as she remembered, and she wants him just as much. “my name is ariel.”

“ariel,” he repeats, and pulls off his boots and goes wading into the water, watching her to see if she flinches away from him. she doesn’t, and his strides grow bolder. “my name is eric.”

“eric,” she whispers, and when he’s close enough he touches her, trailing fingers across the bare skin of her shoulder and tangling them in her hair.

when he kisses her, she feels powerful enough to undo the world.

so there’s that now, spending her nights with her grandmother and her prince, and she knows how to make her own legs now, could walk onto land and be made a queen among the two legged men.

but she’s a princess here first, and before she can do that she needs to take care of something.

ursula.

the rotten sea witch with her rotten sea magic won’t be allowed to torment her people any longer.

she tells her grandmother, and amphitrite smiles and says, “an excellent decision, child. i’ve enjoyed our time together, but i think it’s time for me to sleep once more. i’ve taught you everything i can.”

and tears prick ariel’s eyes, but she holds them back. she knew that it couldn’t be forever, that her grandmother can’t die but no longer desires to live and this is the in-between.

“you’ll be an amazing queen,” amphitrite murmurs, and closes her eyes for a millennia more.

this isn’t something to be done in the dead of night, although it would be easier to do it then.

she will make a spectacle of it, she will remind the sea that her people are not to be trifled with.

once upon a time they feared a blue eyed, red haired sea queen with the power to destroy them all. it’s time for them to do so again.

so she drives ursula to the center of the city. her sisters cower and people hide, and her father comes rushing forward to save her.

“you’ve committed great crimes against my people,” she says, not flinching as lightning gathers in the sea witch’s hands, “so now shall a great crime be committed against you.”

“foolish girl,” the sea witch snarls.

triton is yelling. he won’t get there in time.

he doesn’t have to.

she doesn’t need to sing anymore. instead she lifts her hands and pulls ursula apart without ever touching her, not only renders flesh from bone but also sets free the souls she’s been hoarding, reverses the magic done to those who’d fallen into the sea witch’s trap.

they all stare at her, her people, her father, and her sisters. she looks to triton and says, “i’m not a little girl anymore.”

he opens his mouth, closes it again, then says, “i can see that.”

all at once everyone’s perceptions are turned sideways about their youngest princess. she commands a power that even her father doesn’t have access to, she’s not depressed and dreamy – she’s powerful young woman who knows exactly what she’s doing.

so she does what she wanted to do, she gives herself legs and steps onto the sand and launches herself into eric’s arms. she becomes his bride, and the rumors run rampant of what she is, of where she came from, but they can’t prove anything and so they rule.

they live long, happy lives. ariel is his consort, his advisor, his wife, his tactician, and his best friend. all those years reading drowned books have certainly paid off. she ages herself along with her husband, bears his children and then teaches them they ways of her – their – people.

her husband dies, and she disappears, like the stories of selkie women that everyone whispers around her. their children give their father a sea burial, and vow to see him again one day. what they know and none of their subjects do is this – their father’s body isn’t in that casket.

she returns to her ocean, her legs form into her glittering green tail, and she goes home. she uses her terribly powerful magic, and brings her husband with her. she went from princess ariel of the sea to queen ariel of the land, and now she’s back again.

she’s not quite a teenager, but neither is she the old woman she pretended to be on land. she’s returned her and her husband to the prime of their life, and as she gained legs to be with him, he now gives his up to be with her.

eric becomes a merman, and a prince by virtue of being ariel’s husband.

she returns to her family and her world without missing a beat, and they all welcome her as if she never left, treat her husband with kindness and respect.

because they all know.

it doesn’t matter that she’s the youngest. when, far in the future, triton’s reign ends –

ariel’s reign will begin.

Netflix Customer Service

Alright everyone! So I’ve just finished getting off a 20 minute call with customer service. The lady that took my call was the sweetest thing. What she said? They’ve been receiving calls like crazy about the cancellation of sense8 from left to right. She also told me there have been some angry callers, but please guys, if you want something done, please be kind, being angry isn’t going to help when you’re talking to these people. She also told me that EVERY SINGLE FEEDBACK THEY RECEIVE FROM US COUNTS AND THEY TAKE IT SERIOUSLY. As she also said that Netflix is probably the only company she knows that does this. I spoke to her about the possibility of there being at least a special or a movie so we may be able to get a good and decent finale. Everything that we tell these people is being typed down and sent to headquarters. I came to ask as well about the possibility of Netflix selling the show forward and she said she wouldn’t know about that and told me that they can possibly keep making money off of sense8 if it’s still there. Make sure you guys tell them that if they cancelled it because they weren’t getting enough views; I specifically said to her “if you’re going to cancel it because it’s not getting enough views, excuse my language, but advertise your shit”. Why keep making money from a show that’s been cancelled if you’re not getting views and you’re not willing to promote it. I live in New York City and the only time there was ever something concerning sense8 here was the season 2 premiere which was amazing. Please let them know what this show means to you as well. She told me that people have called her and told her that they’re cancelling their accounts and this is happening fast where people are unsubscribing. Everything we do for this show makes a difference. She told me to lets keep our heads up and stay on the lookout which I won’t say it’s essentially a good thing but we’re doing good. So keep up the good work everyone, lets keep doing this!

