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hypno-hues · 2 months

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Make yourself comfortable, and put on some quality headphones. Because you might be here a while.

Full HD version: Patreon

#hypnosis #loop #hypnotic #looping animation #seamless loop #spiral #hypnok1nk #blank trigger #blank mind trigger #hazy head #loop trap #finger snaps #induction #deepener #fractionation loop #audio

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bloodydeanwinchester · 2 months

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DESTIEL IN EVERY EPISODE → 5x17 99 problems

bonding over their deadbeat dads

#season 5 is all about destiel growing closer and deepening their bond #destieleveryepisode #spn 5x17 #destieledit #spnedit #cowboycoven #spn #destiel #dean winchester #castiel #altarofrowena

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redwinterroses · 2 years

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Grian: So we'll do that again because everyone failed at breathing--

[hermit laughter and indistinct bits of conversation.]

Grian: --so take a deep breath in... and out... [gently taps gong]

[moment of hermit silence]

Doc: Where's... my... diamonds.

Martyn: [aside] Is that the tone I leave a message after?

Ren: Just breathe, Doc.

Doc: It doesn't go away! I'm about to get TNT! I'm gonna get TNT... [suddenly shouting] I'M GONNA BLOW YOU ALL UP!

[hermit laughter, especially Cleo's]

#hermitcraft charity livestream #docm77 #tangotek #inthelittlewood #grian #rendog #hermitcraft #the diamond mystery deepens #super fast clip mode #edit: cleo has the diamonds. everything just got funnier.

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wisteriagoesvroom · 4 months

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so mark webber realised he was never good enough to win a WDC… when he met oscar.

what am i supposed to do with this info? be sane???

source

#the mark and oscar lore deepens #oscar piastri #mark Webber #f1 #i am perfectly normal about this #(i am not)#wiz.yaps

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bedazzlecunt · 6 months

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romanticize using your safeword. it's good to use your safeword when you need it. it's brave and strong and lovely and romantic and sweet to use your safeword. there is never a bad time to use your safeword if you need to — it doesn't matter if this is a scene or act you consented to in agonizing detail twenty minutes earlier, if you need to stop you can and should use your safword.

using your safeword means that you care about yourself and your partner enough to want to do this right, to avoid hurting either of you, and that care is the most important part of any kind of bdsm play. it shows that you trust your partner to hear you and yourself to know what you can take. you are not weak or bad or inadequate or pathetic or selfish for using your safeword. you are brave and good and right. anyone who makes you feel bad for safwording out a scene or punishment is not someone you should play with again. a good partner will hear you, stop the scene, comfort and praise you for your bravery and vulnerability, and make sure you're okay.

#wren speaking!#using your safeword when you need to will deepen your relationship with the right partner; not lessen it

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bywandandsword · 23 days

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So I was just told something interesting

You know how a lot of these big Victorian houses have seemingly useless railings around windows that are clearly not balconies? Come to find out these sorts of houses were built so that you could close off parts of the house from each other, like if you had guests or were hosting a party or something. But staff still needed to be able to get around so these windows would be large enough that staff could go out one window from one closed off section of the house to the other. It also gave the effect that guests rarely actually saw staff moving around doing day-to-day tasks. And apparently, a lot of these windows had hidden panels that swung out and make it look like the window wasn't there from inside the room When I heard that, I immediately thought about a lot of modern criticism of older novels books that feature wealthier protagonists, who talk about their isolation and loneliness. I've heard people discussing these protagonists say things like "How can you be lonely when you're surrounded by staff? It must be their sense of class that prevents them from seeing the staff as people who they can socialize with". That is absolutely at play, don't get me wrong. But with the windows in mind and the knowledge that one of the marks of a good staff at the time was to be as unseen as possible, I think it's completely possible that these protagonists, and the real people they represented, really DID feel that they were completely alone in their houses. Not only were all these social structures in place to keep them separate from everyone else in the house, but also these physical structures that further limited interaction. Because we no longer build houses like this and a lot of older surviving houses no longer have this feature, it's a bit of context that modern readers aren't aware of

I think it's really interesting, cause it gives a whole new context to these stories and social life in the period, and also makes me wonder about what other context that we're not aware of when looking at history or fiction from previous time periods that would re-frame our understandings of the event of those times

#Sword speaks #I love this shit I love it so much #it's like getting a new puzzle piece and seeing all the other places it could fit #to build out my understanding of the world #or like getting to glimpse the world through a different pair of eyes #and this is why I'm a social scientist because there are millions of different eyes to view life from #and every new perspective is fascinating and deepens my understanding of the world #and we live in such an interesting and beautiful world #idk I just *flails in anthropology*

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celluloidbroomcloset · 6 months

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Y'know, I was rewatching pieces of both Season 1 and Season 2 for an analysis I was considering, and it struck me that there is indeed a tonal shift between seasons (without it violating the development of the characters or the overall ethos of the show) as love and desire stop being marked by fantasy and become...real.

