none pizza with left beef
It should be a rule of Tumblr to always reblog none pizza with left beef
ive missed you
wallacepolsom
i don't do bad sauce passes
Peter Solarz
Mike Driver

Kaledo Art

pixel skylines

titsay
dirt enthusiast
$LAYYYTER
RMH
TVSTRANGERTHINGS
đŞź

izzy's playlists!
occasionally subtle

Kiana Khansmith
Show & Tell
Jules of Nature
trying on a metaphor

romaâ
Stranger Things
seen from Malaysia

seen from Iraq
seen from Malaysia

seen from United Kingdom

seen from Malaysia
seen from United States
seen from TĂźrkiye

seen from United States

seen from Germany

seen from Canada
seen from TĂźrkiye

seen from Singapore
seen from Colombia

seen from Singapore

seen from Belgium

seen from Colombia
seen from TĂźrkiye
seen from Singapore

seen from Germany

seen from Singapore
@loveaaronandsam
none pizza with left beef
It should be a rule of Tumblr to always reblog none pizza with left beef
ive missed you
V.E. Schwab's advice for creating memorable characters - works for both protagonists and villains
source post: X
This is really good advice.
It also ties neatly into the simplest version of the formula for getting people emotionally engaged with your characters: or how to build the moment in which your character starts moving from their initial state to the state in which they'll start changing their own lives.
First, you figure out the one important thing the character believes that they're wrong about. There's usually a core misperception that they haven't examined. Once they're forced to engage with it, it'll start to change everything about their perception of the world they're inhabiting and/or the people in it.
Then, as V.E. says, you identify the character's great desire and their great fear: the thing that character wants more than anything, and the thing or situation that terrifies them, and that they'll go to any lengths to avoid.
And having identified these two objects or situations, you build a situation in which the two forces will be in close, direct opposition to one another... then drop the character down in between them, and squeeze. Those two opposing forces become the jaws of a vise... and you crank the vise more and more tightly closed until the character has no choice but to acknowledge those opposing forces, and start (even in a small way) to deal with the pressure being exerted and push their way through.
This does not have to be, initially, a great climactic moment. In fact, it works better if it's not. It's more effective if your character has a brief low-intensity brush with these conditions-in-conflict early on. That way, when your big resolution scene comes along about two-thirds or three-quarters of the way along through the story arc, you'll have set up a resonance between that earlier hint or intimation of what's to come, and the really big blowoff. Your readers will recognize the resonanceâthe throb of tension between the two occurrences, like the vibration of a plucked stringâand will find satisfaction both in the true resolution having been partially telegraphed earlier, and in how it's now being experienced and resolved in full.
This approach also allows you to set up more minor resonances between the realization of the conflict and its final resolution. These can serve to bind the structure of the work more closely together: to make it look (and be) less like a series of loosely strung-together plot events, and more like a unified whole, in which ripples of story business flow backwards and forwards, interpenetrating and influencing one another, and hinting at the big one to come.
But none of this can happen until the paired and opposing what-do-they-most-desire, what-do-they-most-fear axes have been defined. So that's a subject it's smart to spend some while thinking about (and for all your characters, not just the major ones), to be sure you're getting it right.
It's not unusual to get the wrong answers, or merely superficial ones, while you're still working out what's actually going on with the characters. So take your time. Eventually you'll find a set of answers that feel unquestionably right... and you can then nail those down in your notes and get on with making the kind of "good trouble" for your characters that will see them made complete.
Every single part of "Still/The Neva Flows (Reprise)"
That's it. That's the post.
Not to get emo on main but you ever think about how the troop sang about their dreams of finding âa girl worth fighting forâ, and they think their girl worth fighting for is one of romance, but the song abruptly comes to a halt when they find a different girl worth fighting for.
A tiny girl that had been killed at the hands of the Huns. A child too weak, too small to have any chance of withstanding the murderous invaders. That is their girl worth fighting for.
This is fucking horrific
