#megasky

[transingthoseformers]

I need the Skymegs one-sided hate sex. Skyfire is the most pissed off he's ever been in his life after seeing Megatron hit Starscream, growling 'You think it's okay to lay hands on someone just because they're smaller and weaker and you? Well, how does it feel not being the biggest one in the room?'

Meanwhile Megatron doesn't point out that Starscream has tried to kill him literally hundreds of times because he's currently getting plowed by a big, strong, self-righteous civillian build and therefore is so turned on he's blowing every fuse in his processor

Hearing you out but I need to know Skyfire's process in between yelling at Megatron and fucking Megatron here

I need to know what lead to Skyfire sticking his dick in Megatron

[bougiebutchbinch]

Skyfire is the one of few mechs that could FUCK HIM but he’s too soft sparked to every just flip and pin him down.

I see the MegaFire or MegaSky ship being more of Megatron wanting to destroy the innocence of Sky. Where Starscream want to protect it by putting distance between the two Megatron wants to get close FOR the purpose of destroying the mech he is and making him a war weapon, even if he’s gotta go sexual for it to happen.

oh that's yummyyyyyyy

I'm imagining it starts a bit as a way to hurt Starscream and Optimus both - Starscream by harming Skyfire, Optimus by 'stealing' one of his loyal soldiers - but graaaaadually Megatron's attention starts to focus on Skyfire himself!

I am giggling hard at the idea of Megatron desperately wanting Skyfire to take control and fuck him because NO ONE ELSE IS GONNA DO IT (and he can't conceive of himself submitting to anyone who isn't sooooo much stronger than him!) But Skyfire is just. Missing ALL the hints. And Megatron would NEVER outright ask Skyfire to put him in a mating press, even if it haunts his dreams slkdfhgsdf

and so they suffer :3

[rapmuzon4ik-ucoz-ru]

                     Megaski - Dans lkamtar vol.1

DOWNLOAD:https://rapmuzon4ik.ucoz.ru/news/megaski_dans_lkamtar_vol_1/2019-11-14-4486

2019 | mp3 320 kbps | 79 mb  01. Intro 02. Ski 03. Mon etat 04. Habana 05. Chaque jour 06. Renta 07. Nous 2 08. Contamine (feat. Lidam, Didi Mone) 09. Blesse (feat. Franglish) 10. A la maison 11. Dans l’kamtar

[lifeinpoetry]

where do you usually take your spectacular quotes from- books or movies mostly? (I want to see where you find all these amazing things) *sorry that's a dumb question but i really wanted to know!

Thank you, lovely. <3 It’s not a dumb question. 

I get most of my quotes from reading poetry collections and lit journals. The occasional prose chapbook. The infrequent review if I’m new to a writer or anticipating a poetry collection.

[mi4012frasercurri]

Wes Anderson’s movie Isle of Dogs was released in 2018 and was  his second jump into the world of animation. After propaganda and lies forces residents of Megasaki city to abandon their helpless canines on a vast garbage dump, happily called Trash Island. A young 12 year old, Atari, sets off in search of his childhood dog, stumbling across a disheveled group of exile hounds. the unlikely group band together on an adventure to find this lost dog and prove to the people that dogs arent as bad as they are lead to believe. I will be exploring the aesthetics of this movies through the framework of Anderson's authorship and how this shaped this movie as a whole. - 20 years in the future.

