iloveaduck

[iloveaduck]

they hate me for my slutty waist and my ability to see the good in everything

[iloveaduck]

I'm fine.

[iloveaduck]

[iloveaduck]

forgot I had after effects on my computer

[iloveaduck]

i have an angel and a devil on my shoulder and also a third other guy who looks just like my dad. i try not to look at him but i know he's there.

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[iloveaduck]

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[iloveaduck]

I both love and hate when I do so much work to build up a character that it feels like I know them more than the actual creator of the character does.

There's a lot of pros to doing this, but one of the biggest cons is that it also messes with your ability to consume fanfiction because the idea of the character you have in your head is so heavily influenced by your own stuff that it's always going to feel like other people aren't writing for them that well. People could have a really solid grasp of the character in the actual canon but then the author's note will be like "I invented so-n-so a sister" and I'll inevitably be like

And I'll exit the page.

That being said, the biggest pro is that you write stuff that you love for a character that you love that suits you in particular even if it's slightly OOC, so in the end I think the pros outweigh the cons. XD

[iloveaduck]

I have no idea why this particular photo of Nichelle Nichols is in the Star Trek III: The Search For Spock press kit, but I’m very glad it is.

[iloveaduck]

I’m gonna go ahead and be a film snob and talk about why this is one of my favorite shots from TOS. (I could also say that it’s one of my favorite scenes, because the entire scene actually consists of a single shot.)

We don’t see a lot of bald expressions of emotion in film and television, especially if that emotion is fear or sadness or vulnerability. Dramas will give us some tears, but they always cut a way after a few seconds because a closeup of someone crying is deeply uncomfortable and most movies and TV shows aren’t in the business of making their audiences uncomfortable. It just doesn’t sell well.

But in this scene the camera never looks away. It follows Spock as he sits down at the table, and it circles him as he cries. But there are no cuts. We don’t even get music to create some distance, make it all a little more palatable; we just hear sobs and mumbled math equations.

It’s absolutely excrutiating. It would be excruciating no matter who we were watching, because we are so unaccustomed to seeing unadulterated emotion. And then there’s the fact that it’s a man. And that it’s Spock.

Fifty years later and this is still one of the most daring filmmaking decisions I’ve ever seen on TV (I of course can’t be exactly sure who made it, but I’m assuming it was the director of the episode, Marc Daniels). This shot lasts 1 minute and 45 seconds. We’re in the middle of space and in the middle of a high-stakes episode where the crew is going crazy and the ship is going to blow up or some shit and everyone’s lives are in danger, but we pause 1 minute and 45 seconds to have an uncomfortably human moment with an alien who doesn’t even want to be human, and it’s so awful and amazing.

[iloveaduck]

Barry Trivers and Gerd Oswald dropping “The Conscience of the King” on December 8th of 1966, only to never elaborate on Tarsus IV and Kirk’s past there

[iloveaduck]

Has this been shared on here already?

[iloveaduck]

@weatheredlaw was at a convention this weekend and sent me this

And just.

It's THIS

😭😭😭😭😭😭😭

[iloveaduck]

"why do you like-"

[iloveaduck]

sorry this is a deranged post to make but has anyone else ever noticed that when garak gets punched in the face (which happens a lot to be fair) his wig goes fucking FLYING like stiff where

[iloveaduck]

shut up about my backstory, shut the fUCK UP about my backstory