#ansel icon

[totallysora]

I need someone who has watched west side story (2021) to talk to me rn cuz I watched it for the first time in like,,December and I have sm to say abt it

[reflectedshine]

⊰ ANSEL ♡ JANUARY 31ST

icons

300x300

like/rb if using, credit appreciated but not necessary

[ecnmatic]

[unknorwn]

[eldrichfuck666]

Day 5/31 Day in CAS Challenge - Throwback - 60s-70s cult leader vibes? Probably not historically accurate, even when i did some research. It was super fun!

Paul Hansen is a californian cult leader straight from the wild 60s-70s with a really great sense of fashion. In his opinion, he is the future savior of the world, an omnipotent psychic with the gift of persuasion. His whole town (his growing cult), his many followers believe in it. He's a skilled manipulator, but what if he runs into the real paranormal?

[docileeffects]

[beautifulfaces-icons-and-gifs]

Ansel Elgort on West Side Story (2021)

as Tony on West Side Story (2021)

Information on beautifulfaces

Like or reblog.

[odorareicons]

[northsalpha-archive]

@hellsurvivr   sent         :         2,      3,      5,      6,      10,      12      &      14 

is   your   muse   sexually   active?

i   mean         .   .   .         it   was   ansel’s   sexual   activity   that   resulted   in   a   lot   of   chaos,      am   i   right?      yes,      he   is,      but   he   isn’t   the   type   to   actively   seek   it   out   or   feel   restless   without   it.         usually,      he   lets   the   moment   find   him      &      acts   upon   it   when   it   does.

where   does   your   muse’s   libido   fall   on   the   scale?      10   being   hyper   sexual;      1   being   the   opposite.   

on   average,      it’s   around   seven.      high   when   with   the   right   person,      but   not   high   that   he   chases   after   it   when   he   isn’t.         however,      this   can   change   as   the   full   moon   approaches.         everything   becomes   heightened,      emotions   run   stronger      /      deeper      &      the   sudden   need   to   put   that   excitement,      that   passion,      that   thrill   into   something   someone   can   raise   him   up   to   a   solid   nine.         you   definitely   wanna   meet   him   in   a   bar   and   shoot   your   shot   those   nights.   

is   your   muse   a   top,      bottom   or   a   switch?      why?

it’s   entirely   dependent   on   the   lover.         for   the   most   part         .   .   .         a   top.         casual   flings   are   never   seen   as   an   opportunity   to   explore   or   let   his   guard   down.         he’s   an   alpha,      he’s   used   to   being   in   control   and   it   isn’t   easy   to   persuade   him   to   relinquish   it.         however,      if   he   was   with   someone   he   trusted,      a   long   -   term   lover   or   possibly   even   a   partner,      that   changes   to switch.         ansel   can   let   loose   more.   it’s   fun   to   let   someone   else   take   the   lead   when   it’s   beneficial   to   them   both   and   when   he   knows,      regardless   of   position,      it   doesn’t   make   him   vulnerable.

are   they   dominant   or   submissive?

this   is   also   dependent   on   the   relationship.         ansel   rarely   relinquishes   control   in   any   area   of   his   life,      the   bedroom   included,      but   at   the   same   time         .   .   .         he   refuses   to   be   a   selfish   lover.         he   likes   to   give   his   partners   what   they   crave.         he’d   never   be   100%   submissive,      it   just   isn’t   in   his   nature,      but   he’s   happy   to   share   the   reins      &      let   them   both   have   a   fun,   little   compete   for   power.         even   then   though,      his   dominance   has   a   habit   of   seeping   through.         he   likes   to   be   in   charge.

what   kind   of   things   are   they   into?

there’s   something   to   be   said   about   animalistic   nature;         it   doesn’t   have   many   limitations.         there’s   a   lot   ansel   is   into,      but   if   we’re   picking   out   some   solid   favourites;         a   hand   around   their   throat         .   .   .         not   just   because   it   asserts   dominance,      but   because   it   displays   a   level   of   mutual   trust   between   them      &      that’s   a   turn   on   in   itself         /         being   outdoors,      especially   underneath   the   moon         /         confidence         /         the   teasing   build   up.      this   isn’t   someone   who   just   likes   to   get   down      &      dirty,      he   also   likes   to   play,      likes   to   work   for   it         /         biting      &      back   -   scratching         .   .   .         if   they’re   not   both   littered   in   markings   by   the   time   it’s   over,      then   it’s   not   a   job   well   done!