The first shot of the opening sequence is that of a traditional Japanese temple dojo with similarly traditionally dressed male performing a ritual. Taken in wide shot of the building, this allows us to quickly ascertain the setting and time period of the following movie. Also subtly dog themed on the left of the screen and cat themed on the right, underlining tones of conflict between the two species, hints towards the movies main story line. This also introduces us to one of Anderson’s most common signatures, that being his love of symmetry within his movie sets. This symmetry characteristic can be seen throughout many of his films, from his blockbuster hit The Grand Budapest Hotel (Anderson, 2014): where throughout the film, but notably every shot from the intro for roughly five minutes, sets are mirrored in almost perfect symmetry. To even back in his earliest work, that of Rushmore (Anderson, 1998) where you can start to see him develop his love for this style. Normally when used gives the film world a odd superficial construct, in Anderson's outre universes the symmetry is more grounded. The scene that best displays the effectivness of the symetry is that of the showdown. We are first shown a low angle shot of a fallen, descarded garbage bag. Having this take up bag take up majority of the screen gives significance to the bag in the viewers eyes. What follows in a slow congragation of five dogs of similar look, placed at the viewers eye level. First appears from the middle, arriving up from behind the bag and walk towards the camera. Then another two apprear similarly to the first but either side of the centre dog, again walking up towards camera. Finally from the left stage and right, two more emerge similtatiosly and join the now gang of five. The beat that all five come together is similar to that of a rehearsed dance, this along with their look gives the viewer the clear message without words that they are all part of the same faction. The camera then flips 180, still with a low angle camera from the bag but this time the opposing dogs are placed along the high angle showing possible higher ranking. Already assembled, we see five siholletted canines standing equally spaced along the horizon. Similar to that seen in Seven Samurai (Kurosawa, 1954) stand off scene before the village battle. As the bag of garbage hasnt left the focal point of the screen during both sides introduction, its builds up the tension that this sack is highly important, the prize both gangs are looking to win. Comical tumble weed like prop crosses the screen, cutting the two sides in half, akin to an old western film gun duel. Unlike the gang of dogs we were initially introduced to, this new group are presented to all be different colours and species, shown quickly through five different meduim shots each individually. As each seems to have a unique looking personality, giving the viewer a more personal introduction. The intimate touch puts them as watcher favourite of the two groups. This leads to the third symettrically set up frame of the scene, taken from the ground, side on. Set up as a two shot, with our protagonists on the left and the antogonists other right. Centre screen again being the valued bag of trash.  

Wes Anderson is known for having a uncoventional approach to colour theory as (blah blah) discusses, Anderson has been known to use bright primary colours, high in saturation during bipolar dark subject matter. Such as in The Royal Tenenbaums (Anderson, 2002). An example set during a rather depressing scene within a hospital ward, where one of the main characters has just previously attempted suicide. Surrounded by his mostly greiving family they are there for support through his downward depression. This atmosphere is wildly bipolar to the colours shown on screen, that of cheerful reds, pinks and or clothing. Saturation is turned up to help the colours pop, which at glance could be mistaken to convey a joyful atmosphere. This traits continues throughout Andersons libary of work, including Isle of Dogs from the very first scene. After the opening wide shot of the temple, the camera pans in through the door to reveal wall art, were we are introduced to our first talking canine, Jupiter. We are -- explains through the artwork the backstory of the plight of the dogs and the battle they had with cat lovers. These full screen artwork displays are initially painted with vast amounts bright yellows that indicate the joy and peace. Jupiter introduces the antagonists of the story, known as the Kobayashi Dynasty, they are shown to us through art coming from a red temple. Red giving us the feeling of imminent danger. As the battle between the two sides is described the joyful yellows remain promenent, even though we are being told of the near genocide of all dogs. The scene then introduces the hero of the story, signified through naration but also clearly shown through the colour choice of the characters clothes. Bright white armour contrasts with the red of the enemy easily distiguishing good and evil. We are led to believe the that evil was defeated in the story as the white defeats all red. The reds from the artwork disapear but so to do the joyous yellows, infact the whole artwork has a noticable drop in saturation the the point that it is left almost black and white, creating a confusing message to the viewer as the opposite effect woulf be expected during this happier ending to the story. The use of red and white to help distinguish between good and evil is carried on throughout the film, starting imediatly following the opening scene. We are introduced to the main setting of the film, Megaski city. Shown using a

Shown just after the initial battle of good and evil in a still zoomed out horizon shot. The city is small in the background blanketed by a clean white sky conveying the victory of the good and bright future the city has. In the foreground single red arch is centre frame, drawing the viewers attention, This is significant as its colour associations with the Kobayashi family, antagonists of the film. The arch surrounded by a few living cat, gives the impression to the viewer that although evil has been defeated, all everything is clear.

