who are you to say that that girl i met tonight- the girl i was supposed to meet tonight- wasn’t the girl of my dreams?

man up (2015) written by tess morris

Monster on the Campus (1958)

Percy Jackson and The Titan's Curse- Rick Riordan // Doctor Who S1 Ep9: The Empty Child // Anne Carson: An Oresteia- Sophokles: Elektra // A Series of Unfortunate Events: The Vile Village- Lemony Snicket // James Coates // Song of The Insensible- Andrew Kozma // Percy Jackson and The Titan's Curse- Rick Riordan

College AU where Mike was supposed to room with Dustin but shenanigans ensue and he ends up rooming with Will and they do not get along. Will thinks Mike is messy, Mike Hates Will's music but they're both trying to make the best of it. (Don't worry they're going to kiss kiss fall in love)

Meanwhile, Max lives with Dustin and Lucas because the school messed up and thought she was a boy. And the three of them are getting into absolute hijinks while trying to hide the fact that Max shouldn't be in that room.

AND IN THE BACKGROUND, Nancy is the editor of the school paper and has been in a secret relationship with Jonathan for like two years so they could avoid nepotism allegations. 

But wait where's El? You ask. Simple she's in the other dorm with a similar name wondering why her roommate never showed up and rushing the sorority Chrissy's in. (Or she's living in Jonathan and Argyle's apartment and in on the nepo baby secret)

Jancy Titanic Au. This has been an idea cooking in my head for the past week. I have a lot more ideas for this that I’m going to try and make more art for but in the mean time, have this!

I know Artful Dodger is based on the original Charles Dickens’ Oliver rather than the musical, but am slightly obsessed with the idea of Jack holding Belle and gently, absentmindedly humming “I’d do anything for you, dear”

Okay, but don’t tell me this crossover couldn’t have happened.

I never understood why people hate on Amber and Richie's motive when it's far from the worst in the franchise, in my opinion. So here's a little rant of my opinions on all Ghostface motives. Billy Loomis: his motive literally makes no sense to me but because he's one of the original Ghostfaces, everyone puts him on a pedestal. He kills Maureen because she's sleeping with his father, Hank, causing his mother, Nancy, to leave them. Makes sense, he could have stopped there. Instead he targets Sidney for literally nothing. Just simply because she's the daughter of the woman who broke up his family. It would have made more sense to go after Sidney while Maureen was still alive to make her suffer before killing her. Therefore, making his motive one of the dumbest in the franchise for me.

Stu Macher: his motive is simple yet affective; he has none, or at least as far as we know. Most real life murderers probably don't have much of a motive either so while it's realistic it's not exactly the most creative motive but really, how creative can you really get? There's only so many reasons to want to kill someone especially when the main target is the same unproblematic person just trying to live her life in peace.

Mickey Altieri: I love Mickey but he has one of the dumbest motives in the franchise and no one says shit. He literally just wants to get caught and blame the movies. Nancy did the right thing shooting him.

Nancy Loomis: one of the better motives, as Nancy herself says, good old fashion revenge. It's the first time in the franchise that the motive is revenge (no, I don't count Billy's motive as revenge. Maybe when it came to Maureen but not Sidney) so it's a fresh motive in these movies.

Roman Bridger: another motive I particularly like. I think of his motive less revenge and more resentment. No motive is good enough to kill but his is one of the ones where you could understand how someone who's mentally unstable could snap. Being abandoned by your mother just for her to have another child she loves and cares for and then turns you away once you try to reunite with her? I'd be upset too. I mean...not enough to kill but you get my point.

Charlie Walker: another dumb motive that no one talks about. As a matter of fact, does he even have one? We know he's a "Stab" fanatic and a simp for Jill so what I get from this is he was easy to persuade because he was already a fan of the movies and a horny teenage boy. I don't think he could've given a fuck less if he got famous from it.

Jill Roberts: her motive is one of the best and aged like fine wine. In the world we live in today, some people would quite literally kill to be famous. I know some people have complaints about it but it's really not that farfetched, people are mad crazy these days and kill for the stupidest reasons.

Amber Freeman: like Charlie, I don't know if we really get a motive for Amber. Richie seems so much more passionate about the "Stab" movies and their killing spree becoming a movie then she does (he literally doesn't shut up about it and barely lets Amber give her motive or intentions.) What I got from watching the movie was that Amber was a fan of horror movies in general (she very clearly likes "Psycho," "Halloween" and "Friday The 13th") but she claims she's been obsessed ever since her parents bought Stu Macher's house, where the first murder spree took place, implying she didn't care as much before moving in. She also says her and Richie had similar ideas, not the same. I think her motive was more like Stu's and was to just kill for the fun of it. If her and Richie's motives were in fact the same, it's still a decent motive and original compared to the Ghostfaces before. If her motive was similar to Stu's, it's still a decent motive just unoriginal.

