#trading film

[schlock-luster-video]

Happy birthday Leonardo DiCaprio! Here's some fan art inspired by Once Upon a Time in Hollywood, The Basketball Diaries, Titanic and The Wolf of Wall Street to celebrate!

[nealcassatiel]

absolutely unhinged and hilarious official quotation to attach to a season renewal trades announcement  😂  😂  😂

[daftpatience]

im such a sucker for scrapbooky things and i need a good storage book for that stuff... guys i might make sticker books 2.0 now with those little clear pouchy things ... with digit on the cover this time... what about that. hmmrgh

[cryscendo]

i’m proud to be different. it’s the best thing about me.

the spotify profile of kurt hummel (in/sp)

[asiaphotostudio]

Taiwan, 1999 Taipei, Taiwan. 台湾 台北市 Photography by Michitaka Kurata

[crybaby-bkg]

cw: this got long sorry 😔 but creepy/perv bakugou, recording, film major bkg x art major reader, masturbation, coercion, dubcon before it just becomes con, voyeurism/exhibitionism

as an art major, you typically did some works for a few students on campus; for their plays, as background pieces while they danced, a cover for their released songs. it wasn’t out of the ordinary for people to ask you to create something for them, and you enjoyed it more often than not. but, you weren’t usually the art itself.

Bakugou is a friend’s friend that you’ve seen a few times, ran into at the library or at coffee shops. he’s a film major, and always looks so unhappy about the whole thing, as if he didn’t choose it himself. you joke to Mina that you think he’ll graduate and become one of those directors that hate everything and yell at the actors constantly and later on get sued for being a dickhead. you never say it to him though—you’ve never spoken more than a couple words to the man.

it’s why it shocks you when he approaches you one day. it’s after one of your painting classes, and he stands outside the door with a frown and his hands shoved in his pockets, his eyebrows scrunched as if pissed at the mere sight of you. he asks you, in that low and gruff tone of his, if you could star in his final project for the semester. says it’s supposed to be a film made with this criteria and that, but, you’ve kind of checked out on the conversation after the first sentence.

“You mean, you want me to create something and that be the star of your film?” you ask him, feeling so intimidated at his stature. he always seems to loom, his hair shadowing the lights above, creates a cast over a portion of his face, makes his eyes look…unsettling. like they’re looking straight through your flesh, can find the marrow in your bones. he scoffs like you’ve offended him, rolling his eyes into his skull, mouth pulled tight.

“No.” his voice is firm, gaze concentrated only on you, like the halls are empty and you’re the focus of his lens. “I want you to star in it.”

his words confuse you—you’ve never presented yourself as an actor before, never alluded to wanting to be in the spotlight if not for what you create with your hands. but he shuffles on his feet, looks desperate even. there’s some hemming and hawing for a minute or so—why not choose Mina?—she’s busy—why choose me?—‘cause you’d be perfect for my short film—what’s it about?—you’ll find out once you get the script.

and even after you hesitantly agree and get the script—you still don’t understand what you’re doing. why you’re here, why you’re the only person, why it has to be a solo film, why there’s damn near zero lines in the entirety of the have-to-be forty five minute film.

the scenes are all so long, and maybe it’s because movies aren’t your forte or chosen major, but you just don’t get it. one scene; you’re staring at yourself in the mirror while Bakugou holds a small, black camera over your shoulder. he’s eerily quiet behind you, whispers out a faint fuckin’ go when you have to wash your face in the sink, makes you do it over because your movements are too jerky and unnatural.

the rest of the scenes go that way; you doing regular at home activities, being put under a lens, quietly barked at to do this and move that way and fix your hair and remember to frown.

“Isn’t there another way to film this?” you ask him on the fifth day of shooting in his spacious loft. there’s a bubble bath scene coming up, one you dont understand the importance of, but Bakugou tells you it’s the most necessary part of the entire thing.

“No,” he grunts out, looking at you from under his lashes as he sits on the lid of the toilet. “But I’ll make it soapy, so the camera won’t see much.” the camera? much? you weren’t worried so much about what the camera captured as you were the man behind it. he looks at you with such intensity, you feel naked already despite the robe you wear that’s suspiciously already your size.

he leaves the bathroom when you sink in the hot water, returns before you can say it’s okay, hears the water splashing and thinks that’s good enough. he kneels on the floor beside you, camera pointed directly in your face, makes your chest hot and your skin feel prickly. the scene passes on regularly enough; you run the water over your arms, tilt your head back as you sigh, whisper the few lines scripted, lean back and close your eyes, sigh again. it’s almost relaxing, makes you forget about the friend of a friend recording you naked right now. almost.

“Touch yourself.” Bakugou suddenly demands, hushed and quiet behind the camera. your eyes immediately shoot open, looking to him in question, how he’s eerily still in his spot hovering over you.

