*stumbles through the door covered in red ink*
yeah but you should see the scene I edited
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I'll probably post more detailed and coherent thoughts about my TotJ rewatch later today (now with 30% less yelling), but I have to comment on this little maneuver above.
Mace and Dooku are suddenly attacked from the rear in their confrontation with the Raxus soldiers.
Dooku: Busts out his patented behind-the-back, elegant Makashi defense move.
Mace: PARKOUR!
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a little thing I did for a friend I got for a secret santa 👉👈
something something, they signed a treaty and have to take part in an official celebration
issue:
fwhip has no idea how to dance AND is a gay mess about it
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another gale headcanon
listen we all know Gale is a man of experience in all sorts of ways. He’s certainly no blushing virgin and he seeks knowledge nobody’s business. However, I imagine that life with Mystra was highly serious and hardly ever silly. Spells were perfect, recipes (even new ones) had to be delicious, even sex had a level of solemnity to it. There was no spontaneous dancing in kitchen or playfulness in the bedroom.
So, I imagine it had been a veryyyy long time since Gale has let go and just… danced. Sure, it wasn’t long ago that he was expertly leading in a waltz or tango, but just letting go? just goofily feeling the music? it’s been a LONG time.
I picture the gang at some sort of outdoor festival/tavern with jaunty music and Tav calling Gale over for a dance. He instinctively assumes position, hand on Tav’s hip, ready to lead and Tav is just like? huh? not what i meant! Tav takes Gales hand and guides him to the center of the dance floor and just starts groovin to the beat and making it up as they go. At first, Gale is stiff as a board and unsure what to do, but eventually relaxes and starts moving to the music. He starts laughing. He starts having fun in a way he hasn’t had before, at least not for many years.
Being with Tav is the beginning of Gale taking himself less seriously and finding more joy in things he’s always loved.
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Also I love how half of the Bad Kids are All-Powerful, Semi-Immortal teenage girls and the other half are Just Some Guy™. Truly the dynamic of all time.
But I also love how these ridiculously ultra powerful girls (AKA the Immortal All-Seeing Elven Oracle, Saint Applebees Creator and Destroyer of Deities and the Spirit of Rebellion, Arch-Devil of Hell, Wizard's Paramore, Fig Faeth) do not give a single flying fuck about their magical responsibilities and duties.
You want the Elven Oracle to actually live with the Elves and foretell the future? Bitch, she doesn't have time for that, she has straight A's, anxiety and she's going to be late for her part-time job if you don't leave her alone with this oracle stuff.
You want Saint Applebees, Creator and Cleric of Cassandra to... pray? Grow her religion? Talk to her God? Mmmmmm.... No. Sorry, but she's a teenaged lesbian with ADHD and trauma. She doesn't have time for, I don't know, that, she's got her own thing going on. Like her breakup, and working out, oh, and did you hear about her campaign for class president??
And you know that the Spirit of Rebellion won't be found living in or, really, doing anything remotely close to ruling over, her domain. She's not even going to pretend to be interested in her duties as Arch-Devil, just like she wouldn't be caught dead actually showing up to class. The only duties Fig actually takes seriously is that of a ✨Wizard's Paramore✨
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Two of my favorite little scenes from BTTF part II are the moments where Marty stops to watch his parents in 1955. I mean, he was only just there living through those events one day prior, but he didn't actually have a chance to soak any of it in or process it. (He'd come flailing into the parking lot just after George punched Biff but hardly had time to appreciate any of it on account of his picture still fading, and then at the dance, he was. You know. Actively being erased from existence up there on stage for a while.)
Even though the stakes are still unbelievably high when he returns to '55 to try to track down the almanac, and he's just experienced what may be the most stressful and terrifying day of his life with all the 1985A nonsense, he makes it a point to slow down enough to watch his parents at the dance. And there's just this look on his face—a mixture of awe and relief and happiness. You can tell. You can tell this is getting permanently etched into Marty's memory. He's taking in every detail. He's holding tightly to these sweet moments of watching his parents (who had been unhappily married most of or all of his life) FALL IN LOVE. A real, true love that he's never had a chance to see them in before.
Not to mention the fact that in the reality he'd just arrived from, his mother had been forced into marriage with Biff, and his father was dead. Marty's just come from a place where his family had been completely destroyed, and now he's watching the very foundation of it coming together. This is the beginning of it all, and it's a reminder of what he's trying so hard to save and get back to.
And it's so very nice that we see him hitting the pause button for a few seconds in this chaos-fest to look at his mom and dad with such love.
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Nothing more jarring than being a kid loving a band for years and finally being old enough to start joining social medias to see what other fans have to say and they're all saying your fave album is actually their worst and is terrible and ew why did they even release this rubbish
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