would   you   consider   them   kinky   or   tame?

mostly   just   wild.         ansel   doesn’t   necessarily   have   a   kinks   checklist,      but   he’s   far   from   tame.         his   inner   nature   isn’t   the   only   thing   he   embraces.         he   also   fully   embraces   the   pleasures   life   has   to   offer   in   an   almost   hedonistic   manner   when   allowing   himself   the   time   to.   

give   us   a   random   sinday   headcanon   or   fact   about   your   muse.

boy   has   stamina.         whoever   is   planning   to   make   a   move   better   save   their   energy,      because   he’s   got   all   the   time   in   the   world   for   his   lovers.   

𝐍𝐎𝐓   𝐀𝐒   𝐒𝐏𝐈𝐂𝐘   𝐒𝐈𝐍𝐃𝐀𝐘   𝐀𝐒𝐊𝐒   𝐌𝐄𝐌𝐄.            (      still   accepting!      )

[kimchiagustd]

one week post KOA reading and not surprisingly, i am still mourning... spoilers ahead but i need to let go of all these feelings.

i miss this new family i discovered, the excitement of the next chapter or the next book, the anguish, the tears, the cliffhangers, the surprises, the couples and friendships dynamics. i miss everything about tog!

my brain is still processing aaaallllll the events of 7000 pages and a lot of things are settling when i could not process everything while still reading the books…

but to me, this saga is a masterpiece for so many reasons. as a woman, there are so many things validating in these books, i don’t even know where to begin with.

the sorority in tog is still mind blowing to me, probably my favorite part of the whole saga, that we clearly don’t talk about enough. the ending with aelin walking to meet her people with her girlfriends, marching with them as equals still gives me goosebumps. aelin and lysandra friendship (bestfriends and soulmates), aelin and ansel friendship (free young spirits), aelin and manon friendship (rivals then equal queens), aelin and yrene friendship (sisters), aelin and nesryn friendship (admiration and role models), aelin and elide friendship (bonded by fate and a love for the same kingdom) are so precious to me... i could write entire essays about them. i adore how all the female characters just fell in love with aelin, saw her vision of a better world and just followed her to the end. and then, the thirteen, do i even need te explain myself? i think a part of me will forever mourn them. the heartbreak i felt after their death is unspeakable. i never read a book with such flawed and beautiful characters. asterin (her hunter and her whichling), sorrel, vesta, imogen, ghislaine, faline, fallon, edda, briar, thea, kaya and linnea have my whole heart.

marion and josefin are branded in my very soul. their characters had so few pages but gods, how their sacrifice still resonate in me...

then the different journeys of all the characters… chaol has a special place in my heart, despite everything, despite all these things being said about him. he had so many flaws, did so many mistakes, but what a journey, what a fight against depression and disability, what an end… he was so lost and tormented throughout thousands of pages, even while being passionately in love with celeana (not aelin!), and is so appeased at the end, married and soon to be a dad… i rarely felt so proud of someone, fictional character or not. i am convinced chaol is one of the best written characters of the saga.

i read a lot of mean things about aedion too and that just broke my heart because the man redefined loyalty all by himself. he lost everything he was taught to believe in, whored himself with the enemy for his people while believing he lost his entire family and kingdom, lost every men and women in koa as a general (his very essence as a person!) and still held the line for hundreds of pages like rowan told him to do so. I. JUST. DON'T. GET. WHY. he is so hated for some fights with lysandra (that i don't excused!) in a horrific context, in the middle a many battles and thousands of casualties. just reread aedion's arc during koa : the only thing he experienced for hundreds of pages is failure, death, grief, terror and guilt, believing he failed terrasen again. LEAVE. MY. MAN. ALONE. plus, aedion is a bisexual icon, and he slayed the whole books, period.

same thing with lorcan. oh my lorcan… i won’t even begin with him but gods, what awful things i read about him… i don't know why but i fell really hard for this character, despite knowing very few things about him. he was far from being perfect, we agree on that. but what a redemption arc. him being finally at peace at the end, after 500 years of wars, (self-)hatred and being used and fooled by a valg bitch queen, made me tear up as mush as sam's death (shocking, i know but i don't make the rules).