Richie Kirsch: his motive is a lot more crystal clear than Amber's. As I already mentioned above, he doesn't shut up about it. He hated the recent "Stab" movie and thought creating a new killing spree would provide new source material to make a better movie than the last. Considering how upset people in the "Scream" fandom got about this movie (and how other fandoms get with their respective franchises) just proves that his motive isn't that dumb. I honestly wouldn't be surprised if something like this happened in real life, especially when you take into consideration that these movies inspired real life murders already.

Jason Carvey: his motive wasn't great but it wasn't terrible. He was just another fanatic (which is repetitive of the last movie) wanting to continue "Richie's film" (fuck Amber, I guess...I hate how this movie down played her when she carried Richie) but since he was an opening kill, his motive probably wasn't meant to be all that great. Had he gotten further with his plan though, I wouldn't have hated it. PS: if you were expecting a Greg Bruckner paragraph, sorry but his bitch ass was killed before the plan was meant to be put into motion so therefore, he wasn't officially a Ghostface in my eyes. His motive would have been the same as Jason's anyway, as far as we know.

Wayne Bailey, Ethan Landry and Quinn Bailey: I'm going to include them all in one paragraph since their motives are all the same: good old fashion revenge. As Richie's father, brother and sister their only goal was to seek revenge on anyone who was involved in Richie's death. Nothing suggests that any of them had any additional motives. The motive itself is fine, I literally mentioned it was one of the better ones in my Nancy paragraph. The only problem I have with it is now it's become repetitive and unoriginal. It's basically just a knockoff of "Scream 2" with an extra killer. From my point of view, it's the only movie that straight up reuses a motive. To summarize: pansy ass mama's boy who's sad she abandoned him, psycho who was peer pressured, psycho who wants to get caught and taken to trial, mother seeking revenge, son who was abandoned by his mother and has resentment against his sister, simp horror fan, psycho who wants fame, horror fans who want a better installment in their favorite franchise, horror fans who want to continue the last Ghostfaces plans for a better installment in their favorite franchise and a family seeking revenge; notice how only one of these are almost exactly the same to another. (I guess Billy and Roman's could be categized as similar, being abandoned by their mothers, but they're different enough for me and Roman's motive was better and made more sense. Amber and Richie have the same or at least similar motive but because their partners in the same movie I'll allow it. Jason and Gregg's motive was meant to continue what Amber and Richie sought out to do but they were opening kills so their motive was kind of a throwaway and irrelevant anyway.)

Wayward Children memes I made a bit ago while ago while reading the books!

Happy belated 80th birthday to my favourite guitar player. <3

A sequel to this post.

George Harrison: You need Eric Clapton.

John Lennon: No, you need George Harrison.

"He showed me a lot of things on the guitar. George was a really great guitar player. He just didn't think he was. He told me that he almost quit one time because he couldn't play as well as Eric. He said that Eric just had this feel and touch. George really wanted to play like that and told me so, many times. But who wouldn't?" - Bobby Whitlock (Derek and the Dominoes)

“[George is] a great guitar player. When he strikes up on the slide there’s nobody better; his precision, his vibrato is perfect. But he always plays it down.” - Jeff Lynne (ELO, Traveling Wilburys)

"I had heard George's playing on the records, but I hadn't seen him play before I saw A Hard Day's Night. I picked up some tips from him, like playing the G-string up and down the neck for lead guitar because it gave more punch to the lead line. And of course he played the Rickenbacker 12-string and that was a big influence on me, but I even liked to watch his Gretsch playing. He did a lot of barre chords -- John and George used barre chords almost exclusively, whereas coming from the folk tradition I used lots of open chords. With The Searchers and The Seekers, you could hear some of that 12-string out there, but primarily it was The Beatles. I know George influenced us a lot." - Roger McGuinn (The Byrds)

“The innovations in guitar technology he brought to The Beatles were just amazing. He defined what we now know as this classic Rickenbacker 12-string sound. He laid the groundwork for me. And it’s utterly definitive. Nobody had used that volume-pedal technique before ‘I Need You’ […] But you can’t beat ‘Ticket To Ride’. It’s futuristic guitar, even before Hendrix came on the scene. It still sounds like a modern guitar part now." - Johnny Marr (The Smiths)

"I met George during the session Cream did for Badge, and I was very impressed with his playing [under the pseudonym L’Angelo Mysterioso]. I took it for granted that people like McCartney and Lennon were brilliant but didn’t really analyse it. But when you actually play with George you could see what an amazing guitar player he was, doing things that I hadn’t even thought of." - Jack Bruce (Cream)

"Me personally, I worshipped guitar players like George Harrison, who was this melodic part of the Beatles sound and he seemed like he served the song more than his own ego of how many notes per second he could play. I really appreciated that." - Vicki Peterson (The Bangles)

