A log of splendiferous things.

tehri:

penny-anna:

penny-anna:

penny-anna:

You ever think about the fact that Gandalf’s best hobbit buddy was the Old Took & after the Old Took died Gandalf took to befriending his many, many descendants. Does he see Gerontius in Bilbo & Frodo & Merry & Pippin. Does he still miss him. I think about this a lot.

Further to that: he like. Absolutely does see a lot of Belladonna in Bilbo. That’s just canon.

Gandalf is there like, I miss my friend. Friend’s essence is now, distributed throughout his many descendants? if I get enough of them together in the same place, maybe I can,,, recreate him

if this is what’s going through Gandalf’s head, he’s going to heartily regret his decision upon meeting Pippin, who mostly got all the chaotic energy that Gerontius ever possessed

there’ll be a moment where he thinks “ah yes, I can see my friend in this one”, and then ten minutes later his thoughts will have changed to “my friend was insane, I remember this now”

(via slightlycrackedteapot)

keekmenta:

we will never realise just how much we own Tapping for putting down her feet after the pilot, risking her whole career and point blank telling the writers this is no way to write a woman.
she is the one who truly created Sam Carter.
and alone for that she deserves the honorific The Grand Empress of Sci Fi.

Originally posted by spockemon

(via slightlycrackedteapot)

kaylapocalypse:

lesmiserabelles:

i want a modern-accent-accurate version of the arthurian myth. guinevere with a welsh accent, arthur with a midlands or northern accent, lancelot’s french, all the orkneys are scottish…

how much better would mordred be as a character with a scottish accent?

“a asked ma maw if arthur was ma da or ma uncle an she went tae me ‘yes’. a canny deal wi this am gonnae blow the whole kingdom up tae fuck”

I’m crying. I’m going to screenshot this and send it to my professor

(via thessalian)

epicfangirl01:

softestvirgil:

melindawrites:

ittybittytatertot:

melindawrites:

ittybittytatertot:

Some of the best writing advice I ever got was if you’re stuck on a scene or a line, the problem is actually about 10 lines back and that’s saved me from writer’s block so many times.

I feel like I need an elaborate explanation

Often times, I find myself stuck on what a character should say next or what should happen in a scene to connect A to B or so on. When this happens, I fall into the trap of writing and rewriting the same few lines over and over, and becoming more and more dissatisfied every time until I give up. 

But problem is almost never actually whatever line I’m trying to write at the moment; the issue is the stuff leading up to the line. Maybe there are structural issues with the set up, maybe I wrote a bit of dialogue that was out of character leading to a discussion that doesn’t make sense, maybe I’m missing a vital piece of exposition or expositing too much. It could be a lot of things, but the important part of the advice is to look back and be willing to consider changes to something earlier in the work (even if you’re really attached to like a piece of dialogue or a particular sentence or something) instead of trying to find a way to force out a scene that’s not working.

That makes a lot of sense. Thanks for explaining!

This is really helpful!

Woah! I never thought about that! Thanks!

(via yolohamora)

violettherainwing:

skarchomp:

skarchomp:

one of the millions of things i liked about spider-verse was that not only did all the female characters look different from each other, they gave mary jane her classic dimples and square chin, which might not seem like a big deal but you’d be surprised how much tiny details like those can make women in comic books look distinct

also seriously it feels like some animated films are pushing it to have two female characters who look even slightly different so i appreciate that spider-verse made sure every woman in it looked distinct from each other

(via astronaut001)