where did that script come from


Christian is the kind of actor that throws things at you, things that aren’t written in the scene that really end up helping you a lot. In the scene on the cliff where I’m crying, I didn’t even know that I was going to be crying that much in that scene, it just kind of happened in the first take. It was because of the help from Christian and how he was doing it with me. He cares so much and gives it so much passion. He hugs Clay at the end of that scene but that wasn’t written in the scene. Christian just did that and it’s those little things that he would do. At the end of episode 9 where I’m freaking out and kicking my bike and then I sit down and play tape 10, and he comes over and sits next to me — that wasn’t in the script either. He just does these things that end up taking these scenes to the next level and makes you care about their friendship so much more. - Dylan Minnette

Writing, Neil Gaiman, and Kon Satoshi

I almost gave up writing altogether after reading Neil Gaiman’s The Sandman.

I didn’t read it as it was coming out in comics, but later, when it was published in collected volumes.

It was too perfect. Too complete. It seemed like it had sprung fully-formed from Gaiman’s head, and he had to spend years waiting for artists to catch up.

It was overwhelming. Unattainable.

I wasn’t reading the book’s post-scripts, though, because I wanted to avoid potential spoilers. I wanted to experience the material, not the author dissecting it.

I did read them on a second pass. There’s a story on Dream Country, the third volume, about a writer keeping a muse captive so she can give him ideas. It’s a piece with characters that tie into Morpheus’ past and who will come up again, woven into the larger narrative. The book also contains a post-script on how the story came about, where Gaiman states it was at first about a succubus, before moving on to talk about his process for working with the artist.

My eyes kept moving forward, brain storing words from the original script, but my consciousness had taken a step back.

Wait, back up, what was that character again? 
Originally a succubus, replies brain, let me keep going here.

Yes, stupid me. I had assumed Sandman had been gestating inside Gaiman from the start, waiting for an opportunity for the entire story to burst out. He didn’t transcribe a long epic he had already come up with. He wasn’t born with the tale. He worked at it for years, sometimes throwing away material and replacing it with things that fit better. Like a normal human being.

I keep making the same mistake. I wrote about a similar mental bug when talking about Kon Satoshi and Dream Fossil.

We only see the finished product. We don’t see the author sitting down at the typewriter and bleeding.

It’s all work. Some people have more potential and have it easier, others have to work harder at it, but in the end it’s only work. If you want a chance to get better at it, you should treat it as such.

Goblin ending #4 (in the script)

I could have an opportunity to read the script of Goblin’s final episode yesterday.

Many viewers might be wondering what happened to Deok-Hwa in the end. The script contains the scene where old Deok-Hwa (in his 60s) introduces his 6-year-old grandson Yoo Sung-Jae to Kim Shin, just like his grandfather Chairman Yoo Shin-Woo did in ep 1.

After getting a sandwich from a jobless man in the park, Kim Shin comes back to his house and finds old Deok-Hwa there. Deok-Hwa says his little grandson Sung-Jae has come back from the US. Kim Shin kneels down to the shy little boy, saying “It’s nice to meet you. I’ll be your uncle, your brother, your son, and grandson” like he did to little Deok-Hwa in the past.

About 30 years later (Maybe Deok-hwa is already dead because he should be in his 90s), adult Sung-Jae (in his 30s) comes to Uncle Kim Shin and gives a new passport and a house in Prague, the Czech Republic. He asks Kim Shin “Uncle, did you find her?” “Not yet (sigh)”

Kim Shin looks around the white covered furniture and leaves the Seoul house. On his way to Prague from Seoul, he comes across the actress and the detective in the street. Yes, you know who they are.

Since the lovely scenes of detective Lee Hyeok & actress Kim Sun, about 50 more years have passed. (I guess Kim Shin stayed in Prague for about 20~30 years and returned to Korea once again, but couldn’t find reincarnated Eun-Tak during his stays in Korea) Kim Shin is now in Quebec, Canada. 85-year-old Sung-Jae is staying with him as his butler.

