why is she not in more eds

2

Happy Birthday to French philosopher, Simone de Beauvoir! 

“Love lets us reach beyond ourselves.”

Simone de Beauvoir proposed that love is the desire to integrate with another and that it infuses our lives with meaning.  However, she was less concerned with why we love and more interested in how we can love better.  She saw that the problem with traditional romantic love is it can be so captivating that we are tempted to make it our only reason for being.  Yet, dependence on another to justify our existence easily leads to boredom and power games.  

To avoid this trap, Beauvoir advised loving authentically, which is more like a great friendship: lovers support each other in discovering themselves, reaching beyond themselves, and enriching their lives and the world, together.

From the TED-Ed Lesson Why do we love? A philosophical inquiry - Skye C. Cleary

Animation by Avi Ofer

Idk what this is but after last week’s episode with more confirmation that Oliver Queen is a reader, I got a spark of inspiration to write something including that little tidbit about him. And also baseball because, why not? Un-beta-ed so read at your own risk lol. 


Felicity held down the pages of her notebook as a warm spring breeze blew by and tickled her face.

“Do you want a ride home?”

She turned her head to see Iris joining her on the bleachers.

“No that’s okay. I think I’m just going to get some homework done and then walk home.”  

“You’ve been spending a lot of time out here lately.”

Shrugging, she replied, “It’s nice out. And mom’s been working weird hours again so I’d rather be here than alone at home.”

Iris tilted her head towards the baseball field where the team was starting their after school practice, “Are you sure it has nothing to do with that?”

“I don’t—“ She could feel a faint blush spreading across her cheeks at how high pitched her voice sounded and she coughed, “I don’t know what you’re talking about.”

“Mhmm,” Iris raised a skeptical eyebrow but let it go. “Well, I’ll see you in chem tomorrow.”

Felicity nodded, “Yep. Don’t forget that it’ll be the third Tuesday of the month which means, according to my algorithm, we’re going to have a pop quiz.”

Iris shook her head in amusement, “I am friends with all of the biggest nerds at this school.”

Felicity grinned, “Happy studying!”

She watched as Iris walked away from the field before sliding her eyes over to where the guys had lined up for throwing drills. Squinting in the sunlight, she paused for a fraction of a second on one of the players before ducking her head back down into her chemistry notes.

Keep reading

About Isabella’s last name...

Remember that awkward moment in 3x08 when Ed saw Kringle’s vision in the mirror? Well the most interesting thing was those pills in Isabella’s mirror when Ed opened it. We can see her full name on them, I believe it’s ISABELLA FLINT or something what starts with “FL”, maybe FLYNN or whatever. But what is more intersting it’s a pills themselves. I can’t read a title but I know that she is definetely nuts right? I doubt that sane person will keep something like probably-prescribed-by-a-psychologist-pills on his/her locker. 

But I suppose it doesn’t matter now when she is dead. 

But still the main question is. Why. Ed. Didn’t. Attach. His. Attention? He’s acting like a goddamn Sherlock Holmes when he wants to. But what’s wrong with him in all that Isabella-Kringle crap? He knew her only for a week right? And didnt’t even investigate something about her past?  The point is that relationship between Ed and Isabella is far more sick than Penguin’s obsession with Ed.

Well in that case Penguin did him a favor. I mean romance with that woman never could end well. 

Red wolves and white dragons

I wrote a War of the Roses AU for Jon x Sansa (starring Elizabeth of York!Sansa and Henry Tudor!Jon). I don’t even know why, but here it is, unbeta'ed, as always. I hope it’s not horrible and bad!

She’s brought before him in her finest silks, but the smile she’d once given so freely was gone from her face. Shoulders squared and back straight, she walked into the room, her mother following behind her.

“You’re ending the war, Sansa. You’re doing the right thing.” She feels more Tully than Stark, duty the thing that makes her choice easy this time. It is her duty to marry this man she doesn’t know, who’d slain their enemies, but would have killed her father if he could.

“You’ll save so many lives, isn’t that enough?” Her mother had said, when she first heard the news. And it was, it is, but Sansa would be lying if she said she didn’t hope her soon-to-be husband would be comely, or perhaps even gentle.

The last part is hard to hope for, though. Fearsome is what he is.