Anything is possible.

The customer service line is 1-866-579-7172
PLEASE MAKE SURE TO BE KIND!

“Aphobe” has absolutely no power or history behind it. It has no power to do anything but make people laugh because its not aimed at actual oppressors because there is no ace oppression. So what do they do to feed their fear mongering bullshit? They use terms for those who oppress other groups to scare people. They use terms like terf rhetoric and biphobe when the topic has nothing to do with actual terf rhetoric or biphobe rhetoric.

And I am watching as they slowly try changing the definition of terf/twerf and moving it away from transmisogyny, transphobia and misogyny so they can give their “you’re aphobic” claims more power.

They are removing the definition so we cant use it to specifically refer to terfs and their harm to trans woman.

They are sticking with their claim that cishet aro/aces have it just as bad or worse than trans woman. They are continueing to compare trans woman to actual terfs and using their new definition to do so.

At least they are trying to. And its fucking disgusting. I had to witness inclusionists use a term that means “trans (woman) exclusionary radical feminist” to say
“ace exclusionists are just like trans exclusionists!”
then “ace exclusionary came from trans exclusionists” then
“ace exclusionism is terf rhetoric” and finally to
“ace exclusionists are terfs”.

We fucking see what you are doing.

Terf is not a slang word for you to use lightly against people you disagree with.

Terf does not mean just “exclusionary”. Terfs specifically target trans people. Twerfs specifically target trans women with the belief that trans women are not real women. Terfs specifically exclude trans women from spaces they need to survive.

Terf rhetoric has actually caused deaths, terfs have been harming trans women from the beginning and you want to use that to scare people into believing in aphobia?

There is no fucking correlation between cishet exclusionary and trans women exclusionary you transmisogynistic a holes.

So Something Happened at Phoenix Con

I’m not usually one to complain, or criticize, or speak out at all really. I’m one of those fans that just quietly sits in the corner and admires from afar, silently praising all the guys for what they do. But every now and again, someone does something that lights me up, and I’m off like a firecracker.

As I’m sure you’ve concluded, that happened recently.

I’m a Jared girl, but I love and respect all the actors equally. Respect being a keyword here. Phoenix con 2017 is going on now. As it so happens, that’s exactly where this incident took place. Yesterday. On the day mostly recognized as Misha’s day of the con.

Let’s all just agree that Misha is an incredible human okay? He’s actual such an incredible human that he borders on being a real life angel. He deserves all the good things in the world. Which is why I am particularly fired up because of what happened.

**Not naming names because this is not to bash anyone, just to draw attention to the fact that these are people with real, human emotions**

I’m going to summarize this the best I can because, honestly, the more I talk about it the angrier I get (and I’m not an angry person, this just really doesn’t sit well with me).

Long story short, there was a con-goer that had been to a con in the past and she had Misha sign her arm. Misha had said that if she still had the autograph on her arm the next time he saw her, he would buy her ice cream. No harm in that part. This is where things start getting…. Uncomfortable.

The girl then decided she was going to take Misha up on that (which, admit it, we would all try to keep Misha’s auto on us as long as we could, bet or not). But, instead of doing any number of options that would be considered safe and acceptable, she peeled off her skin, including the autograph, and preserved it.

Are you still with me? Hold on. I’m not done yet.

At Phoenix Con, she then adhered it back to her skin. Now, I’m not sure if she showed it to him during a panel, or ops, or autos, or where. But when she did show it to him, he told her to take it off.

**this is where I get seriously pissed**

So, she takes it off. AND FUCKING THROWS IT AT HIM.

This girl, who claims to love and respect Misha Collins throws a piece of her dry, dead, decaying skin at him. It lands in his lap and his handler has to come pick it up. She tries to excuse it by saying ‘it’s all in good fun’ and that he’s ‘used to her by now’, but let’s make a few things clear.

It’s all in good fun? I’m sorry, I have never once in my life have gone around throwing preserved skin at people for the fun of it. And I’ve asked some of my friends (the ones that wouldn’t call the cops on me for asking such a question) and they all said the same thing. I don’t care if you’re a celebrity or Mary Jane that lives next door, people don’t like having dead skin thrown on them. Especially a stranger’s skin.

Secondly, no matter how many times we meet them, they really don’t know us. They don’t know if you’ve got any diseases. They might not even recognize you, really. How many times have you seen someone at work over and over and over again but don’t really know them? I have. I’ll admit it. And you know what? It is my job to interact and build report with customers. And I’m not a celebrity – I don’t have millions of people begging for time with me.