“Are you going somewhere, sir?”
“I’d like to go for a walk”
“You’d better avoid the main street if you can. Some Korean students are visiting and they’re noisy.”
“I’ll come back soon”
“Yes, sir”

And then… here comes the ending scene where Kim Shin reunites with reincarnated Eun-Tak on the hill. (It took at least 110 years for Eun-Tak to get reincarnated after she died.)

“Mister. You know who I am”
“My first and last… Goblin’s bride”

“My name is Park So-Min in this life.”
“I’m still Kim Shin.”

This is the end of the script.

I don’t know whether the director shot the old man Deok-Hwa scene or not.  I doubt he did, because of the insane filming schedule of the last episode.  Anyways, we get to know that the old butler in Quebec is Deok-Hwa’s grandson. 

Time table


  • March, Kim Shin returned to nothingness. (Ep 13)


  • Kim Shin came back to Eun-Tak and married her. (Ep 14~15) 
  • On Christmas eve, Ji Eun-Tak died of the car accident. (Ep 16)


  • October, Sunny died of an illness. (Ep 16)
  • She ascended the stariway to heaven with Wang Yeo.

After some time

  • Deok-Hwa in his 60s introduced his 6-year-old grandson Sung-Jae to Kim Shin.

Around 2086

  • Sung-Jae in his 30s prepared Kim Shin’s new passport and a house in Prague, the Czech Republic. 
  • On his way to Prague, Kim Shin came across reincarnated Wang Yeo and Kim Sun in the Seoul street. (Ep 16)

Around 2136

  • Kim Shin lives in Quebec, Canada, with 85-year-old Sung-Jae.  
  • He reunites with Park So-Min (reincarnated Eun-Tak) on the hill. (Ep 16 ending)

somuchmorethanthis  asked:

whaaattt? What's the story about Gethsemane????

In a million years I’m not going to be able to find a source for this or remember where I read it, but at the time they shot Gethsemane, the S4 cliffhanger, when Scully is in the meeting with all the FBI bigwigs and has to say that she was called to Mulder’s apartment to identify a body, and then delivers the line “Agent Mulder died last night from an apparent self-inflicted gunshot wound to the head” – it was apparently Gillian’s understanding that Scully believed what she was saying. And so, of course, she brought the full power of her acting to it, and gave us a Scully visibly anguished and suffering and made us feel that heartbreaking moment deep in all of our souls:

because she’s a goddamn professional actress who is very good at what she does.

Except, Chris Carter did what was apparently his usual practice, which was write one half of a cliffhanger, shoot it, edit it, air it, go on hiatus, and THEN start thinking about how to resolve the cliffhanger. (Sound familiar? At least that time he knew the show was coming back.) So, when they got the next season’s scripts, it turned out that Scully had known the whole time that Mulder was not really dead. And, there is a quote somewhere from Gillian where she expresses being miffed that she didn’t know this at the time of playing the scene, because playing “my partner/best friend/soulmate/love of my life has shockingly killed himself and I had to identify his body and also I’m about to die of cancer and I am in the absolute black depths of shock and despair” is a lot different from playing “I sure hope I can pull this heist over on these FBI bigwigs so my partner and I can figure out who’s the mole. I, Dana Scully, a medical doctor who is not a professional actress and is not very good at lying because I’m naturally earnest and forthright and dedicated to the truth, better fake this as best I can. Also I am about to die from cancer. This hasn’t been a great week.” Kinda more like this:

But CC doesn’t understand that because he doesn’t understand acting or people or women or feelings or preparing for things.

Is it any wonder that by the time they got to Season 8 and Scully was pregnant and there was no information (for the audience or the actors) about whether Mulder was the father, whether Scully knew Mulder was the father, whether Mulder knew Mulder was the father, whether Mulder wanted to be the father, and also oh yeah Mulder had been dying of a brain disease the whole time last year, they just kind of slogged forward and did what they could? This is the girl who used to look up all the hard medical words in the scripts she got so she could inhabit the character as fully as possible. Smh.