So much of Stede and Ed's early romance is framed with romance and fairytale tropes - the meet-cute/deus ex machina, the Prince and Pauper switch, the full moon "fine things" conversation, the break-up/divorce speech Stede gives the crew when Ed leaves with Jack, the casting of Izzy as the villainous complication and the English as the encroaching threat.

Then something shifts with "Act of Grace" and the kiss on the beach - the physical and emotional declaration that "this is real" between them. It stops being fantasy - it stops being Stede's fantasy, which was romantic and clean and largely sexless, and it stops being Ed's fantasy, which was to get to be a part of a different world and change what he thought was his fate - and becomes true. It becomes untidy and complicated, but deepens with every moment. There are hints of it building throughout the first season, but with the end of "Act of Grace" and "Wherever You Go," the fantasy falls away and leaves desire and heartache and hope.

Season 2 makes them messy and hurt and angry and so deeply joyful with each other. There's no more wealth and no more toy boat and no more full moons, but there is a dream that saves Ed's life, a kiss under a gibbous moon, passion born from pain and such intense love, and a home where neither thought a home could be.

The fantasy breaks, but pieces of it remain, and what's underneath is so much better.

#ofmd meta #ofmd season 2 #our flag means death #ofmd season 1 #gif #stede bonnet #edward teach #ed teach #rhys darby #taika waititi #gentlebeard #i dunno if that made sense #but there's such a beautiful shift that in no way undercuts what came before #just deepens it in a natural way #it actually pulls off what a lot of romantic comedies don't

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piosplayhouse · 1 month

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I know the shen yuan being a PIDW fanartist headcanon is already niche enough but since I've been listening to so much brony eurobeat I'm thinking... Fan musician Shen Yuan.. thinking well he might as well use the violin + piano skills from the lessons his parents made him take when he was a kid, plus all of the shitty character playlists with death metal and shit on the PIDW forums are so inaccurate to the story, clearly Binghe would have a much more elegant and refined sound to his character, and of course the lyrics to his character song would be similarly poetic and so romantic and

Yeah he ends up making the most crushingly beautiful romance ballad as a Binghe character song to post on the PIDW forums. And who's to say if it also ends up in his and binghe's wedding later down the line. There's no proof of that

#alternatively i think he would be into eurobeat #tho the adjusting to qjp does scream classically trained and of course being asian #either violin or piano or both.. maybe he also learns flute to make white lotus bunhe songs #i imagine his bunhe songs would be high and soft woodwind heavy eventually deepening out to strings as an adult #svsss #shen yuan #maybe he could also make eurobeat remixes kf these tho #a la original discord having crazy pipe organ instrumentals

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embracing-the-ineffable · 9 months

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Ineffable discontinuity and the Bentley's roadtrip transformation: new back doors and other changes (after it was yellow), and Crowley... didn't notice?!*

*Also, as a side observation, did he leave the Bentley window open during the ball and everything that happened after? Why?

Have you been longing to be even more perplexed by the ineffable discontinuity of Good Omens season 2? Do you love endless data in the form of screencaps? If so, then please join me on this wild ride! Here are some highlights:

Top photos: Season 1, episode 6, after Adam reboots reality; S2e2, before Aziraphale's e3 road trip. The Bentley is a gray and black 2-tone car with 2 doors (only 1 handle is visible on each side).

And on the bottom is s2e5, while Crowley is driving, it's a solid black car with 4 doors and smaller silver hubcaps.

(edit: For those of you thinking about the different Bentley models used in s1 vs s2 (discussed in detail below), or the difference between the full car and half car set, just those three full car pictures above demonstrate that the new s2 Bentley model is NOT the reason for this mid-season shift. For more details about the half car set plus other ways to tell the Bentleys apart - without talking about color - see my newer post with handy diagrams, here.)

And the s2 interior?