The end of this scene helps to subtly solidify to viewers that white

The colour red and white are both (subtly and blatantly at times) used throughout the rest of the film to help distguish between good and evil. The indroduction ends with

After the title card montage we are given an almost idetically placed shot of the valley, naration telling us we have now jumped to 20 years in the future, the distant city has now crept forward growning to be front and centre. The colour pallete has changed again drastically. The peaceful yellows of the nature valley have been replaced with dark greys and blues of the cold buildings, the once optimistic white sky has fallen into a deep purple creating a feeling of unease in the city. The former red arch that sat centre of the screen reminding the view of the still linguring danger is now replaced with towering red building at the heart of the new city, showing the significance the antogonist, Kobayashi has over the city.

[hewayasin]

R&Cs: LYXRD

R&Cs: LYXRD Une playlist avec le single de Dip Doundou Guiss, "LYXRD", des tueries de Chily, DIZZY KHA, ILIES, Koba LaD, OoThenTik Zeus, Young Chang MC, et bien plus !

Ça fait un bon moment que j’espérais pondre une playlist menée par Dip Doundou Guiss, un rappeur sénégalais que j’ai découvert l’année dernièreet que j’apprécie énormement. Et voilà que mon souhait est maintenant chose faite avec “LYXRD” (ou encore “Li Yalla Xam Rek Doyna” qui veut dire “Seul Allah sait”), une grosse claque lyricale appuyé par un beat au sample légendaire d’Enya. Du coup, cela…

[mi4012frasercurri]

Wes Anderson’s movie Isle of Dogs, was released in 2018 and was only his second jump into the world of animation. After propaganda and lies forces residents of Megasaki city to abandon their helpless canines on a vast garbage dump, happily called Trash Island. A young 12 year old, Atari, sets off in search of his childhood dog, stumbling across a disheveled group of exile hounds. the unlikely group band together on an adventure to find this lost dog and prove to the people that dogs arent as bad as they are lead to believe. I will be exploring the aesthetics of this movies through the framework of Anderson's authorship and how this shaped this movie as a whole. - 20 years in the future.

The first shot of the opening sequence is that of a traditional Japanese temple dojo with similarly traditionally dressed male performing a ritual. Taken in wide shot of the building, this allows us to quickly ascertain the setting and time period of the following movie. Also subtly dog themed on the left of the screen and cat themed on the right, underlining tones of conflict between the two species, hints towards the movies main story line. This also introduces us to one of Anderson’s most common signatures, that being his love of symmetry within his movie sets. This symmetry characteristic can be seen throughout many of his films, from his blockbuster hit The Grand Budapest Hotel (Anderson, 2014): where throughout the film, but notably every shot from the intro for roughly five minutes, sets are mirrored in almost perfect symmetry. To even back in his earliest work, that of Rushmore (Anderson, 1998) where you can start to see him develop his love for this style. Normally when used gives the film world a odd superficial construct, in Anderson's outre universes the symmetry is more grounded. The scene that best displays the effectivness of the symetry is that of the showdown. We are first shown a low angle shot of a fallen, descarded garbage bag. Having this take up bag take up majority of the screen gives significance to the bag in the viewers eyes. What follows in a slow congragation of five dogs of similar look, placed at the viewers eye level. First appears from the middle, arriving up from behind the bag and walk towards the camera. Then another two apprear similarly to the first but either side of the centre dog, again walking up towards camera. Finally from the left stage and right, two more emerge similtatiosly and join the now gang of five. The beat that all five come together is similar to that of a rehearsed dance, this along with their look gives the viewer the clear message without words that they are all part of the same faction. The camera then flips 180, still with a low angle camera from the bag but this time the opposing dogs are placed along the high angle showing possible higher ranking. Already assembled, we see five siholletted canines standing equally spaced along the horizon. Similar to that seen in Seven Samurai (Kurosawa, 1954) stand off scene before the village battle. As the bag of garbage hasnt left the focal point of the screen during both sides introduction, its builds up the tension that this sack is highly important, the prize both gangs are looking to win. Comical tumble weed like prop crosses the screen, cutting the two sides in half, akin to an old western film standoff, confirms to the watcher that a brawl is about to entail.