So I was inspired by this post and I always love love LOVE behind the scenes stuff for TV series that people draw, so yeah! I had to do something with it. Take it and do what you want with it! *falls over*

(I guess this qualifies as an actor AU? This occupies a weird space so yeah. @ackerchou, I blame this all on you.)

  • Shiro and Zarkon are super good friends off-camera. They are always posting pictures on Twitter and other social media platforms in costume, commenting on how “today was a good day, got to beat up this dude” or “Black Lion Paladins have to stick together #vld2016”. Shiro is super notorious for biffing takes because he’ll start laughing and Zarkon is shameless in totally screwing up scenes by making him laugh with stupid faces. It happens a lot during the super serious moments.
    • Shiro is also known for fangirling over Zarkon, considering how long he’s been in the acting business and his famousness. Pretty much everyone fangirls over Zarkon.
  • Zarkon hates his outfit; he’s always tripping over it and has fallen over in a few scenes. He fell into Haggar once and they both went tumbling down off a green-screen set. Everyone was fine but his cape had to be modified so he could walk around in it.
  • Keith and Lance are that pair of actors who are super tight off-screen and do pretty much everything together. They post stupid Vines, crazy pictures, ALS challenges, cinnamon challenges and anything else you can think of. They love interacting with fans and are super shameless about fanning the klance flames; they’ll post pictures of them almost kissing or posing seductively with each other. Both of them snag pictures of each other when the other isn’t paying attention and will hack each other’s accounts to post stupid posts. They wander around a lot wearing Voltron merchandise.
  • Lance is heavy into improv; it’s gotten to the point where the writers just say “Insert Lance commentary here” because he will totally go off-script. Some of his best moments come from doing things off the top of his head.
  • At least every actor has done something like this with Hunk. He’s so big and strong that it’s hard not to give it a try. Even Zarkon did it (complete with the caption “I’ve got a leg up on your paladin”); that post went viral within minutes. He’s not only the heart and soul of the lionsquad but of the cast and crew as well.
  • Allura takes pictures of everything and with everyone. Her dressing room is filled to the brim with pictures of times on set that she snagged or selfies with the crew and cast. A lot of them are her kissing their cheeks or making duck faces. She also records her singing songs or dancing with the crew during down time and posts them online. Her favorite picture is with the original Allura actor from the 80’s who came to visit the set of the new TV series.
    • A memorable moment was during a take with her and Zarkon and they totally screwed it up. While the camera will still running, they decided to do whatever and confessed their love for each other and Zarkon ran off the set with Allura in his arms. They both jokingly commented later about how they really feel like their characters are having an affair with each other and that the entire plot line of the show should be changed.
  • Haggar is actually super young and pretty but she gets a ton of makeup and prosthetics to make her ugly and witch-like. Both she and Zarkon have the most prosthetics to put on and it takes a couple of hours to get them to look like the evillest duo of the universe.
  • A lot of wide shots are just miniature landscapes, like the Castle of Lions or the Garrison, and the cast will often take pictures next to them or act like Godzilla getting ready to stomp on them. All of them have pictures where they’re leaning up against the legs of the lions, which are really the only things that aren’t CGI of them.
  • Pidge is like Orlando Bloom where she’s forever making funny faces in the background during takes and no one notices it until the final edit. She gets bored easily and is the known prankster of the cast. She also squirrels food everywhere to eat between takes and forgets where she hid them sometimes. So when the prop guys come through and dismantle everything, they find fruit snacks, fruit, nuts, chips, and pretty much anything else you can think of.

anonymous asked:

Hey yo so... uh... I'm a little confused... sooooo if Jeremy n Michael are'nt actually canon... (or they r? I'm not really in the fandom yet oops ) where did "boyf riends" (if I wrote it correctly ;;) come from??

its from the script. rich (who was a bully at the time) writes ‘boyf’ on jeremys backpack and ‘riends’ on michaels so that when they stand next to each other their backpacks read ‘boyfriends’