“Huh?” you ask, unsure if you heard him correctly, looking around the rounded lens in your face, trying to ignore the red blinking light. but Bakugou only frowns.

“It’s a masturbation scene. Touch yourself.” he repeats, voice louder, more demanding this time. your stomach twists at the thought of doing something so intimate in front of him. he’s a handsome guy, for sure, even made you consider asking him out after this, figured he was just serious about his work and awkward about certain things. but…something had been off about this entire thing since the start.

“But—but I don’t, I’m not,” you stutter, sitting up a little, the bubbles covering your chest starting to disperse with your movements. but Bakugou only sits a little higher on his knees, finally pulling the camera away from his face for the first time since he’s asked you to do this for him.

“You want me to fail?” he asks, booming voice eerily quiet in the silent bathroom, carmine eyes dull, shaded over with something terrible. “Then do it.” he tells you when you shake your head quickly.

you stare at him until he gets back into position again, camera back pointed at you. when he doesn’t say anything else, you swallow thickly, wondering if the art that will come out of this will be worth it. so you listen, sneak a hand under the water, start touching yourself in a way you never have in front of anyone.

is it bad to say that it’s exhilarating? being watched and recorded by someone who breathes so heavily every time your voice hiccups? being directed to touch your chest next when the suds start to disappear and your nipples start to peek through? is it bad that you want him to send you this portion of his film, only, just so you can watch yourself again and again? make a portrait of yourself with your fingers on your nipples and your knees raising from the water and your head thrown back from the intensity in oil pastels?

“That’s a wrap.” Bakugou announces when you finish, head spinning and still panting. you look over to him, how he closes the camera, the obvious bulge in his pants. “I’ll get you a towel.”

you wonder when’s the next time he’ll need you. or better yet—maybe he could be the star in your final drawing project? you had finished it already but, what was the harm in starting over with him as your muse? as naked as you are? camera not blocking his face so you can paint the similarities of his blushing cheeks and eyes when you direct him to look at you? to touch his chest? to play with himself just like that?

[aloneandforsakenbyfateandbyman]

Laura Gemser and Ely Galleani in La via della prostituzione/Emanuelle and the White Slave Trade (1978)

[weirdlookindog]

Universal Weekly Vol. 34 #17, April 7, 1934

[humanoidhistory]

Alien trading card by Tops, 1979: "Towering above the 'Nostromo' explorers are the seemingly mummified remains of a fantastic space creature!"

[sunlit-mess]

How did you get so good at animating and drawing? Aside from practice, what techniques do you use? What software do you use?

I only know the basics/fundamentals of both drawing and animation.

For drawing, I've carried out lessons about the Elements and principles of design, the history of graphics design, traditional drawing techniques, color theory, anatomy, character design, blah blah blah. Lots of info I still do my best to practice/put in my art. If y'all notice me animating gifs then it's bc I have time to do so... ( I'm in term break until late July ) They're likely short, but it's through animation blocking, timing, and incorporating both in-betweens and tweening.

I've used Adobe Animate/After Effects for school projects, sometimes for doodles only, I currently use Clip Studio Paint bc it's where I'm more comfy with ^^ Maybe someday I'll be able to afford Toon Boom hehe.

[creekbed-burial]

Twin Arrows Trading Post Ruins♡

[schlock-luster-video]

On January 8, 2014 The Wolf of Wall Street debuted in Belgium.

[pwh3]

Stormy summer skies over New York City.

[sneakyboymerlin]

I have said it before, but Kilgharrah has a parallel-opposite arc to Morgana. His character is redeemed in the same streak of episodes where Morgana goes from an ally to a major villain. While Kilgharrah was often self-serving and manipulative in the first 2 seasons, this changes by the end of season 2 because Merlin chooses to show him mercy after incapacitating him. It’s the first real kindness that Kilgharrah has experienced in well over 20 years. Whereas, when Merlin shows Morgana mercy by making the deal with Morgause to save her after she’s been incapacitated, Morgana returns more vengeful than ever. Back to Kilgharrah, though…

Not only does he indebt himself to Merlin, he comes to see Merlin in an entirely new way. Before, when he would call Merlin kin, it was in the most literal sense—both are creatures of magic, cut from the same cloth, and should be allies. But now, they’ve formed a bond from that kinship (and in a literal soul connection sense, too, no less). Kilgharrah’s plea strikes Merlin with so much force because they’re both now the last of their kind, and Merlin cannot help but consider and understand what Kilgharrah has been through, despite the destruction he’s caused, because it’s happened to Merlin, too. When they see each other next, this is what they have to say:

Merlin: I didn't think you'd answer my call.

Kilgharrah: Merlin, I could not resist a dragonlord, even if I wanted to.

Merlin: I’m grateful, thank you.