I guess I made this post for a few reasons:

1.       Is my anger justified or misplaced? Taking into consideration that, while I’ve never met them (Pitt Con is so far away), I do love them like they’re family

2.       I’m open to opinions.

3.       I want to make a PSA that Jared, Jensen, and Misha – hell EVERYONE – are human. Don’t do something to them that you wouldn’t like having done to you. If you wouldn’t like have dead animals thrust into your hand, don’t make them hold one. If you wouldn’t like someone to throw decaying organs on you, don’t do it to them! You paid money for a ticket to the con. You did not pay money to abuse them.

I know I’m going to probably get hate for this, and to be honest, I really don’t care. If you think I’m right, great. I’m glad someone sees this from where I’m at and finds it just as wrong as I do. If you think I’m wrong then… well, you keep doing whatever you think is right. We’ll agree to disagree.

tl;dr – Don’t throw your decaying, preserved skin at Misha because he’s a human and it’s disgusting on so many levels. Show him respect. Show all of them respect. You know Misha is too kind to say anything about how uncomfortable it makes him, so just save everyone from being awkward, and save the fandom from feeling like we have to apologize for the actions of a single fan.

RETROGRADE PLANETS [IN THE BIRTH CHART]: A retrograde action is a planet slowing down. In contrast to the velocity of the Earth, it appears to be going backward. No planet ever goes backward or leaves its orbit. It is always moving forward. The apparent backward motion of a retrograde is simply the loss of velocity. The Sun and Moon never go into retrograde motion.
Retrograde planets represent work that must be achieved in this lifetime because it was not accomplished or reconciled in a past life.

MERCURY RETROGRADE: A Mercury retrograde usually occurs every three months, so that there are three or four Mercury retrograde periods per year, each lasting exactly twenty-one days. When Mercury goes retrograde, if you were born during a Mercury retrograde, it is a time to really make contact with yourself. You will be inspired and moved to recognize your ideas and thought processes with clarity.
When a person is born with a Mercury retrograde, he has a communication problem. He can tell you what he thinks, but he can’t tell you what he feels. He doesn’t make contact with his emotions because Mercury blocks it. There is also difficulty communicating with the self.

VENUS RETROGRADE: If you were born during a time of a Venus retrograde, your inability to appreciate the self is obvious. You are unable to express self-love. You don’t know how to get what it is you want or how to satisfy the self. You must learn not to expect such things from others but, instead, develop them within yourself.

MARS RETROGRADE: The inability to act is created in a Mars retrograde. It is as though you have been victimized by others because you are not using your aggressive qualities correctly – you either don’t know how to be aggressive or you fear aggression. You water down your energies. This does not make for a happy person; it creates a person who internalizes his aggressions and anger. This is dangerous because a retrograde Mars can lead to brooding or nursing old wounds and, eventually, to health problems ranging from ulcers to anxiety. Angers that cannot be externalized wind up being internalized, which impacts one’s health. Retrograde Mars in a chart indicates the inability to displace its natural energy in a positive or productive manner.

JUPITER RETROGRADE: A retrograde Jupiter usually leads to an overbearing individual, especially if placed in the fourth house – it is a tyrant in that house. It creates an inability to empathize with others, which results in an insensitive and isolated individual.

SATURN RETROGRADE: Saturn retrograde relates to self-worth. The inability to judge oneself accurately shows up in a retrograde Saturn. Saturn, as a maturation planet, puts your self-worth into proper perspective. People who tend to place more importance on themselves than others will certainly learn the lesson – Saturn will restrict them until they balance their own worth with the worth of others.

URANUS RETROGRADE: For those born with a retrograde Uranus, the action of Uranus, which is slow, becomes even slower. The unique and unconventional quality of Uranus ceases to be because something is underdeveloped or undeveloped that must be caught up with. This creates the late bloomer, one who doesn’t readily discover his rare individuality.

NEPTUNE RETROGRADE: Neptune in retrograde is a humdinger. Neptune is a difficult planet, so in retrograde action the negativity of Neptune becomes prominent. Neptune has a depth that can be lifesaving; but when it turns retrograde, it goes underground and doesn’t resurface. All of the wonderful concepts, ideas, and creative forces that are generally in Neptune when it is well-aspected will produce irrational fears and anxieties when in retrograde position. These fears are considered irrational because they are usually not created within the context of this lifetime, but from past-life issues and unfinished business.
If born with a Neptune retrograde, it is necessary to maintain faith and courage in the face of all challenges.

PLUTO RETROGRADE: Pluto is generational. During its long revolution, many people will be born within each of its aspects. If Pluto is in retrograde motion, which it is for about six months of the year, half of the population will be born with a Pluto retrograde. This group of people is not necessarily going to act according to the rest of the group. These individuals will, sooner or later, stand out within that generation. They will either be famous or infamous.