Destiel Bloopers
  • Take 1:
  • *Jensen and Misha's faces are gradually getting closer*:
  • Misha: Where did you come from, where did you go?
  • *Jared pops in on the set*:
  • Jensen: I knew this was gonna be a long day
  • Take 2:
  • Misha: *actually starts doing his proper dialogue*
  • Jensen: I wish you were my pinky toe so I could bang you on every piece of furniture I own
  • Misha: *tries not to laugh*
  • Dammit Jensen!
  • Take 3:
  • Jensen: JARED FUCK OFF
  • Take 4:
  • Jared: Ya'll gonna fuck or nah?
  • Take 5:
  • Misha: Stop groping my ass it's not in the script you little shit
  • Take 828292:
  • Misha: Does it really have to be canon? We've been here for days *whines*
  • Jared: Get your fucking ass back in his arms! *points to Jensen*
Transformers: Predilection

Title: Predilection
Warning: Kinks. All of them I could write.
Rating: R
Continuity: IDW, G1, Prime
Characters: I tried for as many different pairings as I could cram in.
Disclaimer: The theatre doesn’t own the script or actors, nor does it make a profit from the play. I deserve cookies for writing this but have yet to receive any. TnT weeeeh.
Motivation (Prompt): “Reblog with your personal kink/fetish. Not in the notes; you put that sucker right in the reblog where it can be seen, fraggit. And don’t reblog off somebody else’s reblog. Come back to the original so I can see it.” 42,000 words, 65 separate kinks, from Dec. 12 to just under a half an hour until Dec. 25, I dared Tumblr to bring it on, and they did, but I wrote everything thrown at me! Ha! Ahahaha, I win!

Every kink is a writing challenge this author hasn’t met yet. I dared Tumblr to bring it on.

‘Grey’s Anatomy’ Star Ellen Pompeo on Female Directors, Motherhood & Politics | Variety
By Elizabeth Wagmeister

After 13 seasons, “Grey’s Anatomy” star Ellen Pompeo made her directorial debut on this week’s episode of the long-running medical drama.

What took so long? Well, Pompeo is busy.

She’s been at the top of the call sheet on the ABC juggernaut since its premiere in 2005, and she balances leading “Grey’s Anatomy” with her other full time job: being a mother to three young children at home.

“I’m already there really a lot of hours. Directing is even more hours. The idea of spending more time there really has never appealed to me. So basically that’s it,” Pompeo tells Variety when asked why she waited until the middle of Season 13 to sit in the director’s chair. She adds, “As far as creativity on ‘Grey’s,’ you’re kind of trapped in a hospital and there’s only so much you can do, so I wasn’t that excited about it creatively.”

Pompeo says she was convinced to direct partly because of Debbie Allen, who is in charge of appointing all of the episodic directors on “Grey’s Anatomy,” and also because of her evolution on the series, thanks to creator Shonda Rhimes allowing her to learn from the sidelines about directing, producing, and storytelling, in addition to acting.

“We never can tell the way we’ll evolve — emotionally or spiritually or creatively, you never know how you’ll evolve and what will interest you creatively,” Pompeo explains. “The show has had a lot of changes and that’s precisely how the show keeps going because it does continue to change. People change, the cast, behind the scenes, the writers, everything changes. So the circumstances just changed, and when Debbie asked me to do it this time, I was more open.”

Here, Pompeo talks about her decision to finally direct, plus opens up about work-life balance, the lack of female directors, and the lack of women in politics…

Have Debbie Allen and Shonda Rhimes been asking you to direct for years?
To be honest, no one has ever asked me before. I have a pretty busy home life — I have three kids, and one of the things I’m proudest about is being able to achieve a really healthy balance. Not only do I have a great job on this show that continues to be super successful, but I have a great home life, and I cherish that a lot. I try to devote equal time to both. So no one has ever approached me about it before, and Debbie did and she started last year asking me, and I started saying no, no, no, and then she just kept at it. Debbie Allen doesn’t take no for an answer! I thought about it and everything she said was true — I do know more about the show than more of the directors that come in, so if they can do it, I certainly could. It wasn’t a question of if I could do it; it was a question of, do I want to spend that much more time here?