Itâs also worth noting that âA Girl Worth Fighting Forâ is the last song in the movie. Up until here, itâs a fun movie, and the imminent invasion feels like itâs just there to keep the plot moving, and to provide a little bit of drama to spice things up. None of the soldierâs are quite taking this seriously yet; sure, Mulan wanted to save her father from the draft, and on some level she was aware that he would die if he went to war, but beyond that sheâs interested in not being caught, and not shaming her family. Her motives are good, but theyâre entirely self centered. All the other soldiers are more or less in the same boat - they want to get tougher, they want to impress girls, they want to be cool soldiers. Shangâs easily the most serious of the bunch at first, and even then itâs just because training bad soldiers will reflect poorly on him, and important people are paying attention.
The abrupt ending of âA Girl Worth Fighting Forâ is the wake up call. The soldiers and the audience get slapped in the face with the realization of whatâs really at stake here. China is being invaded. Villages are burning, civilians are dying, and this isnât going to stop until the country is conquered or the invaders are defeated. This is not a fun musical, this is a major crisis.
Mulan is such a good movie for so many reasons, but the abrupt tone shift is such a major reason why. Itâs an excellent commentary on the reality of war, and it being a kids movie just meant they had to make their point without showing any actual gore, which Iâd honestly say makes it that much more poignant.
That moment, when they come over the rise and see the razed village is one of the best scenes in film. Period. Somehow, instead of giving me tonal whiplash, it took my breath away, and thatâs one fuck of a balancing act.
#not me noticing gregory sitting closer to janine đ ABBOTT ELEMENTARY (2021- ) 2x03 | 3x07
Gregory Denying His Feelings vs. Admitting His Feelings For Janine
Janine doing heart hands at Gregory! đĽ°đ ABBOTT ELEMENTARY (2021- ) Season 3 | Episode 6 "Willard R. Abbott"
I mean,âŚ
Keira Knightley as Elizabeth Swann and Orlando Bloom as Will Turner PIRATES OF THE CARIBBEAN: AT WORLDâS END 2007 | dir. Gore Verbinski
You guys just have to trust me on this one and click here okay?
OH MY GOD I NEEDED THIS
For the chronically anxious and/or otherwise mentally ill:
This is not a screamer, jumpscare, or any other kind of horror link I donât know the name of. It will not cause you to question reality and as far as Iâm aware, there is no reason it should cause any kind of hallucinations or psychosis. I donât want to spoil the surprise because itâs DELIGHTFUL but I am happy to tell you itâs very sweet and gentle and also great lowkey stress relief. This is a cinnamon roll link appropriate for all ages (yes, all the way down to babies) and you will enjoy it if you click it. â¤ď¸
This makes me so happy
Heather D: Having an abusive parent is kinda funny in retrospect like mommy why do you have beef with me im 4 i love you JD: Haters (my dad) canât stand to see a bad bitch (me, nine years old) winning (âdrawing too loudâ) Veronica: How do you draw too loud? JD: Well you see the thing is that child abuse is inherently irrational
I think the most radical thing the hunger games does is tell young people that the most revolutionary thing you can do is have unconditional love for humanity. Katniss throughout the entire series is guided by a deep sense of compassion for the people around her. It is what causes her to volunteer, to bury rue, to mercy kill cato, its why she tries to save peeta, why finnick telling her to remember who the real enemy is works, and even though her compassion for the larger world falters when peeta is kidnapped, it comes back when she visits hospitals and asks for mercy for other victors and ultimately, it is love and belief in a better humanity that makes her kill coin. Through it all, she maintains an unfaltering belief in the fundemental goodness of humanity, which is diametrically opposed to dr gaul's and snow's worldview. Peeta is even more unwaveringly compassionate
So the series tells young people that the most revolutionary thing you can be is compassionate. Let compassion drive your politics. Let yourself believe in the fundemental goodness of people. And i think that's deeply important in a world that touts the superiority of pure reason or logic, to allow yourself to be guided by something as emotional as compassion. Katniss everdeen tells us that your politics should be rooted in compassion in a world that thinks detatchment or cynicism is intelligence and i think thats v cool
jace: walks like this
queen rhaenyra:
Once Upon a Time is a stupid cringe show with knockoff Disney characters and a new batshit plot every season which ALSO happens to have one of the most well developed love stories ever written in modern media