The Lords fear him, her sisters fear him, the smallfolk fear him, everyone fears him as much as they admire him, and she’s to be his wife and queen. He was crowned on the battlefield, the blood of King Joffrey still fresh, killed in battle by Jon’s own blade. It can’t have been hard, for Joffrey was useless in battle, but she hears Jon is an excellent swordsman, and it unnerves her.

Dangerous men are not good husbands. They’re not.

The court is silent when she enters, and this is the first time she’s been back since she was a child, since there was no war. They part for her, whispers erupting as she passes. It feels strange to be in such a big room with so many people after living in the sept for years, but Sansa can only tell herself to get used to it. She puts her mask on, leaving her true self behind. The engagement is already announced, and they’ll expect her to be loving to this man.

He’s dressed in black, black hair, black beard, grey eyes, but he doesn’t look scary, not like she knows men can. He’s handsome, with pouty lips and pale skin, living up to his name. The white dragon. He has a dragon embroidered on his doublet, and Sansa’s reminded she’ll be embroidering his doublets soon.

He’s looking at her, and for a moment his eyes look uncertain in a way Sansa hadn’t expected. It’s like he’s as unsure of her as she is of him, but that’s not likely, that’s not how things are. It can’t be. She’s seeing things, her imagination playing tricks on her to give her false hope.

She walks to stand in front of him, curtsying deeply, knowing full well this dress and the angle he stands above her in will give him ample display of her. She didn’t pick the dress herself. He takes her hand and kisses it, and she can’t help but notice how soft his lips are against her skin, and how his thumb skims along her finger as he lets her hand go. She makes herself snap out of the trance the sudden contact with him puts her in, but she doesn’t quite succeed. She’d mutter a curse if she was alone.

She doesn’t know what he’s thinking, if he’s happy with this match for other reasons than hers. He sits down on his throne, and she stands dutifully beside him, as happily betrotheds do. They need to appear united, they need to show everyone that this marriage, this peace, will last.

It goes slow. Sansa can see the young girls pointing at her and whispering about her hair and her dress, and the rowdier Lords talking in hushed voices and suppressing laughs, no doubt talking about the bedding that will soon take place. The wedding is in a moon, just long enough away for everyone important to reach them, but far too soon for Sansa.

Jon faces petition after petition, handling them all with calm and fairness, and Sansa’s glad he’s honourable, at least. Perhaps he won’t be that horrible. Perhaps.

He rises and offers his arm when they’re done, and she takes it carefully. She tries not to look too confused, when he leads her away to his solar, achingly empty as they enter. This could be where she finds out who he is, or where she has to settle with never knowing her husband. She’s not sure if she wants either. The smart part of her wants to disappear, the part that’s still a girl wants to stay and know. She can’t run, though. She stays.

“I’m not going to hurt you,” he says, and she lets go of his arm. “I don’t know if you actually wished to marry me, but you are, and… I want to make the best of it.” He looks uncertain again, almost shy, so Sansa doesn’t expect it when he leans over and kisses her, palming her cheek softly before pulling away.

His lips are soft, just like before, and her’s sting when they’re not pressed to his anymore. Her mouth drops open, and she looks into his eyes, trying to know if this is a trick or not. But his eyes are honest and glowing, and that’s why she presses her lips back to his when he kisses her again. A kiss, and another, just enough to make her head spin and her stomach flip over.

He looks at her for a moment, and she gets back to her senses. She’s heard of these things, of kissing and things Ladies don’t want but men do, and suddenly every horrible tale she’s ever heard comes back to her, and she’s freezing and panting and there’s fear in every inch of her body, but she’s too terrified to move. Jon only sees, the uncertainty coming back to his face, and takes his hand away from her. “I won’t hurt you,” he says again, and takes a step away from her.

She calms down slowly, thinking- hoping- the songs aren’t always right. This wasn’t something she chose, but perhaps it won’t be a tragedy. Perhaps he’s a good king, a good husband. Perhaps he’ll try.

He’s leaning against his desk, studying her, and Sansa thinks there’s care in his eyes. Affection, she tries not to hope. It’s that small forbidden thought, perhaps he likes me, that makes her close the distance between them and kiss him again. She bumps her nose with his awkwardly, and he’s the one that’s surprised this time, but he soon gives back, leading the way for her.