How much of a time commitment was it for you to direct the episode?
It was a month and I banged it out and I’m really happy that I did it. I’m lucky that I live really close to where I work, and my kids get to come to set and they get to hang out — it’s a very family-friendly set, so I just worked around that challenge by bringing my kids and my family to set all the time.

Was the schedule and time commitment the most challenging part of directing, or did you find anything else to be especially difficult?
I think the most challenging thing is just the sheer hours.

How did you decide which episode you wanted to direct?
I really wanted to direct a script from [writer] Meg Marinis and Shonda was kind enough to grant me that wish. Debbie is in charge of booking the directors so she had to just figure out in the schedule where there was space. We have a good amount of freedom because we have so many in-house directors from Chandra Wilson to Kevin McKidd and Debbie, too. We don’t book the whole season of directors ahead of time, so there were some spaces open, so it was just a matter of what slot was open and there were only a couple of episodes not spoken for, so it was pretty easy to set.

You mentioned some of your cast members who have directed. Did anyone give you advice?
No, not really. I’ve been there so long. I see everybody do it. Sara Fischer, who’s in charge of production for Shondaland and who is a remarkable human being, gave me the best piece of advice, which was to have an answer for everything and to wear sneakers, and I already do that every day [laughing]. I was already all prepared.

There is a lack of female directors in the industry. “Grey’s Anatomy” has so many female directors. Do you think that “Grey’s” is helping to pave the way for female directors?
Shonda Rhimes is definitely walking the walk. I can’t really say enough about her leadership skills and the way she’s running the company and how far she’s come. Her evolution as a leader has been very inspiring to watch. Obviously when we started, she didn’t have any employees and it was her first show and she never had a show before. So with respect to breaking down boundaries and creating an environment for people in-house to learn and create and grow is something that she definitely talks the talk and walks the walk. I don’t know if one show can change the stats and if one show is enough to move the needle with respect to the whole television business, but certainly, our numbers are much more impressive than I’m sure any other show. I doubt there’s another show that hires as many women as we do — which is so weird to me because women are such amazing multi-taskers. Directing is multi-tasking. It’s baffling to me!

It’s also baffling to me that there aren’t more women in politics because running the country is multi-tasking, and women are notoriously better at that than men. It’s so curious to me how we end up in these dynamics. Clearly, our president cannot tweet and do anything at the same time. [Hillary Clinton] can manage her emotion and tweet, all at the same time.

Would you want to direct another episode of “Grey’s”?
I am going to do another one next year. Obviously the challenge for me is I can’t not be in front of the camera. They can write me lighter when I direct. But I would direct a bunch if I could not act as much, but that’s not really an idea that anyone is interested in. Right now, I’m just scheduled to do one next year because they really want me in the show — you know, a lot. And I understand that and it’s fine.

Well, the show is called “Grey’s Anatomy,” after all.
Yeah [laughing]. I would love to direct another show or I’d love to direct a pilot where I could be really creative from the start and conceptualize everything and create a whole entire body of a story. That would be really exciting to me. That comes so easy to me, being on a television show for 13 seasons — I really have learned so much about storytelling and about all sides of it, so it comes pretty easy to me.

anonymous asked:

One of the tropes that has always baffled me in POTO adaptations is the whole "Erik is in love with Christine becayse she looks like his mother" trope.. just.... why? Did Freud have a hand in writing those scripts?!

Yeah, I’m not sure where it comes from either.

Originally posted by giphygiff

Kitten (Part 29)

Note: Fast approaching the end. Yeah, the conversation was pure self-indulgence on Kuro’s part.  There wasn’t actually a need for him to do that.

<< First < Prev.

The key to a good trap is having the right sort of bait for your prey. You want a lioness, you dangle her injured cub. You want the paladins of Voltron, you release a few choice screen shots with easily traced upload locations. He’d chosen some of Kitten’s tamer pictures for his bait. Hinting at the extent of their time together, without showing too much. Wouldn’t do to reduce the value of his leverage by giving the good stuff away for free.