Wes Anderson is known for having a uncoventional approach to colour theory as (blah blah) discusses, Anderson has been known to use bright primary colours, high in saturation during bipolar dark subject matter. Such as in The Royal Tenenbaums (Anderson, 2002). An example set during a rather depressing scene within a hospital ward, where one of the main characters has just previously attempted suicide. Surrounded by his mostly greiving family they are there for support through his downward depression. This atmosphere is wildly bipolar to the colours shown on screen, that of cheerful reds, pinks and or clothing. Saturation is turned up to help the colours pop, which at glance could be mistaken to convey a joyful atmosphere. This traits continues throughout Andersons libary of work, including Isle of Dogs from the very first scene. After the opening wide shot of the temple, the camera pans in through the door to reveal wall art, were we are introduced to our first talking canine, Jupiter. We are -- explains through the artwork the backstory of the plight of the dogs and the battle they had with cat lovers. These full screen artwork displays are initially painted with vast amounts bright yellows that indicate the joy and peace. Jupiter introduces the antagonists of the story, known as the Kobayashi Dynasty, they are shown to us through art coming from a red temple. Red giving us the feeling of imminent danger. As the battle between the two sides is described the joyful yellows remain promenent, even though we are being told of the near genocide of all dogs. The scene then introduces the hero of the story, signified through naration but also clearly shown through the colour choice of the characters clothes. Bright white armour contrasts with the red of the enemy easily distiguishing good and evil. We are led to believe the that evil was defeated in the story as the white defeats all red. The reds from the artwork disapear but so to do the joyous yellows, infact the whole artwork has a noticable drop in saturation the the point that it is left almost black and white, creating a confusing message to the viewer as the opposite effect woulf be expected during this happier ending to the story. The use of red and white to help distinguish between good and evil is carried on throughout the film, starting imediatly following the opening scene. We are introduced to the main setting of the film, Megaski city. Shown using a

Shown just after the initial battle of good and evil in a still zoomed out horizon shot. The city is small in the background blanketed by a clean white sky conveying the victory of the good and bright future the city has. In the foreground single red arch is centre frame, drawing the viewers attention, This is significant as its colour associations with the Kobayashi family, antagonists of the film. The arch surrounded by a few living cat, gives the impression to the viewer that although evil has been defeated, all everything is clear.

The end of this scene helps to subtly solidify to viewers that white

The colour red and white are both (subtly and blatantly at times) used throughout the rest of the film to help distguish between good and evil. The indroduction ends with

After the title card montage we are given an almost idetically placed shot of the valley, naration telling us we have now jumped to 20 years in the future, the distant city has now crept forward growning to be front and centre. The colour pallete has changed again drastically. The peaceful yellows of the nature valley have been replaced with dark greys and blues of the cold buildings, the once optimistic white sky has fallen into a deep purple creating a feeling of unease in the city. The former red arch that sat centre of the screen reminding the view of the still linguring danger is now replaced with towering red building at the heart of the new city, showing the significance the antogonist, Kobayashi has over the city.

[hewayasin]

R&Cs: Professor X

A playlist of the latest singles including the Dave's "Professor X", and more from Danny Brown, Fredo, Jaz Karis and Young Smokes.

So, about this “Professor X” joint… Dave put in serious work to have a great 2019. And by all manifestations, this year has gone according to plan – you might say even better! On one hand, there is his latest album, PSYCHODRAMA, which is an absolute stunner! Then there’s his star turn in the revived gritty drama, Top Boy. Not only have Drake, LeBron and ’embring the cult series to Netflix, it…