He kisses her lower lip, and her mouth opens for him, the kiss getting deeper than Sansa thought it could be. She’s bracing her hands on his chest, liking the feeling of him, and he’s palming her cheek again, his other hand resting firmly on her waist.

Somehow she fits against him, and she has to use all her mental force to pull away from him, her mind muddled with the feel of his lips and the drag of his beard against her cheek. She looks at him for a second, still new to this, still not sure what to think. “I want to know you,” she says, being incredibly honest, hoping it’s realistic. She realises these are the first words she’s spoken to him.

A soft smile spreads on his lips, and he nods. “I want to know you, too.”

And just like that, a huge burden is lifted off her shoulders. She finally allows herself to smile back, then thinks about kissing him again, but decides to wait. They’ll have plenty of time to kiss some other day. Her mother will worry about her. “Good bye, your Grace.” She places a quick kiss on his cheek, and whisks away, her silk skirts flying behind her.

She finds her mother in her solar, two eyes waiting for an explanation. Sansa doesn’t give any. Whatever has happened is hers, not the realm’s, not her mother’s. It’s hers, and she doesn’t want to share it with anyone. Only Jon.

eene-fangirl  asked:

What is your favorite thing about Edd’s character in A Fistful of Ed? Is there more of a reason behind why he is upset?

When it first came out, I loved A Fistful of Ed for a lot of reasons!  First of all, Raven’s scenes are the highlight of season 5 for me, I had loved her art since before she worked for the show, so it was really exciting to see her do the bulk of an episode, and for it to be upgraded from an 11-minute story to a two-parter.  

Secondly, Edd was a hard character for me to understand, he has a lot of traits and a fairly consistent only-rational-character role in the series, but AKA didn’t always try to connect his actions to details about his life outside of each episode, the way that the writers clearly understand Eddy’s home life even if they rarely address it. I can’t remember where/when it was brought up, but season 5 was suggested to be thought of as Edd’s season, after season 4′s finale revealed the spotlight to be on Eddy.  While Edd did take the focus more often at that point, I didn’t feel like anyone but Raven was digging into his inner life and making him as much of a main character as Eddy. So it was even MORE exciting when it became clear how much the episode was turned over to Raven’s understanding of him.

 THIRD, I couldn’t believe I was finally getting what I’d always been asking for. GENUINE EMOTIONS!  As much as I value simple slice-of-life stories, the way the style developed toward complicated expressions was begging for a more serious tone than just the show’s usual topics of outrage and failure.  When the storyboards were being pitched, there was push-back behind the scenes because it was so unusual to play a scene as outwardly dramatic and break the characters down to tears.  But from what I hear it was actually Danny who was most interested in seeing Raven’s vision through, and gave it the green light. I am so grateful that we got the story the way it was originally pitched, because there’s really very little else in the show that suggests how strongly Ed and Edd feel about each other and their group, and we need to see them finally erupt so that Eddy’s exposed backstory in Big Picture Show doesn’t feel out of place in an otherwise numb universe.  That they managed to find such an emotional story while not letting up the violence at all is especially impressive.  For once, beating people up feels cohesive to the character development, instead of a shortcut to slapstick.  It’s also a humongous relief after the focus on the Eds’ increased suffering for the past two seasons, it puts a really nice bow on everything without actually being an ending.

I should also probably bring up the 3-day marathon of the first 5 seasons, leading up to the premiere of Fistful, which was being advertised as the last episode ever, despite ads running during the final day for the Invaded special (and the fandom being completely aware that two winter episodes and a movie were on the way as well). “The Best Day Edder” marathon in April 2007, making fun of a similar-but-disappointing “Best Day Ever” SpongeBob marathon from November 2006, was a dream come true for me, a brief moment where EEnE was treated like CN’s proudest project and celebrated for being the network’s longest-running series.  The end of the episode left me quaking, I was so satisfied and excited to see the Eds start winning and protecting each other.  The whole marathon was a really inspiring experience for me.

Compared to that, I was pretty depressed leading up to the next series finale, Big Picture Show.  It felt significantly more final, and more than two years passed between Fistful and BPS, so it was really nerve-wracking waiting to see if AKA could pull off another big emotional feat.  But when information about Edd’s deleted dodgeball-incident-retelling was presented to me, it really cemented my love for the show and permanently renewed my obsession with Fistful.

