which has just set itself on fire

Heavydirtysoul Music Video

Okay tho like. Hear me out. I need to rant.

Josh starts with his eyes closed because in the words of Tyler “close your eyes. Sometimes it makes things less scary.”
Everything Tyler is wearing is either black or white. There’s no red on him at all, and from the beginning we’ve seen that red represents Blurryface. On the album cover, in the shows, in the beanie, in the ring, in the arm band, Josh’s hair and makeup are all red. Are all Blurry. Here, there’s none of it.
Black has always sort of meant darkness, fear, depression. White, surrender, hope, beginning. Tyler’s wearing both, but no red. Both to show that there’s always going to be good and bad, happy and scared, alive, and dead.
However the car he’s riding in is /only black and red/. Only darkness and only Blurryface. There are red circles all over the car, like the red circles on the Album cover. The car is Blurryface’s, or at least the idea of Blurryface controlling where Tyler heads. The figure in the front is also obviously Blurryface, and just like our fears, Tyler doesn’t look him in the face.
When the car lights, it lights the drum kit too, turning the once-white logo to black. In like 2013, the logo was happily white and blue and orange. The once happy has now been burned to darkness. Just like Tyler, or the clique, or the band itself. Fear and anxiety entered the logo, and the music in the form of the black circle.
Just as the fear sets the band on fire, the band tears the car apart. It’s a hand off. An eye for and eye. Tyler tears Blurryface apart. No one is in the front seat anymore. The car goes up in smoke because he’s clean. He’s white as snow, which also is present around them as a symbol of purity/that white color of freedom. The car, and Blurryface, seem to be defeated, and his heavy. dirty. soul. is saved.
But once again, the ending is him back in the car, showing that even though Blurryface is defeated, his insecurities are still taking him somewhere he doesn’t want to go. And perhaps, Blurry isn’t totally gone.
To add, Tyler is driven past Josh multiple times. Each time, coming closer and closer to burning him. What do our fears, insecurities, and anxieties do? Drive us in circles. And each time we lash out, it’s another step closer to hurting someone we love.

Edit: (curtesy of @iwriteshakespeareanninsults ) And Tyler also seemed worried about hitting Josh, and still couldn’t control it. He was aware of what was happening but couldn’t stop it. He was afraid of losing Josh, of hurting him.
Men’s Lives Have Meaning, Part 2: Give Your Bride a Kiss For Me

Part 1 here

“Pirates could happen to anyone.”

Rosencrantz and Guildenstern are Dead

Shot of Doran at his cyvasse board, eyes burning. 

DORAN: Vengeance.

He takes Arianne’s hand. 

DORAN: Justice. 

Close-up on his fist, as he unravels it to place an onyx dragon in her palm.

Cut to Volantis. We zoom out on Quentyn’s face. 

His eyes are bloodshot. 

His hands are trembling. 

His friends are dead. 

He’s going to die. 

He knows it. 

DORAN: (in voiceover) Fire and Blood. 

As his opening move in Quentyn’s storyline, GRRM elects to rip a gigantic hole in it, disorienting the reader along with the protagonist right from the start. Quent’s first chapter in ASOIAF is not set in Yronwood, where his story “should” begin; nor is it set in Sunspear, receiving his mission from his father; nor is it set in Planky Town, as he sets out on his quest. It is set in Volantis, after Team Quent has already passed through all those others. Why structure it this way? Why open the story on what really ought to be the fifth or sixth chapter? So GRRM could start said story like this:

Adventure stank.

It’s the most meta moment in the series’ most meta storyline. Indeed, it’s a huge sick hilarious fourth-wall-breaking (and heartbreaking) joke, once you know how this story ends. But it’s also Quentyn’s story in miniature. Even more than, say, “he drank his way across the narrow sea,” the opening line of “The Merchant’s Man” throws down a gauntlet for the reader, setting the tone for the rest of the storyline. This adventure is not empowering or exciting or, indeed, successful. This adventure stinks. And what does it stink of?