—  Ada Aubin and June Rifkin, The Complete Book of Astrology
Does the second half of S4 parallel S1?

it’s strange because the first half of season 4 had A LOT of parallels of season 3 but now this second half? 

The more I think about it, the more it parallels season 1, so here we go.

Losing Friends 

Vs.

Just like Eva Sana is feeling alone and out of touch with the people she loves the most. She doesn’t know how to fix the rift…so she doesn’t, but still she wants to so bad. she misses them and watching them from afar because she no longer can belong with them…is tearing her apart. Just like Eva in season 1.

Social media rubbing their new friends in their faces

vs

we then get a true sense of the isolation between the two when they both sit at home alone and watch their friends…literally replace them. That’s what it feels like for both Eva and Sana. and after they both see these social media posts and drives them to get up and do something about it. “don’t let yourself be a victim” as doctor phil says to Eva and “don’t live in fear” as Nas tells Sana…it’s too similar and I love it 

Benchy Buddies

vs.

Not only are they both sitting on the same bench, with the same person, on THE SAME SIDE, but it is insane that Isak has served as a focal point in both of their painful dramas of secrets. in Eva’s season Isak revealed her lies to Iben, in Sana’s….Isak still revealed Sara’s lies by Sana getting access of them from Isak’s account. so essentially the truth came out and disaster happened because of Isak in both seasons…w i l d 

Trying to muster up the courage to make things better

vs

I talked about this shot earlier today but oh my god I can’t believe how similar they are. The only difference is the change in time and the main character. This shows how 3 seasons later we are still in the same place. but this time with Sana. How we all feel isolation, misunderstanding and shame and how it never goes away. It is forever and it comes with being human. no matter who you are we all feel this pain, fear, and sadness. Both Eva and Sana felt like outsiders in their school. 

Confiding in someone about their mistake right before it hits them in the face

vs

Just like Eva, Sana could not hold it in anymore and chose to confide in someone about the saranors2 account. Just like Isak (but with purer intentions) Chris advised Sana to not tell. I actually find this parallel really cool because in season 1 Eva was scared of losing Jonas and Jonas not forgiving her but in this scene Sana is actually afraid of Eva never forgiving her. It is like we have gone full circle in skam world. Eva has gone from the girl begging for forgiveness from her mistakes to…being the one who needs to do the forgiving… hmm

Voicemail

vs

wow, so we have literally gone from season 1 where Eva is calling Isak after the reveal and getting voicemail, to Sana calling EVA after the reveal and getting voicemail. I think this was very intentional. 

Pain 

vs

Eva and Sana both get told that the people they love are incredibly heartbroken with them right now in a very similar way. Both with other people involved (Isak and Chris) and both with a phone…and then they break knowing that forgiveness is not going to be easy and they are both alone. They both fucked up and now they are alone and it is heartbreaking. 

what does this s1 parallel mean? 

Season 1 was the beginning, Season 4 is the end. The parallels are evident and I think it is because Julie wants to remind us why she made skam. Reminding us what it’s really about. I know with the girl squads current behaviour it doesn’t make sense just yet, but it will. and I wonder if this is also reflecting on Eva’s character now? She has gone from the character who we are crying with and hoping to god she can make friends and be happy to….being the girl we are screaming at to listen to Sana and FORGIVE HER. 

which is amazing because Julie is doing what skam has always meant to do. 

she is showing us every single side, corner, and edge of every character on this show. By doing this to Eva though is even more powerful because she was our first main. she is our firstborn who’s pov we all witnessed and now Julie is showing how we all make mistakes, we all get mad, we all are the person who needs to forgive, or the person who needs to talk. and each of these characters have had a turn to be each other if you think about it. 

Because now it’s Eva’s turn to be season 1 Ingrid…who needs to stop, and listen to what Sana has to say as they cry and forgive each other <3 

Tantalizing

Originally posted by jikookfantasy

Tantalizing: 01 02 03 04 05 06 07
Ship: Jungkook | Reader
Description: Back in high school, you were nothing more than a nerd Jungkook wanted to deflower, to get a good fuck from. When he sees you at the club, though, things have changed drastically, and his dominance starts to teeter on the edge.
Warning: Cumplay, Degrading Names, Angst, Intercourse, Oral, Orgasm Denial, Thigh Riding
Word Count: 5,965

Keep reading

To those Americans who haven't heard, or don't understand:

I know tumblr is American centric, I know that when attacks happen across Europe they get commented on, reblogged, information flooding my dash as my friends reblog. But, once again, an attack here in the UK is seeing little notice. So please, don’t ignore this. This attack is one that has taken 22 lives. 59 people have been injured. Children have died. Children.