i think, surprisingly regarding our society, people were harsher with the male characters than the female ones. aelin, manon, lysandr and elide lied and did mistakes too, yet somehow, people forgave them immediately. i think we should reflect on that.

a few words about baby dorian too... i think his end was my biggest and bitter disappointment at the end of the whole saga. i can't even tell how his ending wreaked me. he is the one character not at peace at the end of this whole journey. his city is utterly ruined, he is alone in his big castle (the very place where he lost the first woman he sincerely loved and the very place where he was enslaved) with the thought he killed the man he hated his whole life but somehow wasn't the bad guy, his friends are all married or happily in love, even manon won back the witches and her lost kingdom... but dorian is lonelier than ever and that does not sit right with me. he was such a hopeful and loving young man at the beginning of the saga but is broken at the end... i NEED a sequel, he deserves one, more than anyone.

and rowan, oh rowan... i think "love" is not strong enough to define aelin and rowan relationship. the way they overcame depression together long before falling in love with each other is one of the most beautiful thing of this saga. they just saw each other. i love how rowan accepted aelin 1000000%, flaws, scars, fire and all. i love how he never overstepped. like many people, i read acotar before tog and thought no one could surpassed rhysand but how wrong i was... to me, rowan is the best for so many reasons. he never took decisions for aelin, always respected her every moves, respected her pace, never lied to her. i am emotional writing this because him saying "aelin is my heart... my fireheart"... *sob* aelin loves rowan with every bones and cells in her body but rowan's love for aelin? i don't know, there's something about it, i can't find the right words... i don't think i'll ever find an other rowan in an other book. rowan was intensity, hatred, heartbreak, depression, longing, guilt, pain, redemption, learning, harshness, softness, falling in love, crossing an ocean for the woman he loved, giving her an armada when he had nothing, tattooing wyrdkeys in her back to bring her back to him, waiting, loving, loving, loving again and again and again. rowan is suddenly the sweetest and most beautiful name i've ever heard. rowan is love and so much more. rowan is aelin's heart and soul and the key to this new world because aelin without rowan is fear and too far gone. rowan is everything. and what i am about to write seems crazy but i think because there's so much things happening in tog, so much characters loving each other, so many couples we rooted for, we took for granted rowan's love and actions and he somehow became a secondary character - crazy, right? i think we loved passionately his character (especially in hof and qos) but somehow forgot on the way how utterly incredible and unique he is. him saying in qos aelin must build a theater in terrasen after the war and then him offering it to her as a mate / wedding gift at the end of koa? i mean, our boy is a man of his word and i love him so much for it. WE TOOK ROWAN FOR GRANTED AND DID NOT GIVE HIM ENOUGH CREDIT.

anyway, i could write so many more things about so many characters and scenes that broke me in these books (my same is sam cortland and i am not afraid) but you got the idea.

tog is the best saga i've ever read and i am not the same person anymore after reading it. i'll take time to heal. but how grateful i am i have a good run with all these characters...

[jkottke]

The US Postal Service is set to release a sheet of 16 stamps featuring the legendary photography of Ansel Adams, including his iconic shots of Yosemite, the Tetons, Denali, and Monument Valley.

[novankenn]

Jaune 1/2 (v1-13)

Pyrrha reached out and picked her scroll off her nightstand as Jaune crawled out from under her bed. Pyrrha sat there looking at the name and number for the incoming video call.

Pyrrha: My mom? My mom never calls this early.

Jaune having fully emerged from beneath her bed, draped a towel over her shoulders, and frowned.

Jaune: Are you going to answer that?

Pyrrha: Why does it matter to you?

Jaune: One that ring is obnoxious, and two it's rude not to answer calls from your mom.

Pyrrha shot Jaune a look, and hit the accept icon. After a short delay, the image of her mother appeared. The woman bore a striking resemblance to her daughter. The same sharp emerald eyes, though these ones were framed with a set of red-horn glasses, and of course her hair was much shorter than her daughter's.

Pyrrha's Mom: Pyrrha! How are you sweetie?

Pyrrha: I'm good. How are you? Is there something wrong? It's really early in Argus... are you o...