Here's e1, after Crowley talks to Shax, and e3, as Aziraphale arrives in Edinburgh (which is also when the Bentley debuts as a 4-door). And look at this blocking - how both characters are posed so similarly with their backs to us in these shots!! It's so deliberate! :

And look at the seats! In e2, Crowley is talking to Shax again, and in e5, Crowley just parked the Bentley before the ball:

When Crowley, who is so tuned in that he senses the car is yellow and driving too slow even from a distance, sees the "new" Bentley in e4, he doesn't act as though anything has changed, he just happily and purposefully walks up and opens the back door that was never there to put his plants inside.

THE BACK DOOR THAT WAS NEVER THERE

For that matter, Crowley and Aziraphale both seem to be unaware of the changes! This feels like both a metaphor and a functional plot device for season 3. There's more discussion at the end of this post!

Thanks to comments and observations awhile back from @bbbitchvibbbez , I did some careful searching for s2 scenes featuring the Bentley, and this post is the labor of love and irrational obsession result!

If you want to see lots more Bentley screencaps and discussion, including Crowley nonchalantly using the new back door, and possibly also leaving the Bentley window open during the ball and everything that followed, please keep reading:

Some background and context:

Ok, so there was a different Bentley "actor" for s2. The s1 actor was a 2-door, the s2 actor is a 4-door. If you look carefully, you'll see that in s1 the backseat side windows are smaller than the front side windows. In s2, they're the same size. I talk more about the windows - with handy diagrams! - in my newer Bentley post, here.

There's also been some controversy about the interior color of the s2 Bentley, black vs brown, and how that could relate to the s2 body swap theory; here are details about that from @lonicera-caprifolium and @picturesque-about-it. I don't think my findings support (or disprove) that theory, but take a look at what I found and see what you think!

(*Please don't ask Neil about any of this, he's already given us the answers he wants to give, and he's not going to spoil the surprises in s3 now by telling us what's really going on!*)

Here's the episode/scene breakdown:

S2e1 on the street with Shax - gray, two toned, two doors (one visible door handle on a side), brown interior - both the seats and the inside panel of the door. Notice how the door is hinged at the back, and opens opposite the way most modern cars do (this is called a suicide door):

More s2e1 photos, the Bentley is in a lot of scenes this episode and as far as I can tell it stays the same gray 2-door for the whole episode, but it's frequently in dark lighting to make it harder to tell it isn't actually black (I've brightened most of these shots). It also has larger silver hubcaps, and I notice consistent brown seats (these interior pics are from three different scenes):

In s2e2, the Bentley is only in two scenes, and it's the same as s2e1. Now, you can see in the larger photo below that it's obviously not the SAME as s1 - the backseat side windows are too long - but the production team DID try to make the new Bentley "actor" look the same as in season 1. It's a gray 2-tone car with 2 doors (1 handle visible on each side) with larger silver hubcaps. As an aside, what's with the red lights on the car in this shot?? I mean, yes, it's a reflection of another car's brake lights, but why put that onscreen?

Also, in case it's relevant, Crowley is wearing his turtleneck throughout this episode, and still has the silver-sided glasses from e1:

Ok, now we have s2e3, and as Crowley meets Muriel and gives Aziraphale his car keys, we see he's no longer wearing the turtleneck, AND this is when his glasses change to black-sided ones:

Outside, we see the Bentley looks the same as the rest of s2 thus far, as Aziraphale sets off for Edinburgh. Gray 2-tone, brown interior (with window bullet hole decals very visible), with larger silver hubcaps. There's only one handle visible, so it's still meant to look like a 2-door:

Ok, here's where things start to change! Azi is driving and the Bentley is yellow. The seats might (?) be black, there's still only one door handle on the side, the silver hubcaps are still larger. But when he "changes it back", NOW it's black:

And by the time he pulls into Edinburgh, Transformation Complete. (Did Something Else Happen?? Or is this an effect of Aziraphale finally being welcome to take care of this extension of Crowley? More speculation at the end!) It's a black 4-door, two handles clearly visible on the side, with smaller silver hubcaps:

And the interior? The door panel, at least, is black now - and it has a texture that wasn't there when it was brown. Here's e1 next to e3 (and appreciate, again, this very intentional parallel blocking of the two actors!):

In s2e4, we see the Bentley in two scenes; at the beginning when Aziraphale meets Shax-as-hitchhiker, where we see the bullet holes and the black door lining, and at the end when the Bentley is reunited with Crowley:

When Aziraphale parks the Bentley back at the bookshop, we see the bullet hole decals and that it's still a black 4-door:

So he goes to meet Crowley, they come back with the plants. We can see that the camera is to the rear of the car, and the front of the car is to their left. They're standing on the left side of the car. If Crowley opens the door, we won't see the interior door panel, right? Because the Bentley doors are hinged on the back, instead of the front, so the door will open towards us:

WELL. Mx "I can feel when you drive below the speed limit" and "change it back!" Crowley very eagerly walks up to the BLACK car, greets it with some sweet baby talk, and then opens the suddenly-existing BACK door with a hinge on the front (so it opens away from us) as if this is All Perfectly Normal, and we can (barely) see the door lining and it's BLACK and textured:

A few more shots of Crowley, standing at the brand-new back door of the Bentley, still wearing those black-sided glasses:

And in case you're wondering, in s1e2 when Anathema gets a ride in the Bentley, she climbs into the backseat from the front driver door, and she climbs out through the front passenger door. There wasn't a back door on either side. Here she climbs into the Bentley, and you can see Crowley fold down the front seat, and there's clearly only one door on that side, and it's hinged at the back. (When she gets out on the passenger side, it's harder to see, but you can tell that door is also hinged at the back.) :

In s2e5, Crowley drives the Bentley to the bookshop, and then we only catch a few small glimpses of it while Aziraphale is recruiting shopkeepers to the meeting/ball. Here's Crowley driving the black 4-door Bentley with small silver hubcaps, and here he is getting out of the car with black seats. The front door is still hinged at the back, as it always has been. The window is open - his hand is reaching through to open the door - so we can't see the bullet hole decals:

The next time we see more than a hint of the Bentley, it's the end of s2e6 and Crowley is standing next to it, watching Azi leave with the Metatron. It's still black, with 4 doors and black seats and smaller hubcaps. We don't see the bullet hole decals, but perhaps the window is still open from when he parked it in e5? (And WHY would he leave the window open? Was someone supposed to come by after he parked it to deliver something to the Bentley, or take something out?) Emotional photos ahead:

I over exposed that last picture, to make the colors really easy to pick out. The seats are absolutely, definitely black.

So... what does it mean? Why did it happen, and why didn't Crowley notice or react?

I love the metaphor that Aziraphale subconsciously created a back door for - or into - Crowley, especially with all those references to the "back channels" of communication between heaven and hell. I'm thinking it could represent - or actually be - another way for them to communicate, or like another entrance to his heart; it's something that Aziraphale doesn't realize he changed or added and that Crowley hasn't noticed yet either, even if he's making use of those changes on some level. I'm sure other metaphors could also fit!

And I'm reminded of something @theeminentlyimpractical said, "Crowley, despite his whining, fully accepts the idea of "our car," which fundamentally transforms the Bentley". That post was liked by Neil, so there could definitely be something to this "our car" transformation line of thinking.

So, was the transformation a subconscious effect of Aziraphale finally being welcome by Crowley to drive the Bentley, and caring for and taking responsibility for this part of Crowley? Or did Aziraphale consciously do this, or did Crowley? Or maybe the Bentley is sentient, and it chose to be bigger/different now, to accommodate both of them. Or did the change happen in response to Something Else We Didn't See?

Is Crowley's (and Aziraphale's) apparent non-reaction another example of an unreliable narrator or some memory tampering? Is manipulation of the Book of Life involved? Are there multiple timelines? Is someone time traveling? Or is it just that Aziraphale and Crowley already discussed the changes off screen, before Aziraphale left Edinburgh?

If Crowley noticed the changes, I would have expected a comment about them. Either, "change it back!" or a reluctant, "those are changes I can live with", or... Something. But instead, the production team went to some trouble to make sure the hints are there, but hard to spot (you can review the similar, careful s1 hints about the appearance swap here, from @fuckyeahgoodomens); as opposed to, for one example, the way they very clearly pointed out Maggie's mysterious spelling mistake, both on screen and in the dialogue. So I feel reasonably certain the Bentley's transformation is a careful, subtle hint about a Secret Something Important That Will Be Revealed In Season 3. I think it's both a metaphor and a plot device*.

What are some of your favorite metaphors? Your most reasonable theories? What about some of your biggest, wildest, most improbable theories?

*And if you enjoy Good Omens metas, theories, clues, etc, I have a big pinned collection of those from the fandom, here!

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