She boasted sixty oars, a single sail, and a long lean hull that promised speed. Small, but she might serve, Quentyn thought when he saw her, but that was before he went aboard and got a good whiff of her. Pigs, was his first thought, but after a second sniff he changed his mind. Pigs had a cleaner smell. This stink was piss and rotting meat and nightsoil, this was the reek of corpse flesh and weeping sores and wounds gone bad, so strong that it overwhelmed the salt air and fish smell of the harbor.

It stinks of death, that winged chariot which has already visited Quent’s quest before we even meet him, the maw waiting for him at quest’s end. Quent’s death is so horrific you can smell it a book away. It haunts his entire story from the very first words. It’s the end result of every twist of the plot, every decision Quent makes, rendering the experience of reading Quent’s arc the equivalent of watching a dog-eared storybook set suddenly on fire. 

For even before we enter Quentyn’s story, his best friend (Cletus Yronwood) and two of his other companions (Willam Wells and Maester Kedry) are dead, killed in a corsair attack. So the quest is broken before it starts. It’s already all gone wrong, and we have no experience of Quent’s story before that happens. Quentyn’s fantasy tale has torn off its mask and revealed itself as a horror story, and the trapdoors just keep opening up beneath him, falling closer to the fire with each drop. This is a Hero’s Journey in which the Refusal of the Call was absolutely correct, which in and of itself constitutes a radical reshaping of how this sort of story is supposed to go. 

Keep reading

ok but imagine this

imagine if hiro could not think of an idea to present to callaghan and so he continued bot fighting and his normal life in general

but then callaghan discovers tadashi and his gang’s inventions and he secretly combines their inventions instead to seek revenge towards krei

he creates an ultimate baymax programmed to fight (much like baymax with hiro’s drive) AND equipped with the rest of the inventions. complete with the wasabi cutter and the gogo wheels and also honey lemon’s chemical stash

now this is when callaghan burned down the university building where tadashi and his gang has been working in after he takes all their research and inventions.

as callaghan (with his yokai mask) starts wrecking havoc in the city tadashi and the gang discovers that this villain has powers similar to their inventions and since they know they couldnt fight fire with fire, they need to invent something new to fight callaghan with. and they need it fast.

this is where they come to hiro and “that big brain of his” and he comes up with microbots to fight callaghan with, in which each member of the gang controls a specific set of microbots.

so now callaghan has what is supposed to be the “big hero 6” powers and equipments, while the gang itself has the microbots under their control.

just imagine.

also tADASHI’S STILL ALIVE IN THIS AU??? and there are 6 members in hiro’s gang (baymax belongs to callaghan and tadashi’s there) so the movie can still be called big hero 6

@ittybittyzimmermann i bulleted something for your omgcp x httyd au? i hope this is what you were picturing! (this got really frickin long)

  • ok so bad bob was the leader of their clan? tribe? village? whatever? and he’s still technically the leader but more and more he’s trying to get jack to take on more responsibilities to train him for when bob retires
  • bad bob used to win ALL the dragon races, like when he became the leader (chief? someone help me with terminology please) everyone was just relieved because it’s custom for the leader to ref the races instead of participating and now maybe someone else can win
  • and his dragon is a monstrous nightmare? (the one that sets itself on fire i think, anyway it’s badass) and the dragon’s name is good robert (i got this idea from through the crowd by kirkaut, which by the way is hilarious) and jack also has a monstrous nightmare (who is named after a historical figure, possibly and probably hiccup)
  • so jack and his dragon hiccup are doing v well, dragon racing with the best of them not that anyone expects anything less. and his best friend/competitor is kent, whose dragon i haven’t decided on yet but i think it’s entirely possible his dragon is the same one astrid rides (think of the bonus angst value b/c of course jack knows about hiccup and astrid and he knows what dragon astrid rode IMAGINE THE HOPE AND THE ANGST)
  • ok so i can’t really think of anything like the draft for them so here is my alternative solution: kent is faster than jack when they race. jack is worried b/c he isn’t living up to his dad and thinks that means he can’t be a good leader. he stays up at night worrying about it and is so tired that he falls off his dragon in one of the races and hits his head on a rock on the way down

(more under the cut)

Keep reading


From an interview with Tom (and Steven) about Locke (I love how the guy he copied the accent from isn’t Welsh!):

What was it like to perform it more like a play than a traditional film?

