May & Ravi kiss 9-1-1, S09E18
noise dept.
$LAYYYTER
todays bird
we're not kids anymore.

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ojovivo
Sade Olutola
Alisa U Zemlji Chuda
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"I'm Dorothy Gale from Kansas"
Aqua Utopia|海の底で記憶を紡ぐ

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hello vonnie

oozey mess
TVSTRANGERTHINGS

izzy's playlists!
Misplaced Lens Cap
NASA

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@lonelyloser67
May & Ravi kiss 9-1-1, S09E18
911: 2x03, 3x03, 3x10, 4x14, 8x17, 9x18
Sleepy!Buck
Buck & Eddie 9-1-1, S02E06
beauty and the beast (1991)
quiet about 911 because if i start thinking about it a vein jumps out on my forehead
killed off one of your titleship characters because you didn't wanted to pay the actor more money using the excuse of realism but starts the next season with a costly cgi-heavy storyline because you sent your emergency service characters to literally space. implied one man might be in love with another for fun and profit and then you decide to sideline their entire friendship in the next season because now there's an elephant every time they're in the same room and you don't want to add more gay people to your show. also, it can't focus on romance! except we're going to make a het couple who never interacted before canon. speaking about that: lets return two child characters as now adults except the brother gets the main character treatment and 50% of new storylines and the main sister only gets brought in when her brother or boyfriend are jealous. inumerable hiatuses throughout the episodes killing any type of consistency or momentum in the storylines. the big finale of the season, which, again, started in space, is about the russian mob. a main character gets a son in the last two episodes. he also was struggling with addiction like two episodes ago, but it's all right now. and one of the other main characters also had a chronic illness. but she's also alright now! don't you like our character heavy ensemble show :)
is complaining about something on your own blog cope
bbc merlin - 03x04 Gwaine
What BBCM needed was more corrupt knights who weren’t reliant on magic to indicate their cruelty. So not Valiant or Dagr (who was only pretending to be a knight), but nobles who are villains because of their classism, their anti-magic stance, their general lack of compassion that contradicts their own code. Camelot knights or fighters from other anti-magic kingdoms, like Amata, who have nothing to do with magic because they believe it is an inherent evil.
They’re not trying to assassinate Arthur or anything like that. They’re antagonistic villains because of how their unethical values hurt the people they’re sworn to protect. They’re villains because of the very qualities that Uther’s reign encourages in them, that Arthur’s reign continues but must end. Perhaps Arthur is able to ignore their flaws that are so blatant to those suffering the abuse, up until it affects him personally. And he realizes he was warned, he just minimized the issue because he doesn’t care about those with magic, or because it’s considered “normal” to treat servants as tools instead of people.
Let this be a lead into Arthur’s own character development, where he fully realizes the effects of the laws he’s upheld, how they don’t really benefit the people at all. Bring Arthur the understanding that the real enemy isn’t just anyone who undermines his authority, but is instead something he himself has perpetuated, something he will put an end to (especially since his romance with Gwen relies on it).
Make Arthur a great king instead of just calling him one. Or if he is not meant to show this growth until the very end, then don’t justify it and minimize its effects in the meantime. Emphasize Merlin, Gwen, Morgana, and other oppressed people’s stakes in the magic ban being overturned and the working class becoming equal, because this is just as important as any Arthur assassination plot, if not more so.
No more dependency on magical means for villains. The plots-of-the-week lose meaning when they forget that people don’t become evil because they’re “corrupted” by magic, but because of their own inability to value and respect other people as their equals, whether they have magic or just the weapons Arthur provides them. And yes, involving the conflict between Merlin and his magical kin is compelling! He has to choose between Arthur—who is conflated with the greater good of his people—and another individual victim of Uther’s Purge sometimes! And he will try to resolve this by some compromise that benefits both parties, or he’ll see no way to escape the ultimatum! But that story does not rely on the “someone is trying to assassinate Arthur… with magic!” formula that is found in nearly every episode.
Show us that the reason a character is a villain is not because they’re, by default, suspicious for lying about their associations with magic or for disapproving of Arthur’s laws, but because they are doing harm to the people we’re rooting for: the magical communities that Uther traumatized, the working class who have as much worth as any noble, or even the personal life of an individual that has nothing to do with the way Camelot is ruled (without neglecting to show how this intersects with their status). Show us the distinct ways in which the core four and the round table are impacted by this. Show us just how an attack on Arthur can be construed as an attack on the people Merlin is trying to protect.
Return the life and depth to the story. Expand on the world-building. Make the individuals throughout Camelot and Albion as significant as their kings are. Create villains that are consistent with the underlying themes. Remember what each character, including the villains and antagonists, is fighting for.
> turns on my computer
> disables a new AI feature that was turned on by default
> opens my email
> disables a new AI feature that was turned on by default
> launches a software
> disables a new AI fea
TITANIC (1997) directed by James Cameron.
ANASTASIA (1997)
mycroft during this dinner scene is so heartbreaking and interesting to me. he is acutely, physically distressed here, and particularly in these moments we see him flinching when silas and sherlock begin to get physical. it speaks volumes about his own childhood and they are not happy ones.
Mycroft Holmes | Max Irons | Young Sherlock 🔍
"you have to experience the full fall, and the complete self loathing, in order to come around to something like the forgiving of oneself."
I know this will probably be a hot take but I think this might be my favorite iteration of Mycroft. He's clearly frustrated with Sherlock's shenanigans but I love that you can see his genuine affection for his brother coming through even when he's trying to keep him in line. You can also tell how much his actions are driven by the fear of losing him the way they lost Beatrice. He can't save his little sister so he will do everything, even bend the rules a bit, to save his little brother. And he's not just doing it because he's scared himself, he also wants to spare their mother the pain of potentially losing another child. This "softer" version of him is just an interesting take on the character imo
Holmes brothers.
Mycroft Holmes - Young Sherlock - 01 x 06