Pyrrha's Mom: I'm fine sweetie, but I'm not in Argus.

Pyrrha: Not in Argus? Where are you?

Pyrrha's Mom: Ansel. I'm visiting with an old friend...

Pyrrha: Ansel?

Pyrrha's Mom: Yes, sweetie. In fact this is the hometown of your husband-to-be!

Pyrrha: Excuse me?

Pyrrha's Mom: Actually I'm calling to let you know he's going to be at Beacon, and I thought it would be nice for you to...

Pyrrha: Already met him.

Pyrrha's Mom: Really? That's wond...

Pyrrha: I refuse, to marry someone like that!

Pyrrha's Mom: Don't be like that honey. As soon as you and Jaune were born, Jasmine and I knew you two belonged together.

Pyrrha/Jaune: WHAT? SINCE WE WERE BORN?!?

Pyrrha's Mom: Pyrrha, honey is there someone there with you?

Pyrrha: Yes... yes in fact...

Pyrrha taps the camera flip icon and instantly Jaune with her chest barely covered by the towel about her neck was front and center.

Jaune: EEP!

Pyrrha: Say hello to my.... FIANCEE, MOM!

Pyrrha's Mom: Oh my gods! You were absolutely right Jasmine! Jaune makes an adorable girl!

Jamine (Off screen) : I told you Athena. Gives a good indication what their daughters will look like doesn't it?

Athena: It does!

Pyrrha: Mom?

Athena: Well I was just calling to let you know, but seeing as you have already met... and gotten a room together... we'll leave you alone. Love you.

With that the call ended.

Pyrrha: Mom?

Seeing the look of utter disbelief on Pyrrha's face Jaune pulled on a pair of running shorts and went for the door...

Jaune: I'm just going to go for a run... HEY!

Jaune dodged to the side as Pyrrha's scrolls shattered against the door frame.

Pyrrha: PUT ON A SHIRT, PERVERT!

==\ Episode List /==

[procrasti-pastel]

Just wondering how you come up with costumes/looks for your characters

They look very stylish 💝💘

That's a good question (and MASHA'ALLAH TYYY💖💖)! To which I answer with:

✨️I simply find a specific fashion era to style your oc in✨️

The process in which I pick out a certain look for a character depends on the type of era/setting they are in. For example:

● Ansels' design is based off of a medieval jester, just less on the patterns and bright colors. His earthy tones are in contrast to the bright and vibrant jester aesthetic, while a part of his outfit remains a bit true to the nonsensical/wacky design of a jester costume.

● Mousai's design is just a heavily stylized version of a traditional Greek/Roman womens' toga(?), with a simple headdress and gladiator-ish leg and armbands, plus that iconic laurel (that has bronze pseudo-earrings on them)

● Khaloms' whole aesthetic/fashion taste is based around Russian costumes/uniforms/the Russian tsar, but with some ✨️ details and bling✨️ (beffiting of the fact Soleil is just, Russia blended with the Middle East).

● And lastly, Violets' design (or redesign, now) is a based off of the Japanese kimono, with a headscarf, with the second dress underneath serving as a callback to her short, but modest upbringing with a Muslim family before moving to Soleil.

The style varies between my ocs and the era's that they are based around in, but it also reflects a part of their personality/character through the way they dress.

Hope this helps💖✨️🌸

[wonderfulworldofmichaelford]

Is It Really That Bad?

In 1974, Stephen King’s career was launched with his debut novel (one rescued from the trash can by his wife, Tabitha), and two years later we got Brian De Palma’s iconic film adaptation that launched the career of Sissy Spacek, resurrected the career of Piper Laurie, and was so good that King prefers it over the book. It really set the stage for future adaptations of his work to be of a similarly high quality… Something which has unfortunately only rarely happened. To this day, it still remains a beloved classic.

And you know how it is with beloved horror classics: If they're good enough, you know they'll get remade. Now, the thing with remakes is that, when it comes to horror, they have as many hits as they have misses. Amazing films like The Thing, The Fly, The Blob, and The Ring all exist alongside mediocre crap like Rob Zombie’s Halloween films, the shot-for-shot Psycho remake, and the Jackie Earle Haley-starring Elm Street reboot. It really comes down to the creative vision and the story you want to tell, you know?