Don’t ignore this. Please.

The Manchester Arena isn’t the first, or last terrorist attack that the North West, that England has seen. We’ve lived through the IRA bombings from the 1970s to the 2000s and then 7/7 in London in 2005. The IRA Bombers were known as the 10 pence bombers because they would go to a phone box, pay 10 pence and inform police or media that there was a bomb.

At this present moment in time, we’re horrified and in shock from it all. We’ve had bombings in Warrington, in Manchester before (my family had a terrifying time when an IRA bomb detonated in the Arndale Centre and my great-aunt was working there that day) and it’s stuck with us. Our memory of the Arndale Bombing in the 1990s by the IRA is a memory the community has in the North West.

We know the fear, the horror, the mind-numbing terror.

But we also know the feeling of needing to do something, to help. Taxi drivers turning off their metres. Local shops and businesses taking in the displaced. Do-gooders and kind people who just want to help offering to ferry loved ones to and from the city so they can find their missing loved ones.

This is something we do here.

We don’t have the lingering concern of school shootings, or attacks by men or women who own too many guns and have too little stability.

But we know bombers. We know terrorism. Whether it’s made by our government, by policy, or by wars we shouldn’t be fighting. We know this.

I had a friend ask me “why Manchester?” when I told them about the attack. My initial answer was that it’s a big, important city. It’s a good target for bombers to hit. Like London. Like Liverpool. But the truth is… In the UK, we have lots of cities, lots of places that are good targets because we live on top of each other. Our lives intersect on so many levels and our cities reflect this. So it’s not so much “why Manchester?” but more “why now?”, “why a concert?”, “what is gained by this?”

When the IRA bombed Warrington in the North West in 1993, their intention was to sow terror and to put pressure on the British government to withdraw from Northern Ireland. We know that they wanted Ireland to be united. We’ve known that for years.

What does Islamic State want? What does Daesh want? To sow terror, certainly. But what else? What else does bombing an Arena full of young women—girls, mothers, daughters, sisters—gain them?

This is what is so horrid for us here in the North West. We’ve lived with the knowledge of bombings being possible for decades. It’s ingrained in our past. My mother, my aunts and uncles. My brothers. My family. We’ve lived it all. We live it now.

So don’t ask, “why Manchester?” we know why. We know why. Warrington. Arndale. The Manchester Arena. We know why it’s us in the North West.

ダイアローグドラマ ~ベルトルト・フーバー & ライナー・ブラウン side~
ドラマ
ダイアローグドラマ ~ベルトルト・フーバー & ライナー・ブラウン side~

CHARACTER DRAMA TRACK from “ALTERNATIVE DRIVE” CD

Armin
: After being attacked by a group of titans that suddenly appeared within Wall Rose, the cadets of 104th Survey Corps (including Reiner Braun and Bertolt Hoover) have met up with the Eren Yeager’s troop. While resting on top of the wall, Reiner and Bertolt confessed that they were titan-shifters. Using the outstanding power of the Armored and Colossal titans, Reiner and Bertolt captured Eren and Ymir and fled for the forest of giant trees within Wall Maria, where they were planning to recover and wait until night falls to avoid facing the titans scattered around the area.