It definitely didn’t feel like work for me, it was good fun. When I first met Steve for this particular job, it was at a concept stage. So when the script came in it was a work in progress and it continued to be a work in progress throughout shooting it. In that way it was like a contemporary theater piece. It was a moveable object in many ways because it was an exercise as opposed to a script in a film in a conventional sense. It was a much more organic process. It was all one package as opposed to “Here’s the script, turn up on the shoot dates.” It was more like a workshop environment as opposed to an orthodox –

Did you find your performance changing as you shot the script again and again each night?

Yeah, because I didn’t learn the lines. It was more of a sight reading exercise. You could depend on what somebody was saying to you and how they’re effected instead of being locked into sort of a rehearsed reaction. There’s no posing because it was a live feed because there was an eye-to-ear coordination of listening and reacting to what is going on in the moment. So, yes, there was changes in every single take. We’d fish for different options so it was never repetitive, it was always fresh. Obviously the script moves on it’s own volition anyway, but how we got there was different on most nights. It was really freeing actually because the constraints were all set in place with the car and the script. What was free-flowing was the actual dialogue and that was written verbatim, so it was said and spoken verbatim. There’s a different freedom from being completely locked down. For me it was very refreshing and it sounds alive.

You don’t act off the line. It’s not like you pause and think about how you say the line because you’re in a conversation and you’re listening, you have to respond in real time depending on what’s been given to you. There’s no need to crowbar any acting on to it. Pretty much nine-tenths of what I say, Ivan’s either trying to put out a fire or he’s opening up a new dynamic whereby the fire gets bigger than he has to put it out again. It’s in-between points of exposition and calming. It was a very basic, simple script in many ways for an actor to read so you don’t have to put a character on to it, it will do it itself, just leave it alone, which was incredibly freeing as well because you can really play with it and be very, very free. That’s what was exciting about it.

What about the physical aspect of it, filming in a car instead of on a set?

Again, really freeing because you’ve got limited work space. Obviously you’ve got to stay on the road with the car, but the GPS is going in a straight line, the story is going in a straight line, you can only end up where you’re going. The car then becomes a lateral environment. There’s the window, and the passenger seat is where all the meaningful objects are. We have the telephone, the GPS system unit, which is a character, and then the road ahead of us and this sort of hypnotic world around us.

Tom, I’ve read before that you look to real people to inspire your characters. Did anyone inspire Ivan?

Yeah. I love to chase down that which is authentic and hold on to it. There’s a very legitimate reason for choosing Ivan’s Welsh accent. Legitimately we had to find somebody who was in a working class, but had built himself from the floor up and had found himself in a position of success. The Welsh accent, it’s quite a terrain, sort of rocks and hills and sheep. In my mind, the men that come from [Wales] have a certain gravitas and integrity. There’s a durability to them and an inner strength, but there’s also a very gentle nature to their tone. Technically if Ivan Locke is going to be calm and putting out fires, he’s going to sound something like Richard Burton. Also, you can tell this is a working man. So I found a man, I found the man, actually. I thought, “This is it.” I spent a good amount of time listening to this man for a solid week. I said “This is Ivan Locke.” So I copied the guy, to the letter. A little bit of Richard Burton influenced me, a little bit of Ivor the Engine and Fireman Sam, but it was Bill Freear, that was this guy. Suddenly I told Bill I based this character on him. The Welsh press got in touch with him and they wanted an interview. Bill took the call and — he’s not Welsh, at all! [Laughs]

Knight: Where is he from?

Hardy: No fucking idea! But he’s not Welsh. He said, “I’m sorry Tom, I did tell them that I do like sheep.” So I based it on someone who wasn’t Welsh and if anybody’s questioning my Welsh accent they have good reason to. But that’s the truth.