Basically, after starting school in another town, Toddler Edd was targeted in dodgeball by the other students, who were presumably a little older and jealous of his advanced grades. This provoked Edd to build a dodgeball cannon and go around the school mutilating other students.  He ultimately regretted seeing how much damage he could do to the human body and was further traumatized by the shame and ridicule after being arrested, forced to give a public apology and kicked out of his first town.  He moved to Peach Creek, hid any evidence he had of the incident in his hat so he knew where it was, and attempted to reinvent himself. It works phenomenally as a backstory for his warring morality and dark side, it would’ve worked well to finally put him on the same level of “bad but improving” as Ed and Eddy, and most of all, it does nothing but support and reinvent previous episodes without retconning anything.

It affects one scene in ‘Ed in a Halfshell’ and one scene in ‘Every Which Way But Ed’, but it affects ALL of ‘A Fistful of Ed’, because Edd’s clumsiness isn’t just being misinterpreted as him being a tough guy. The kids frame it as “it’s always the quiet ones,” suggesting they think Edd has finally snapped from their bullying, and the severity of their injuries makes them treat him like a soon-to-be killer.  They have no idea Edd has actually been through that reality already, but it very clearly wears on him throughout each scene, until he’s finally crying in front of everyone on the cafeteria floor.  Edd struggles to defend himself for an impressively long time, but the final straw being Ed’s mom banning Edd from his friends suggests that Ed and Eddy are the only people who give Edd the strength to forget he was ever MORE violent than the rest of the characters. When I watch the scene of him alone, in the dark, working and crying in the botany room, it’s now very easy to see that he’s not just thinking about the events of Fistful.  He’s stepping back and taking a look at his life, everyone he’s hurt, wondering if he can ever escape it or if it will eventually return to haunt him in every town he ever lives in.  Edd probably struggles a lot with forgiving himself– he knows he has to if he’s ever going to move on, but he’s completely betrayed his morals and in retrospect it probably explains why he accepts so much abuse in Peach Creek.

Big Picture Show is the other half of the dodgeball incident coming back to haunt Edd.  Fistful makes him think about the acts he committed and the judgement he faced, but it probably helps Edd make it to the cafeteria scene that he knows he didn’t actually do anything and that he was hurting himself at the same time these acts were occurring.  In Big Picture Show, the scam not only forces him to see the kids gorily injured, with chunks of their bodies missing, it also causes him to be banished from yet another town by yet another set of angry schoolkids.  This (and ‘A Town Called Ed’) plays into why I approach Eddy and Bro’s backstories with so much “history repeating itself”– almost ALL of Edd’s story has been about him having to face the same guilt over and over with slight changes.  I wish that the final cut of the movie had included his backstory so that we didn’t have to piece the most important part of his character together from insider info, but it’s still impressive enough to me that so much of it IS visible, even if only through Edd internalizing it in Fistful and BPS.

" Edward is never going to be interested in Oswald that way."

Everyone is focused on the “now that Isabella is in the picture” part, that Cory maybe meant that as long as she’s there, Ed won’t have feelings for Os. But why does no one thinks about it like this:
Ed won’t be interested in Oswald that way, because what Ed feels for Isabella is more of a mix of sentimentality (“She looks like my ex that I really really loved”) and fascination (“She likes riddles and actually thinks I’m attractive/ interesting/ not a creep??”), while later-developed romantic feelings for Oswald would be “fresh” and also mixed with genuine appreciation for him.
Isabella is just some sort of copy. Oswald isn’t.

There are definitely differences in Ed’s feelings for Isabella and his (future) feelings for Oswald.

I don’t know how to explain it properly, but that’s how I see it.

3

Everyone loves Chica!

had this ready since last year lol. Anyways, all a man needs to become sweeter is his beloved and some Ed Sheeran music. Click on the images for some dialogue captions.

Bonnica: Bonnie’s hands become gentler and less brash when around Chica.