And Carrie is ripe for that, as the original movie cut out a lot of elements from the book that would be interesting to see in a modernized context, as bullying has evolved and even gotten harsher and more deadly over the years since Carrie was pelted with tampons in the locker room. And that’s exactly what director Kimberly Price wanted to do! She wanted to make a film that can stand on its own, a retelling of the story that wouldn’t be a remake of the film, but a different attempt at adapting the book.

The studio, however, had different ideas, and made her do a bunch of reshoots and trim 40 minutes off the film to make it more like De Palma’s version of the story. Three months prior to release the Sandy Hook shooting happened as well, which combined with the editing to turn the film into a remake pushed it back to October, and I’m sure it didn’t exactly help make the film more palatable to audiences either. While not a failure by any means, the resounding critical consensus to the film was “Why did this need to exist?” Even King himself was reportedly not much of a fan, though he did appreciate the modern updates to the story.

As time has gone on, the hate towards the film has cooled and it has picked up a fandom of its own, so I figured it was high time I gave this a watch. In honor of the film’s upcoming tenth anniversary, let’s see if the 2013 take on the iconic King story is really that bad.

THE GOOD

Across the board, I think all of the performances are really solid. Chloë Grace Moretz does a fine job as Carrie (even if, like Spacek before her, she seems a bit too pretty for the part) and Julianne Moore does a fantastic job as Margaret White to the point I might even say she’s on par with Piper Laurie. Judy Greer as Miss Desjardin might be my favorite performance in the movie, though; I just love how brutal she gets with enforcing the punishments on Carrie’s bullies, and how she doesn’t give an inch to the alpha bitch when she tries to start shit. As for Carrie’s peers, they’re all decent, but none of them strike me as very memorable. They all do a good job (even certified creep Ansel Elgort) but none of them really stand out as better than the rest. Still, there aren’t any weak performances here.

I think the finale really works better even if it is a little more over-the-top, mainly because even if it was significantly cut down compared to the original vision. We actually get to see some of Carrie’s rampage taken out into the town, and while we don’t get the full-on force of nature destruction the book gives us, we do get a pretty good taste. I think it gets a little too CGI at times (the floating knives at the end being particularly egregious) but I think it is ultimately a very satisfying take on the ultraviolent ending of the story.

I also like how the story was updated for the modern age, with cyberbullying now being a key part in how Carrie is abused by her peers. Carrie is genuinely a story I feel works much better in a modern context than in its original form. The ways bullying has evolved and become so much more horrifying in the modern age lends itself well to a story of an outcast being harassed by those around her, and her ultimate snapping feels even more justified and cathartic since the bullying she suffers is even more extreme and psychologically damaging than before. Honestly, I think this Carrie is even more sympathetic than the original; I’m not going to fault a teenager who is the victim of parental abuse and then has embarrassing videos of her spread across the internet from frying her bullies with electrical wires or blowing them up in a giant fireball. Fuck ‘em! They deserve it!

THE BAD

...Which is what I'd love to say, but real life has unfortunately made that a little harder to do. In the years since the original, there has been a very unfortunate number of incidents where people were killed in schools. School shootings weren’t really a thing in the 70s, but after Columbine it seemed like one happened every other year. In light of that, cheering while a high schooler brutally massacres her peers seems a bit… tasteless. Now obviously we as the audience are privy to all sorts of details that makes Carrie’s rage justified and her ultimate vengeance cathartic, but still, it does give me pause at least. Should I be cheering while these high school students get slaughtered like pigs? Is this not horribly fucked up? It’s an interesting moral dilemma with rooting for this killer, and while I did put this down in the “Bad” section I think being uncomfortable with what Carrie does is a valid response. I think that the fact her rampage can be viewed as either justified vengeance or as woefully disproportionate violence or even as both at once is a great strength of the story.

What isn’t a great strength, though, is how this was forced into a being a remake, because boy is it ever stuck in the original’s shadow. Moretz and Moore really end up trapped in the shadows of Spacek and Laurie’s takes on Carrie and her mother, and the whole film really just plays it straight with adapting what the original film did. It might be one of the worst studio decisions ever, because despite the strength of the cast and the overall solid quality of the filmmaking, the whole thing just feels boring. Even with the new angles and the interesting takes, the fact remains that the story and plot beats are unchanged and stuff we saw in the original film. It’s not as egregiously shot-for-shot as Van Sant’s Psycho was, but there’s not much here that justifies watching this if you’ve seen the original film.