If the Castle didn’t appear soon, he might not get a choice about making that sacrifice. The ‘allies’ he’d gathered for this trap were fair weather at best. The longer this dragged on, the more likely they were to decide to try and turn on him. He hadn’t been foolish enough to give them his location, but a brute force search of the sector would surely reveal him. No, losing the opportunity for more quality time with Shiro’s kitten and having to fight his way out, is much worse than sharing a few more pieces of his prized collection with the unwashed masses of the galaxy. Besides, the look on Kitten’s face when he reads all the appreciative comments from his new fans would be something worthy of immortalizing.

A little red blip appears on his sensors, and a second later, a wormhole rips through the fabric of space on his view screen. His estimates on the best strategic entry point had been correct. The paladins were right where he wanted them.

He opens the hailing frequency. Someone much more technologically apt than himself, had kindly volunteered to rout his hails through the same station he’d made the uploads from. Given time he could be found despite the extra step, but by then he planned on being long gone.

The Altean bitch picks up the call again. “Kuro.” She says with all the venom of a rattlesnake. He ignores her, examines the other residents of the bridge. The orange idiot is there, with something approaching a serious expression for once. He might as well be a chair for all his potential amusement value. The green gremlin is at her station. He never did get around to sending her that video. She’s not as amusing as Kitten, but he imagines her anguish could be worth the effort. Be more fun if Matt were here though, more history to build on with that one. Last but certainly not least, his weaker self is glaring up at him, hatred etched into the grit of his jaw and the flare of his nostrils. He must be barely keeping his temper in check. Shiro’s been fantasizing about confronting Kuro and killing him, between wrapping his kitten up in blankets and nursing him back to something human all sickeningly sweet. Kuro knows this for certain. That’s the fun of Shiro, he never has to guess what he’s feeling.

“Miss me?” His giddiness is showing, and Shiro’s fist are clenching in reaction. Maybe he can get him to break something in a fit before they’re done here. Wipe off a bit more of that golden boy shine to show his team the broken gladiator beneath.

“What do you want?” Shiro growls, stepping forward to stand by the princess. From the look on her face, he’s already going off script. Did they try to stop him from coming to this meeting? Not surprising they failed. His weaker self can be so stubborn about putting himself in situations that hurt him. Almost takes the fun out of emotional torment…Well, not really.

“I just wanted to chat and catch up with my two most favorite people in the universe,” Shiro’s going to crack a molar if he grits his teeth much harder, “Speaking of which, where is your kitten?” Did he know about this meeting? Or did they just make a jump without telling him where or why? Oh, maybe he’s really lucky and they haven’t told him what Kuro did. Tried to hide the evidence for his own good. That would mean he’d get to see the initial shock and horror himself.

“His name is Keith!” Shiro shouts, his face going red. The princess reaches out and grabs his arm. The struggle to pull his temper back under control is obvious on his face.

“Kitten,” Kuro says with a smirk, “Why don’t you go ahead and call him in? It’s not nice to hold conversations about someone behind their back.”

“You will never speak to him again.” Oh, Shiro should know that you never say never. Especially in a galaxy as big as theirs.

“Call him up,” Kuro pulls his recorder into the line of sight of the camera, “Or I start releasing more on the galactic Internet every minute until he arrives.” He presses the play button and the video on the recorder starts with a panicked cry from Kitten to ‘stop’. This was one of their more vocal play sessions, perfect for an audible reminder of all he still has left to offer.

Shiro chokes. The princess steps in to cover for him, “We will not be blackmailed.” She says without a trace of doubt someone might disobey her. He’s certain if she was the only one he was negotiating with, then they’d just stand by and let him. Maybe even leave the sector without further comment. Good thing she’s not.

Kuro gives her a dismissive glance, then very pointedly looks back at Shiro, “Are you going to make that decisions for him? How do you think he’ll feel when he finds out you chose to humiliate him in front of the entire galaxy rather than ask him if he wants to talk to me?” He has him. Shiro knows how much Kitten hates to show weakness in public. He’s always been so intensely private. His weaker self could never allow this to happen without his permission.