Freddica: Whenever Freddy needs a good laugh all he needs to do is mess with Chica. (He’d be like Chica’s first love or something and he’s so dense that he doesn’t notice why she is always red-faced around him)

Foxy: The pirate isn’t used to lasses as direct as Chica. She’s trying to get him to get out of Pirate Cove more often. (This time Chica would be the dense one when it comes to Foxy’s feelings lol)

Also, whenever someone asks me to draw more of certain pairing DON’T GO ANON I WANNA FANGIRL WITH YOU ;A;

anonymous asked:

Susan Sarandon tweet: "Tulsi Gabbard is the real deal. Check out the op ed below on the importance of her trip to Syria & why we need more like her." I... she is just so... fucking aggravating

susan saranwrap can go choke

I had a dream this morning where I was trying to explain to someone why a piece of art was clearly Brotherhood and not 03

“First of all look at the colors, 03 is generally darker and a little more muted than Brotherhood, there’s a filter here so it’s hard to tell but the second biggest giveaway is Al, there is a very clear and easy-to-spot difference between 03 Al and Brotherhood Al and this is clearly Brotherhood Al, also Riza doesn’t have as clearly defined lips like she did in 03, and finally look at the head shapes, in Brotherhood Ed initially had a slightly rounder facial structure than 03-”

And then I woke myself up in a sudden moment of nerd self-awareness

50 shades of Ed (more like two but ok)
  • Ed in the manga and like 30% of fanfics: (blushes at almost every encounter with romance) oh shit what the hell do I do now Winry's so hot I cannot handle this please help me I beg you I cannot romance though I can be adorable and dorky aHhHHHHH
  • Ed in most fanfics: (is such a bad boy) I'm so smooth and hot and sexy around Winry, it's why she fell for me. I'm gorgeous and so's she. Sometimes I'm even a player, and I'm so good with the ladies. Wanna do it with me, Winry?

empressmcbride  asked:

okay imagine yourself in the apocalypse. what would your first impression of carol be like when you stumble across the group from s1, s2 up to her alone in the creepy house.

Okay I’m not 100% certain I know what you mean (and I could message and ask you, but that would be too easy, right?), so I’m just gonna go season by season and answer it that way! (Also putting it behind a read more, because omfg did I fail at brevity, which you know, never happens when I talk about Carol;)

Keep reading

'Nashville' Shocker Explained: Connie Britton Opens Up About Devastating Ending

[This story contains massive spoilers from the “If Tomorrow Never Comes” episode of Nashville.]

Connie Britton’s Nashville song is over.

During Thursday’s hour, leading lady Britton’s country music superstar Rayna James, surrounded by family and friends, died after complications from injuries suffered in a car crash.

For Friday Night Lights alum Britton, the decision to leave was hers and had been percolating before the country music soap was canceled at ABC and subsequently revived at CMT.

Below, Britton talks with The Hollywood Reporter about her decision to exit the series, conversations with creator Callie Khouri as well as showrunners Marshall Herskovitz and Ed Zwick about why Rayna had to die and what she’d like to do for her next act.

Read more: Connie Britton Sets First Post-‘Nashville’ Movie Role (Exclusive)

Was it your decision to leave Nashville?

It was my decision. It was something that, for various reasons, had been percolating for me. What was really important to me was that it felt like the right time. This summer, when the show went to CMT, it felt solid and stable. When Marshall came in, we had a conversation and he came up with the way this story would lay out. We both agreed - and I said to him that what was most important to me was that we really do justice and honor the character and all of these characters and the world that we’ve been living in for these last five years.

What prompted your desire to leave? Did that arise before or after ABC’s cancellation?

There were a lot of different factors that played into it; it was a cumulative thing. I don’t need to go into great detail about what that was, but for me, it felt like the timing was important and my No. 1 priority was the show and making sure that it was done in the right way.

There had been rumors for a few months that you would have a reduced role. Why leave now, at the halfway point, versus the end of this season?

When I talked about it with Marshall, [the producers] were looking at the season in essence as two truncated seasons. Marshall felt story-wise, that this was a really good way to go. It allows them to use the second part of the season, which is going to feel like a whole separate chunk, as a post-Rayna era or moment. It made sense story-wise.

Read more: 'Nashville’ Showrunner Opens Up About Losing Connie Britton

Would you have returned for the second half of the season if that’s what Marshall’s story dictated? Or did you want a reduced number of episodes?