Reiner: *heavy breathing*  We’ve finally made it to here… Bertolt, how is Eren?
Bertolt: Just like Ymir, he’s still unconscious.
R: I see. It’s no wonder - both of his arms were gone when I ripped him out of his titan’s nape. I doubt he’ll be able to go on a rampage when he wakes up. It was so much harder to deal with him than I had imagined though.
B: Yeah.
R: I didn’t expect him to use those fighting techniques. I used to hold back on him during the hand-to hand combat training.  
B: Maybe he used some of Annie’s techniques? They often trained together.
R: Whatever the case, we only captured Eren thanks to you. I wouldn’t have made it without you.
B: It was only because you, Reiner, lured him to the perfect spot and gave me a signal. I had nothing to do with that.
R: No, you have the strongest abilities of all. You don’t need to wait for my instructions all the time. You should act on your own, at least a little!
B: Right…
R: Ok… I think we should put on the vertical maneuvering equipment we took. It’s swarming with titans down there.
B: If that crowd attacks us, even with our titan powers we won’t be able to reach the wall, especially if we have to carry Eren and Ymir with us.
R: It means we’ll have to wait until night falls. We don’t have any food or water, and we haven’t slept since yesterday – we’ve been fighting without any shut-eye. But we won’t let them devour us!
B: Yeah…
R: It’s just a little bit more… We’ll survive and return home, no matter what it takes.
B: Yes, we’ll return! We’ve at least made it this far.
R: So traitors, huh? …
B: It can’t be helped! We aren’t soldiers, we’re warriors! That’s who we always were!
R: I know that, but… what will Connie, Jean and the rest say when they find out?
B: Reiner… you’ve spent too much time living together with those guys! I mean, of course you’d feel this way, we’ve spent 3 long years there, after all!
R: Yeah… I guess you’re right… we’ve been through harsh training together, we’ve had conversations about everything, we even promised to all go out drinking together if we all managed to get out of it alive…
B: Yes.
R: Oh man, Bertolt, the way they predicted the weather based on the unbelievable poses you made while sleeping! I still remember the “garrison officer is searching for the toilet” one! What a masterpiece! I’ve never laughed that hard in my entire life!
B: When I woke up, I couldn’t tell why everyone was on the floor laughing… *chuckles*
R: So many memories…
B: Yeah… But… it’s all in the past now.
R: True… You’re right… It’s all in the past… It’s all over–No. We have to end this with our own hands.
B: Yes!
R: Hey, Bertolt… do you regret it?
B: You just said it yourself – we have to fulfill our duty, even if we don’t know what’s right and what’s wrong. We have to stay true as warriors and follow through on the decisions we’ve made until the bitter end.
R: Yeah.
B: Our fate was decided 5 years ago when we breached the wall and took all those lives… no, even before that – when we were sent on this mission.
R: You’re right. Somebody had to do it.
B: Of course, nobody does this because they want to.
R: Bertolt…
B: When I was pretending to be a soldier, I could escape from what I’d done for just a little while… I really could think of them all as my friends. You feel the same, don’t you, Reiner?: Yeah…
R: Yeah…
B: Not all of our words were lies… I know it may sound like a silly excuse. But it’s not surprising that they’ve labeled us traitors now. We’re not the people they used to know!
R: You’re right… There’s no point in dwelling upon what’s already happened. We can’t and won’t turn back now.
B: Yeah. That’s why we have to fulfill our mission as warriors and return home!
R: Yes, we’ll do it, no matter what it takes!

Armin: In a few hours, Ymir regained consciousness, and then Eren followed suit, as well.

Reiner: Oh, Eren. Are you awake?

Trump’s Infrastructure Scam

At a roundtable discussion with state transportation officials on Friday, Donald Trump said America’s aging roads, bridges, railways, and water systems were being “scoffed at and laughed” at. He pledged that they “will once again be the envy of the world.”

This seems to be a core theme for Trump: America’s greatness depends on others envying us rather than scoffing and laughing at us.

He said much the same thing last week when he announced his decision to withdraw from the Paris climate agreement. “At what point does America get demeaned? At what point do they start laughing at us, as a country? We don’t want other leaders and other countries laughing at us anymore. And they won’t be. They won’t be.”

To be sure, America is in dire need of massive investments in infrastructure. The nation suffers from overflowing sewage drains, crumbling bridges, rusting railroad tracks, outworn roads, and public transportation systems rivaling those of third-world nations.  

The American Society of Civil Engineers, giving America’s over-all infrastructure a grade of D-plus, says we would need to spend $3.6 trillion by 2020 to bring it up to par.

The problem isn’t that we’re being laughed at. It’s that we’re spending hours in traffic jams, disrupted flights, and slow-moving trains. And we’re sacrificing billions in lost productivity, avoidable public health problems, and increased carbon emissions. 

But what Donald Trump is proposing won’t help. It’s nothing but a huge and unnecessary tax giveaway to the rich.

His “$1 trillion infrastructure plan,” unveiled last week, doesn’t amount to $1 trillion of new federal investment in infrastructure. It would commit $200 billion of federal dollars over ten years, combined with about $800 billion of assorted tax breaks to get developers to build things instead of the federal government doing it.

And it’s hardly a plan. It’s not much more than a page of talking points.

Worse, its underlying principle is deeply flawed.  It boils down to a giant public subsidy to developers and investors, who would receive tax generous tax credits in return for taking on the job. 

Which means the rest of us would have to pay higher taxes or get fewer services in order to make up for the taxes the developers and investors would no longer pay.

For example (in one version of the plan I’ve come across), for every dollar developers put into a project, they’d actually pay only 18 cents – after tax credits – and taxpayers would contribute the other 82 cents through their tax dollars.

No one should be surprised at this scheme. It’s what Trump knows best. After all, he was a developer who made billions, often off sweeteners like generous tax credits and other subsidies.  

The public would also pay a second time. The developers would own the roads and bridges and other pieces of infrastructure they finance. They’d then charge members of the public tolls and fees to use them.

In place of public roads and bridges, we’d have private roads and bridges. Think of America turning into giant, horizontal-like Trump Tower wherever you looked.   

These tolls and fees won’t come cheap. They’d have to be set high in order to satisfy the profit margins demanded by the developers and the investors who back them.

Worst of all, we’d get the wrong kind of infrastructure. Projects that will be most attractive to developers and investors are those whose tolls and fees bring in the biggest bucks – giant mega-projects like major new throughways and new bridges.