Let’s focus on that: “…even if I wanted to.” Kilgharrah did not want to resist Merlin’s call for help because he’s come to care about Merlin in his own way. This development is easily traced back to Merlin’s show of mercy. It cannot be stressed enough: this was the first kindness Kilgharrah had been shown in over 20 years, after rotting away in a dungeon when he was betrayed in every way possible, suffering from the grief of his entire species going extinct on Uther’s orders. And with this one show of mercy, Merlin changed the heart of a creature that everyone had already dismissed as a monster (the same way Merlin sees himself), one who sought his revenge by razing an entire city to the ground. From the start, Merlin treats him as a person: “Why are you doing this? You’re killing innocent people!” No one who saw him as a mere beast acting on its true nature would ask a moral quandary of him. And in the end, this path leads to Kilgharrah being spared, and Camelot repeatedly being saved as a result.

Kilgharrah’s sincerity in his care for Merlin is consistent in later seasons, and is seen in more than just his rescues. In 4x02, he plainly urges Merlin not to sacrifice himself, despite the fact that Arthur’s life (and thus, Kilgharrah’s ultimate freedom) hangs in the balance.

Merlin: Arthur intends to sacrifice himself to heal the Veil. It is my destiny to protect him; you taught me that.

Kilgharrah: Merlin, you must not do this.

He shortly follows this with something we’ve known since Merlin mended the rift between them in 2x13:

Kilgharrah: From the moment I met you, I saw something that was invisible. Now, it is there for all to see […] It will be an empty world without you, young warlock.

Having failed to convince Merlin to let someone else be the sacrifice, Kilgharrah commends him. Not only that, Kilgharrah mourns him.

This is all to say that Kilgharrah’s actions in seasons 1 & 2 should not be the sole focal point for our judgment of him, when he undergoes such an extreme change of character. Furthermore, there is no reason to believe that Kilgharrah’s faith in the prophecies is anything but genuine. Alongside his newfound care for Merlin, his ultimate goal is his own freedom, and he believes that Arthur is the key to that.

Kilgharrah: We need Arthur to live […] Your destiny is to protect the young Pendragon until he claims his crown, and when he does, magic can be returned to the realm. Only then will I be free.

This logic is in line with what occurred in 5x13. Kilgharrah wouldn’t have said or done any of what he does in 1x13 if he did not believe that Arthur’s ascension to king would lead to his own freedom (even if it didn’t take immediate effect). Arthur’s place on the throne made room for an end to the wars, namely the one on magic. Kilgharrah did not make these prophecies up, nor is he the only one to believe in them. Alator and Finna possessed knowledge of the same prophecies, and both believed in Emrys’ vision/mission.

Kilgharrah had great knowledge himself, and tried to share that with Merlin to pave the best path, but he was not all-knowing, and he tells Merlin as much himself. Kilgharrah is merely a messenger, believer, and interpreter. So, he still believes the prophecy has come to pass, even if Arthur did end up dying anyways. The five kingdoms could now be united and magic restored to the land once the war was ended upon Morgana’s death. The prophecy was fulfilled within Arthur’s lifetime, despite the success of Arthur’s Bane. It did not go as Merlin expected, nor how Kilgharrah expected, but it still… went. This is what he means when he says, “No young man, no matter how great, can know his destiny.”

The idea that Kilgharrah simply played Merlin, when he was depending on Arthur as much as any creature of magic, and when he genuinely cared for Merlin as kin, is bad faith conjecture. How they got to the end point still mattered to him (i.e. Merlin must protect Arthur so that he has a chance to fulfill the prophecy), because that potential only existed through Arthur, and they all continued to suffer until that time came. Regardless of the age at which Arthur died, though, he was destined to fulfill these prophecies and return at Albion’s time of need. This, Kilgharrah knew. So is it any wonder that he maintained faith in it even after Arthur died? Especially after Arthur died, proving the prophecies true once again?

Kilgharrah: Merlin. There is nothing you can do.

Merlin: I've failed?

Kilgharrah: No, young warlock, for all that you have dreamt of building, has come to pass.

Merlin: I can't lose him! He's my friend!

Kilgharrah: Though no man, no matter how great, can know his destiny, some lives have been foretold. Merlin... Arthur is not just a King— he is the Once and Future King. Take heart, for when Albion's need is greatest, Arthur will rise again.

No, Kilgharrah did not predict the exact ending, but he did his best to help Merlin bring about the best possible outcome, and he said what he could to comfort Merlin when he was grieving Arthur. Kilgharrah was genuine, and his motives were in alignment with Merlin’s by the start of season 3.

[cryscendo]

oh, everybody said “anderson is a dreamer.”

blaine anderson + are you satisfied? by marina

[taylorvaughnsaidso]

So interesting, as an American I just had this conversation not too long ago with a friend from the UK - we were talking about the latest season of You and their depiction of classism of the UK vs US. To put in plainly she explained this exactly, what James is saying.

Michael Gambon seems a little out of touch with that perception if you ask me.

^^^^