I would and I told him that. He’s lovely and worked diligently to try to make this feel like a valid departure for this character. I said at one point, “I could stay on!” I left that door open and I don’t know in what capacity, if ever, that could really happen. Marshall was trying to be really respectful of me and I was deferring to what they were trying to do for the story. To some degree, the show must go on. And every single one of these characters is incredibly beloved by the fans and essential to the world of Nashville. I think it’s really going to be exciting and beautiful to see them go on in that world.

Will you watch the second half of the season?

I’m not very good at watching it now! I probably will watch it more because I’ll have more time! (Laughing.)

Hypothetically, if Nashville had been renewed at ABC, would you have felt that same desire to move on?

Yes. It really wasn’t about being on ABC or CMT at all. None of the reasoning behind it had anything to do with network.

Looking at filming these final few emotional scenes, what was the hardest part of all these farewells with everyone?

It was incredibly emotional. It was very difficult for me and it still is. It’s hard for me to talk about without getting a little choked up [pauses] … because I love this character so much and the people I’ve been fortunate to act with for the last five years and our crew. This has become an essential part of my life. It was really tough doing those last couple weeks especially. Those scenes were so emotional. Toward the last couple days, which is when we shot the really intense scenes in the ICU and the one where Rayna actually dies, nobody could get through them without crying. Saying goodbye is really hard.

Read more: 'Nashville’ Boss Talks Connie Britton’s Season 5 Involvement, Rayna’s “Existential Crisis”

What was your final day like on set?

My last scene of the final day of the episode where Rayna dies - which in essence was the end even though I did come back and shoot more after that - that scene and putting this character that I’m so connected with to rest was brutal and very emotional. The last scene that we shot of that episode was actually the scene of Rayna with her mother [played by Carla Gugino]. Carla is my best friend and she came in to play Rayna’s mother and that was so special and wonderful. The hero of Rayna’s life is her mother and I really love that scene. So to have this dear friend be there and have that be the last scene we shot was really beautiful.

Did you ask Carla to come in?

I did and she jumped in, as good friends do. It was really remarkable for me and I feel so fortunate that that happened.

There are two episodes left in this first half of the season. How many more episodes will you be in after this?

At least a couple.

Hypothetically, should you know ahead of time that Nashville is ending, would you return for a series finale?

Sure! Absolutely!

What will you miss most about Nashville and playing Rayna?

There’s a lot that I’m going to miss. I’m going to miss working with all those people because I really love them all: Chip Esten, the Stellas and every single actor and member of the crew. And I’m going to miss the crazy stress and then reward of singing because that part of it was a great challenge and I feel lucky that I got to do it.

Was there a conversation with either the showrunners or creator Callie Khouri about killing Rayna off? Was that always the plan? Did you want her to die?

I actually said, “Is there a way to do this where she doesn’t die?” But we thought about it and Callie, too, and we realized that Rayna would never leave her children or Deacon. So there really wasn’t any other alternative. Trust me, if there had been that would have been my preference! (Laughing.)

Read more: New 'Nashville'Boss on CMT Move, and Deeper, More Diverse Season 5

When you knew the end of your time on the show was near, did you have any special requests for Rayna?

I wanted to be able to spend some time seeing Rayna and Deacon married and exploring what that felt like. Like last season they got married and immediately went into crisis mode, so we never got to see the great reward of all this time that led up to this beautiful marriage moment. I wanted to be able to spend a bit of time seeing what married life did to them. I particularly loved the idea of Rayna and Deacon writing together and getting back to being artists together, and what it looks like to be married as artists and working together as artists and what the conflicts are there and what the value of that is to them and all those complexities.

Read more: Connie Britton on CMT’s 'Nashville’: “I’m in for the Duration”

Looking back, do you feel a sense of closure with Rayna?

I do. That was something that was really important to me. It’s hard to say goodbye. It’s funny, our costume designer Susie DeSanto, who has designed all the incredible costumes over these last five years, she was lamenting in the final episode that, “This isn’t Rayna! Rayna needs to be wearing sparkles!” I did think that it would have been nice to get one more moment of that in there in saying goodbye to her. But I do feel that we were able to do justice to her and to do justice most importantly to the family. The final goodbye with Chip, Lennon and Maisy was such a beautiful moment. They are as much a part of Rayna as Rayna is.

Mark Levine/CMT

Did you keep anything from the set?

