how the turn tables

sakshi; 17 y/o girl who resides in nz, watches too many movies and likes to speak of herself in third person

[princesconsuela]

[daeneryskairipa]

[acecroft]

Robin, did you just OD in there? No. I… am still alive.

[marvelgifs]

Captain America: The Winter Soldier (2014)  //  Avengers: Endgame (2019)

[lindadarnell]

BlacKkKlansman (2018), dir. Spike Lee

[ilya-rozanovs]

get to know me meme ★  [3/5] tv shows: veronica mars

[kylos]

Emilia Clarke’s last day of shooting Game of Thrones

[sheikah]

thank you, kit ❤

[gretagerwisg]

females coming of age films directed by women + rotten tomatoes score

[kylos]

The Game of Thrones cast at the last script reading

[kallypsowrites]

A lot has been said about D&Ds terrible dialogue writing, but I think the greatest sign of their weakness is that they straight up don’t write the most important parts of their conversations.

Jaime arrives at Winterfell and sees Bran for the first time? Cut away and go straight to the trial! Why actually write that first remeeting or Jaime getting caught at all? Just skip to the trial.

Arya and Sansa finding out about Jon’s parentage? Cut it before the actual reveal. It’s not like this is mind blowing info we would love to see the characters react to or anything.

Sansa asks Jon if he bent the knee for love or for the north? Cut before he responds. Did he just walk out? What did he say?

Tyrion pulls up a chair to hear Bran’s story which is, presumably, what convinces him to later suggest Bran as king? Cut before the actual story, which means we don’t actually know what convinced Tyrion.

Sansa decides to tell Tyrion about Jon’s heritage which is a VERY MAJOR MOMENT for EVERYONE in the story? Cut before she actually reveals it.

Jon kills Daenerys and assumedly some major shit happens? Cut before anyone discovers it and just skip to later so that we don’t have to deal with that scene.

And do you know why they do it? Its so they can avoid the most difficult bits to write and instead let YOU imagine the conversation. It forces the audience to fill in the gaps and do most of the work while they get to just fuck off to the next scene. And this problem shows in their writing on a larger scale because they are allergic to emotional pay off in any fashion, which is why so many character arcs feel weak and so many plot threads are left hanging because they just do not feel the need to tie things up. They’d rather everyone else do the work for them and then praise them for their genius.

[joannaoftarth]

This is so beautifully on point.

It shouldn’t be the viewer’s job to justify a character’s action. The writing has to tell me, otherwise why tell the story at all?

I hate that I still am desperately trying to come up with reasons why Jaime returned to his sister. What the hell was going on inside him? Wasn’t he happy with Brienne? After all the things they went through together, with that deep bond between them, why on EARTH would he choose C now???

I’m sorry but not even Nik is good enough to wordlessly tell us with his eyes when he gets one scene after Sansa reveals Cersei’s odds have risen and by staring stupidly into the fire.

This shit will probably haunt me a long time, and I hate it. It shouldn’t be my job!

I think that a lot of critique comes from disappointment and anger about their fav characters, and I admit to that as well, but that the writing is weak is a fact and D&D should be brave enough to face it.

At least as writers, because it’s their damn job.

[newusernamepending]

We are closest to God when we are peeling potatoes.

[daeneryskairipa]

[fuckyeahhousestark]

Starks + Main Love Interests

[karenpage]

come back to me. – ARRIVAL (2016) dir. denis villeneuve.

[goulds]

Our fathers were evil men. All of us here. They left the world worse than they found it. We’re not going to do that. We’re going to leave the world better than we found it.

[sakura-haruka]