Developers and investors won’t be interested in the thousands of smaller bridges, airports, pipes, and water treatment facilities across the country that are most in need of repair.

They’re not likely to respond to the needs of rural communities and smaller cities and towns that are too small to generate the tolls and other user fees equity developers and investors seek.

They won’t be attracted to the most important first priority for our nation’s infrastructure: Better maintenance of what we already have. With improved maintenance, it wouldn’t be necessary to completely rebuild.

But investors and developers want to build anew. They can’t reap big rewards from maintenance.

Nor will they want to put their efforts and money into projects that don’t yet have proven financial track records, like many clean energy innovations – which, not incidentally, might have enabled us to meet our targets under the Paris climate accords, were we still part of the Paris accords.

We shouldn’t have to pay twice over for the wrong infrastructure.

To really make America great again we need the correct infrastructure in the right places – infrastructure that’s for the public, not for big developers and investors.

Sorry, Donald. The only way we get this is if big corporations and the wealthy pay their fair share of taxes to support it.

The Legend of Two Armed Gregory

note: I myself wasn’t present for this campaign due to time zone differences, but my boyfriend who was DM recorded this whole exchange and I needed to share it because it’s ridiculous

context: pre-campaign team member introductions

??: no no no, I’m Two Armed Gregory!

DM: yeah, but you’re some kind of construct aren’t you?

TAG: oh no, he’s just some guy

TAG: I drew a picture if you want to see it

*laughter from other teammates*

DM: I thought you were some kind of machine thing?

TAG: no he’s just some guy with two arms

DM: so you’re just a dude? wait, I have to ask you this because I asked everyone else, what does your character do on a regular day?

TAG: oh, he goes out seeking to uh… to do justice.

DM: wow. how f*cking generic

*stifled laughter from teammates*

TAG: yeah, because he was born with these two freakish arms and he has to use them for good, not evil.

DM: *defeated groan*

TAG: his family was killed by a man with two arms!

DM: alright I’m just gonna start off with you then, because apparently you’re just the most 1 dimensional character I’ve ever heard of

TAG: yeah! you said that these were just test characters so i made him simple. he was originally gonna have one arm but… I made him have two.

June 2017 Prompts

Write a short story, poem or anything that inspires you based on one of these prompts and tag it with #inkstay.

Prompts of the month
1# - The seven deadly sins as virtues.
2# - What could stray someone from their path?
3# - The demon doesn’t want your firstborn, what can you offer instead?
4# - What does the city sound like?
5# - Write about the things that make you smile.
6# - Write about gods that care.
7# - How do you say ‘I love you’ without using those three words?
8# - Describe the colour blue without using any colours
9# - What does a four hour car ride feel like?
10# - Write about someone you will never meet.

Word prompts
1# - horrible
2# - prior, chart
3# - lightning, drama, frame
4# - foam
5# - vessel, assumption
6# - sunlight, revolt, mistake
7# - etymology
8# - neglect, nation
9# - increase, beloved, vast
10# - expression, obscure, rage, memory

If choosing to be in sex work is so great why aren’t men “choosing” that employment even remotely as often as women have to? If being on the receiving end of violence and degradation for a living is totally okay, why aren’t men being abused and violated even remotely as much as women are in porn? Even if you act like a good liberal and claim you care about the woman’s choice to be degraded, you still know that the demand is for WOMEN to be degraded and the vast majority of men are completely unwilling to even consider doing what they so regularly watch and pay women to do, even in a monogamous or private. What does this say about the relationship between men and women?

Liberal normalization of porn and sex work allows the demand from men for violence and use of women’s bodies to remain unchallenged and without criticism. So long as we can convince women it’s empowering to choose to give men what they want, men don’t have to reflect on what it is they want or how awful it is.

anonymous asked:

I often have ideas for a scene or a character but there is no plot. How can I expand these ideas into stories? I just don't know what to do with my ideas to get a story out of them. Most plotting tips require that I know at least the beginning and the end of my story. But I don't even have that.

Hi Anonymous,

I’ve heard of other writers having this same problem, so you are not alone! Here are some ideas that come to mind when I think about this.

Coming up with a Plot (from scratch)

First off, you have ideas for characters or scenes, and that’s a starting point, and you probably (I’m assuming, because it wasn’t that long ago) saw my post, What to Outline When Starting a Story, which can give some guidance on what to consider. However, if you have no idea where to even come up with a concept for your plot that post can only be so much help.

Conflict out of Story Elements

Since you have some ideas about character and scene, I’d try building off that. In some cases, you might need to flesh those out a bit more to continue (I don’t know, since I don’t know how much you have those figured out).New York Times best-selling author David Farland points out in his book Million Dollar Outlines that characters grow out of their setting. We are all influenced by our setting–where we live, where we spend our time, what century we’re part of, etc.