I will admit there might be an article or two of clothing that I swiped! Rayna has had the most incredible wardrobe! In the pilot, there’s a scene on the bridge between Deacon and Rayna and she’s wearing a leather embossed belt that says “I love you” and I’ve always loved it. We’ve integrated it and I’ve worn it several times throughout the seasons. I took that. 

Rayna’s death brings the show full circle in a way: Juliette is now the star looking to regain her form and Maddie is the emerging star. Was that part of what your discussions with Marshall and Callie about how Rayna’s death would impact the show moving forward?

I didn’t have as much to say about that just because I always feel that the writers are going to have much better ideas than I have! It really wasn’t for me to say. I don’t feel like there’s going to be one emerging star. It’s an incredible ensemble and I know they are going to be able to do wonderful things with all those characters. 

You’re getting a lot of comedy offers this broadcast pilot season and are always in demand for film. What’s next for you?

I don’t really know yet. I want to take a breath for a second. I’ve been working in network television now for 10 years straight without a break and in the middle of that, I adopted my son. I might take a little breath, but I also love working and there are a couple of independent film things that I’m excited about. On the TV side, I would really love to do something starting at the creation and working up and would like to start from the development angle on that. I’m looking into that a little bit and am just really open to anything. 

Read more: 'Nashville’: Is This the End for Connie Britton?

Would you do broadcast again or is cable/streaming more attractive?

I’m more interested in something that isn’t quite such a rigorous schedule, however that manifests! (Laughs.) Beyond that, I’m very open.

Have you thought about launching a production company? Or signing an overall deal somewhere?

I definitely have thought of all that, particularly a production company. That’s something that’s very interesting to me. All of it, for sure, but I do love the creative side and I love starting it from the ground up. We’ll see.

You worked with Ryan Murphy on season one of American Horror Story and on American Crime Story. Has he reached out to you about anything specific?

He hasn’t, but you know Ryan! I’ll always go back and work with Ryan. I would love to do that at some point, if the right thing comes up for him. 

Read more: Critic’s Notebook: 'Nashville’ With Less Connie Britton? Why Would Anybody Want That?

What did you think of Rayna’s death? Will you miss Britton and Rayna on Nashville? Sound off in the comments section below. Check back to THR on Friday for an interview with Nashville co-showrunner Herskovitz.

alright fellers listen up im gonna explain you a thing and that thing is Double D loves His Friends So So So Soososossosososososo Much, Maybe Even Too Much

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So I was right, the Phandom has started whining about how “Dan and Phil changed and are all about the money” It’s simple. If you can’t afford the tickets, don’t go. Not send hate to them. I fucking live in Qatar and no one comes here. Ed Sheeran did and I’m not even a fan. Wtf is wrong with writing a book? To me it proves more of their hard work because it takes ages and a lot of planning to write a book, to know where to start and how you wabt the format to be. Why do people send youtubers hate for promoting audible. “At least Dan and Phil dont promote audible” STOP WHINING. Why is Zoella a “money whore” because she said yes to so many good apportunities that gets her money? WHAT’S WRONG WITH EARNING MONEY? For all I see, MOST YOUTUBERS DO CHARITY WORK. Money is essential in sustaining a life and more money is essential in sustaining a luxarious life. It’s life! We do whatever we want with life and as long as we don’t cheat in life to get the money ( e.g money by selling drugs and stuff ) we aren’t greedy, which makes us not “MONEY WHORE” SUCH DISGUSTING TERMS TO BE CALLING YOUTUBERS AND ANY HUMAN BEINGS, I AM SO VERY DISAPPOINTED WITH LIFE. Writing a book and becoming a Youtuber are my two most vibrant wishes. I’m actually writing a book rn but not making videos so imagine if I do make videos one day and then release a book everyone will automatically think I’m doing it for publicity when in fact I worked on the book for so long.

anonymous asked:

I am going to be really upset if the Robron wedding is not legal all because Harriett is not legal to marry gay couples? If it's legal in the UK was is her Order not legal? More importantly, why use her? Someone claimed a lesbian ED wedding was not legal either when she did it.

Harriet is Church of England which are against same sex marriage. They are probably using Harriet because she is all that is available last minute but it could just be a blessing and and the legal stuff is sorted out at a later date.

Jumping on @iamaratfan‘s decommed Rachel has a dog named Fanny headcanon from here

Fanny has a cat named Rachel. 

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