Kuro watches patiently, while the princess and Shiro have a quiet argument. She’s not nearly cold blooded enough for this job, she caves before a minute passes. Shiro turns to leave, “Send the Gremlin,” Kuro calls out, “I want to visit while we wait.” If Shiro goes, he’ll help prepare Kitten for what’s to come. Much better to have someone less good at handling him go to retrieve him. Bonus, with the green paladin gone from the bridge, it will take them even longer to locate him.

Shiro hesitates. Kuro ups the volume on the recorder, no need to verbalize the threat, “Pidge, tell Keith what’s going on.” Shiro’s tone is clipped. He’s hating every moment of having to dance to Kuro’s tune, but he’ll do so. He’s a self-sacrificing weakling like that.

They don’t end up talking while they wait. Shiro fumes in silence, and Kuro double checks his playlist in preparation.

He’s just beginning to entertain the thought that the paladins don’t plan on holding up their side of the bargain, when Kitten arrives. He immediately stalls. What little color he has draining from his cheeks. Kuro would like to think his presence alone has such an effect, but likely the pretty thing is reacting to the audio still belting out from his recorder. Someone forgot to warn him about the ambient soundtrack to this meeting. Kuro smiles, “Come here, let me get a good look at you. It feels likes it’s been ages.” Kitten walks stiffly into the room to stand by Shiro. His weaker self’s expression has gone from anger to concern. He was probably hoping that his kitten wouldn’t show. Give him free pass to ignore Kuro’s threats and try to hunt him down instead.

“I’m here,” Kitten is still pale as a sheet, but he’s putting on his brave face. Like Kuro hasn’t wormed his way into being one of his worst nightmares, “Say what you have to say.” A particularly loud cry on the audio makes him flinch anyways. So cute and high strung. He’s going to have so much fun breaking him again.

“I was wondering, have you been dreaming about me? Have I been in your thoughts, while we’ve been apart?” From the way Kitten sucks air past his teeth, the answer is yes. He can just imagine how that’s been. Kuro’s presence clinging to him like a stain he can’t wash off. Shiro hovering over his shoulder trying so hard to make it better. The expressions, the feelings, oh yes, he doesn’t need to have been there to know exactly how it went.

“Fuck you,” Kitten spits, just as powerless to stop him from inflicting pain as when he was tied up on Kuro’s shuttle floor. That gives him ideas. Maybe when he gets Kitten back, he can find them a nice barren planet and let him run. Chase him down again and again for play until he’s too broken to try anymore. Having him back can’t come soon enough.

A flashing purple alert goes off in his peripheral vision. The Galra are in position. He’s stalled long enough. He smiles down on his soon to be playmate, “See you soon, Kitten.” Kuro disengages the call before he can respond.

It’s finally time.

Next >  Complete Version

anonymous asked:

i recently started re-watching your deadly premonition lp (which is the one that introduced me to your lovely channel in the first place) and i noticed you maintained a much drier, more deadpan tone back then (which imo is where so much of the humor in that lp comes from). i guess my question is, was it a conscious decision to add more emphasis / inflection to your commentary, or did it naturally happen as time went on?

It was ’t a conscious decision, it just kind of happened as I did more and more vocal commentary. When I did the DP LP, I still hadn’t been doing voiced commentary for that long. The first time was with ILLBLEED, then D2 after that, then DP. By DP, I had gotten better at it in the sense that I wasn’t using a script anymore as I had with ILLBLEED, but I still sounded wooden.

I think the main thing that caused the change in my inflection was doing weekly streams for a lengthy period of time. That kind of forced me to talk more off the cuff, doing more improv instead of prepared commentary.

anonymous asked:

English is not my first language so I don't ///really/// understand what meta is. I think I get it, you guys speculate about stuff but when Dabb said "the most meta finale" it doesn't make sense to me. Could you please explain it? I don't know if it is explainable but still...

Meta: A term, especially in art, used to characterize something that is characteristically self-referential. 