IS IT REALLY THAT BAD?

As far as horror remakes go, this is one of the most inoffensive ones out there.

Look, I’m gonna be honest: Carrie is not even close to being my favorite King work, and the original movie isn’t one of my favorites. The book is a good debut and the movie is decent enough, but they’re not something I find myself revisiting. So even going into this movie I wasn’t expecting anything worse than what I’d already seen, and that’s basically what I got. This is a very unambitious film, though as mentioned before that was mostly by studio mandate, and thus it’s mostly more of the same—and what we got before was okay, so this ends up being okay too.

I think so much of the backlash comes from the original movie being a beloved horror classic, and thus not something that should be retried lightly. This film seriously would have benefited from more closely adapting the book and modernizing it like was originally planned rather than just rehashing the original movie with flashier effects. What we’re left here is a decent redo that lacks an identity of its own, but is still competent enough to not be the worst thing ever. If you like the movie, I can’t really fault you for it because I can understand why someone would like this much like I can with the original. Even if I’m not super fond of them, they’re decent enough movies.

I think the score is right about where it belongs, though I might be nice enough to round it up to 6. It’s a decent horror movie, and if you like it, I can’t really blame you. It has a lot of good elements going for it, and I think if it had been allowed to be an adaptation of the book I wouldn’t hesitate to call it the definitive Carrie adaptation. Bumping the good parts of It to the 80s made that story a lot better, after all! But the meddling to turn one director’s vision into a mirror image of a previous one’s vision really just holds this back a bit for me. If you want to throw this on your Halloween watchlist or add it to your Stephen King movie collection, it’s a decent addition, but it really deserved to be so much more than the reheated leftovers of De Palma.

[danieljreboot]

Manhattan, Upper West Side, 1957. Against the backdrop of the decaying tenements in the San Juan Hill neighbourhood and the constant threat of the wrecking ball, two warring gangs--tough Riff's Jets and swaggering Bernardo's Puerto Rican Sharks--fight for supremacy. Now, with a once-and-for-all, winner-takes-all rumble on the cards, an unexpected whirlwind romance at the high-school dance between former Jet brawler Tony and Bernardo's delicate little sister María sets the stage for an all-out turf war. But what's a gang without its territory? Above all, when the future is uncertain, what's hope without love?

Directed by Academy Award® winner Steven Spielberg, from a screenplay by Pulitzer Prize and Tony Award® winner Tony Kushner, “West Side Story” tells the classic tale of fierce rivalries and young love in 1957 New York City. This reimagining of the beloved musical stars Ansel Elgort (Tony); Rachel Zegler (María); Ariana DeBose (Anita); David Alvarez (Bernardo); Mike Faist (Riff); Josh Andrés Rivera (Chino); Ana Isabelle (Rosalía); Corey Stoll (Lieutenant Schrank); Brian d’Arcy James (Officer Krupke); and Rita Moreno (as Valentina, who owns the corner store in which Tony works). Moreno – one of only three artists to be honored with Academy®, Emmy®, GRAMMY®, Tony® and Peabody Awards – also serves as one of the film’s executive producers. Bringing together the best of both Broadway and Hollywood, the film’s creative team includes Kushner, who also serves as an executive producer; Tony Award® winner Justin Peck, who choreographed the musical numbers in the film; renowned Los Angeles Philharmonic conductor and GRAMMY Award® winner Gustavo Dudamel, who helmed the recording of the iconic score; Academy Award®-nominated composer and conductor David Newman (“Anastasia”), who arranged the score; Tony Award®-winning composer Jeanine Tesori (“Fun Home,” “Thoroughly Modern Millie”), who supervised the cast on vocals; and Grammy®-nominated music supervisor Matt Sullivan (“Beauty and the Beast,” “Chicago”), who served as executive music producer for the film. The film is produced by Spielberg, Academy Award®-nominated producer Kristie Macosko Krieger and Tony Award®-winning producer Kevin McCollum. “West Side Story” has been adapted for the screen from the original 1957 Broadway show, with book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and concept, direction and choreography by Jerome Robbins.

[meret118]