Setting –> Character

Farland goes on to say that out of character (and setting) comes conflict:

Setting + Character –> Conflict

Plot obviously comes from some sort of conflict, the character reacting to and trying to solve that conflict or conflicts. But let’s finish out the diagram/equation.

Setting –> Character –> Conflict –> Theme

How conflicts are dealt with in the story create the theme.

It should be noted though that this diagram may not be helpful to everyone, and it’s also possible to work backwards from it. For example, I personally don’t like the idea of starting with the setting–although, realistically, pretty much all stories start there, if only to the most basic degrees (time period, real world vs. fantasy world, Earth vs. space, etc.). I often like to start with character. But as you work on your character, at some point, you are going to be looking back at what kind of life he grew out of and where he came from, and where he is now. Other people may like to start with conflict, and work back into character and setting. So, it doesn’t have to be linear.

But let’s look at the conflict part. You need some form of conflict to have plot. As I mentioned a few weeks ago in my post Are Your Conflicts Significant? the conflict should either be broad (far-reaching) or personal to the character. If it’s not either, it’s probably not that significant. However, it should be noted that you can make almost any conflict broad, or personal.

But how do you even get to that point? If you like Farland’s diagram, what I would suggest would be looking at those characters and setting. Brainstorm conflicts by asking yourself questions.

  • What conflict can come out of this setting?

For example, in some stories, major conflicts come straight out of the setting. Most if not all dystopians, like The Hunger Games fall into this category. You can even look at movies like Interstellar, which deals largely with space travel. The major conflict came out of a setting (Earth will soon be inhabitable). In a fantasy story, conflicts can come out of the world and worldbuilding (setting), whether it’s the magic system or the world itself. In Lord of the Rings, the major conflicts often come from the setting (Frodo has to make it to Mount Doom) and magic (the One Ring is a magical object that must be destroyed). In historical fiction, it can come out of setting–what are some of the conflicts the world was dealing with during WWII?

But what about something more small-scale than Panem, outer space, and Middle-earth? Setting can play a role there too. What kind of conflicts can come out of attending high school in 2017? What conflicts might be present there? What conflicts might come out of trying to start a career as a woman centuries ago? The story doesn’t have to be epic for this sort of brainstorming to work.

Les Miserableis a good example of how setting can play into conflicts, whether it’s being a struggling young mother, a convict, or participating in politics.

  • What conflict can come out of this character?

Once you have your character, you can try brainstorming conflicts for her. Now, there are sort of two ways to approach this.

One, you look at your character–her personality, strengths, weaknesses–and ask yourself, what would this character want? Figuring out what your character wants is often vital to a good story. In some stories, it can be more simple, basic, or straightforward. Maybe your character just wants money. In other cases, it might be bigger. Maybe your character wants to defeat an evil ruler. It can be somewhat philosophical. Maybe your character dreams of ridding the universe of a false god, like in His Dark Materials.

When you know what your character wants, you can start brainstorming conflicts by considering what could stop her from getting what she wants. In Lord of the Rings, Frodo volunteers to destroy the Ring, but there are literal obstacles in his way. Space, for one thing. He has to travel for miles and miles and miles. Then there are other people and creatures: orcs, Shelob, Sauron, even his own companions–these people are in conflict with him. He has to deal with getting hurt, wounded, and fatigued. All these things are keeping Frodo from his goal. And of course, his ultimate want is to return to the Shire, but he has to destroy the Ring first.

If your character wants to be in a relationship with someone, there are obstacles too. Maybe the love interest doesn’t know he exists. Maybe there is a family feud, like in Romeo and Juliet. Maybe there is a love triangle. Whatever your character wants, you start brainstorming what could keep him from getting it.

A second approach to brainstorming conflicts with character is to look at your character and consider what kind of situations would be difficult for them, what would make them grow. In some cases, they might be the reluctant hero. Love him or hate him, as I mentioned a few weeks ago, Edward Cullen is a good example of this sort of thing. He’s a “vegetarian” vampire living his life, and then out of nowhere, a girl shows up that is basically his personal brand of cocaine. How is he supposed to deal with this? Worse. He has feelings for her. Immediately, Edward is in conflict.

Now, you can combine both methods. And in reality, both those examples have both. Sure, Frodo volunteered to take the Ring, but he was basically the only person who could. But look at him. He’s just a humble hobbit. He doesn’t do magic, he doesn’t know warfare, and he knows very little about the world. But he’s thrown into a situation where those characteristics will be tested. Similarly, Edward is thrown into a situation, but he ends up having wants too. He wants to be in a relationship with Bella. But the fact he is a vampire and she has potent blood is a conflict that impedes that.

So you can brainstorm conflicts from setting and character.

Plot out of Conflict Types

Let’s look at this another way.

There are five types of conflict.

Keep reading