What this means is it looks at itself, the idea is for example in The French Mistake when Supernatural referenced Supernatural. Does that make sense?

In the way that we do it meta is the taking apart of the subtext of the show, looking into it and analysing it to find the ‘hidden meanings’. For example how the angled camera means that something ‘off’ or ‘bad’ is happening e.g.:

Originally posted by super-sootica

Or how Metatron says Castiel is ‘in love… with Humanity’

Meanwhile, Dean is constantly referred to as the personification of ‘Humanity’


before season 9 and then this is reiterated afterwards by GOD HIMSELF and AMARA, and when Amara says it they intersperse the scene with a scene of Metatron and Castiel, you know, just to REMIND US OF THE TIME METATRON SAID THAT CASTIEL WAS IN LOVE WITH HUMANITY…

Originally posted by cas-dean-sam-supernatural

 So…. the most meta finale means that they are TELLING US TAHT THEY ARE AWARE AND PURPOSEFULLY WROTE the subtext so far (and this is why I love this especially this season, because the biggest subtext going this season is all the heavy Destiel subtext that is hardly even in the sub, but pretty much all out there in the text at this point it is so blatant). 

There is other stuff too of course, e.g. the plot points in the MotW episodes around blood family causing pain and death for Magda, Ellie, Alesha etc. That found family can be much more powerful. That Cas is family. That Cas has always been different to other Angels, the reminder that he didn’t want to kill the first 2 nephilim but felt he had no choice, but now he DOES have a choice, because Dean convinced him to rebel and choose his own free will years ago…

That they will be using this subtext, although not necessarily all Destiel related of course, it still gives me real ‘Destiel subtext readings are definitely valid and are on purpose’ vibes so *yay*.

Probably therefore we can expect some SUBVERSIONS (e.g. flipping the script) on some storylines, where we saw mirrors and parallels and expect it to go one way or another and they will play with this. Probably we can expect some surprises out of left field that make all the meta readers go WHAT? WHERE DID THAT COME FROM? WE WERE NOT EXPECTING THAT! Probably some parts that are really obvious to us meta readers but not the casual viewers….

Basically it means that they are AWARE of the subtext, that they are AWARE that some of us are really reading into it and that they are going to play with it.

It means it is going to be complex and casual viewers may have to watch it twice to grasp it fully and meta readers will definitely have to watch it a few times to catch all the intricate details… 

It means they’ve put a lot of thought into it and it is going to make us FLAIL.


Lesson #1: Hangeul Basic Consonants Pt.1:

Hangeul (한글) is the Korean alphabet. You may have seen this on various kpop M/V’s, photo edits and on lyric videos online.

So, where did Hangeul come from?
Hangeul was created during the Joseon Dynasty in 1443 by King Sejong the Great. It is now the official script of both South Korea and North Korea. Hanja (chinese characters) has become uncommon since the 1990’s.

So, how do we read Hangeul? Hangeul is read from left to right just like English, French, German etc. It has a romanized form which isn’t used by native speakers.

For example:
한글 - han-geul

Now, because I’m not a native speaker, teacher or I don’t study with a tutor or teacher, this is the advice I give you:

Don’t use romanizations, unless you are really struggling - DO NOT make a habit of it!!!

Now with that said, here are the BASIC CONSONANTS of Korean (paired with a vowel for easy pronunciation purposes):

바 - ba
자 - ja
ㄷ - da
ㄱ - k/ga
사 - sa
마 - ma
나 - na
ㅇ - silent/ng
라 - r/la
하 - ha
카 - ka
타 - ta
차 - cha
파 - pa

ㅇ is a confusing consonant that we can learn about in Lesson #2, but until then, I hope you learned something from me.

And I shall mention again - I AM NOT a teacher, tutor or native speaker and I am doing this for others like me to learn basic Korean as a jumpstart on their journey to learning Korean.

Thank you guys as always!
- Linn.

anonymous asked:

where did the whole must be difficult to ________ in that short skirt come from

The ‘must be hard to beg on your knees in that short skirt’ line was from the audition script for Lena Luthor