"I love George Harrison so much because [of] the way he would construct a little kind of solo within the song which would be part of the song. So from him I learned about melody […] George Harrison would create a little masterpiece in 8 bars in the middle of Hard Day's Night for example. It's a perfect example of that where he would do something that no other guitarist in the world would think of. He'd put this little lick in. It would have some little fast bits in it, and it would be so outside what you'd imagine the solo of that song to be. Later on I got to know George very well. We became very good friends at one time, and he could do things that no one else could do, and his slide playing was amazing because he used to have very strong Eastern influences from his days with Ravi Shankar and doing the meditation and everything. Just to be around someone like that you learn so much. He really was a giant in the music world for me, very sadly missed." - Gary Moore

"George’s guitar playing was just perfect. In those days we didn’t jam and get to the middle of a song and just play any old thing (laughs); we would have rehearsals and you’d kind of figure out what the part would be so from then on, when you played that song, that was the solo. He was that sort of guitar player and I learned that and I really liked that ‘cause that’s what I was thinking most of the time." - John Fogerty (Creedence Clearwater Revival)

"To see George Harrison there [on the Ed Sullivan Show], standing off to the side, looking down at his guitar while he played his licks -- to my impressionable mind it defined what a lead guitarist was. I knew right then what I wanted to do with my life: I wanted to be like the guy in the middle -- the guy looking down at his guitar and playing all the little fills and solos. Harrison taught me about short solos and hooks, and what a hook is. All those mid-Sixties Beatles tracks -- whether it was 'Day Tripper' or 'Ticket to Ride' or whatever -- they all start with a guitar lick that you wait to come around again in the chorus. That’s where I learned to do that." - Elliot Easton (The Cars)

“His chords were sometimes more a cluster of notes that, to my ears, are beautifully dissonant. The turnaround lick over the last chord in the chorus of the Beatles’ ‘Help’ functions on many levels. It’s such an innovative use of the open G and B strings ringing out, while a minor 3rd shape chromatically descends below it.” - Brian Bell (Weezer)

"I modeled myself after George Harrison a lot in the early days; solos you could sing along with. To this day, that's my approach, and I teach it as a guide at IMA's Rock 'n Roll Girl's Camps." - June Millington (Fanny)

“George was responsible for perhaps the most romantic guitar solo of all time when he recorded Something. It’s arguably among the most gorgeous and expressive solos in any song.” - Nancy Wilson (Heart)

“The solo [from the album version of Let It Be] -- the way his lick comes in after the keyboard breakdown strikes the perfect emotion and uplift for the track. I’ve ripped it off a million times, and will probably rip it off a million more before I’m through. The tone is perfectly gritty but without a safety net and mixed way on top of the tune, warts and all. Love it.” - Chris Shiflett (Foo Fighters)

"I was into Harrison. He's an amazing guitar player. Songwriter too." - Jim Root (Slipknot)

“I feel like the music world mostly thinks of George Harrison as the phenomenal songwriter that he was, but I think he’s really underrated as a tone innovator. I remember reading a GW article [January 2014] about I’m Only Sleeping and how George got this crazy tone by writing the solo, learning it backward and then recording it with the tape running back to front, resulting in the initial solo he had written with this insane, surreal effect. It’s so interesting to think about what that process would have been like, getting those tones in a completely analog studio setting.” - Nita Strauss

“As a guitarist, I've always loved George Harrison. I've never been a fan of the rock'n'roll style, or the solos, etc. I like simple things. When Harrison does a solo, it doesn't sound like a solo, it's just his part, it's never a show of virtuosity. I don't like sham.” - Alex Scally (Beach House)

“The mix [in Savoy Truffle] is all about a trip to the dentist’s office. The guitar tone -- most likely run through a fuzz pedal -- sounds like a drill. The bending, stabbing notes during the lyrics, ‘But you’ll have to get them all pulled out’ really gets the image of a dentist’s drill across vividly. I borrowed those bending, stabbing notes from him and have no intention of returning them anytime soon. The phrasing is total Harrison -- even with the fuzz, you can tell it’s him. He does have that ‘George Harrison sound’ as well, but to identify a guitar player with phrasing is rare.” - Joey Santiago (Pixies)

“Till There Was You shows George’s vast range of playing in 1963. He has lovely phrasing, uses diminished notes –- and there’s a fantastic use of the Gretsch tremolo arm before a fabulous run into the middle eight. [GW Editor’s note: Although he used a nylon-string guitar on the studio recording, Harrison often performed the song with an electric guitar.] To my young ears, this was masterful guitar playing." - Bernie Marsden (Whitesnake)

“No one changed the face of guitar more than George, in my opinion.” - Steve Lukather (Toto)

“He gives [Dig a Pony] space where it’s needed and doesn’t clutter the sound or detract from the lead vocal. This is definitely something we could all learn from him. His choice of notes adds a sense of melancholy to the song, lifting it above what could otherwise have been a bit of a throw-away number. Lennon would later refer to the song as ‘garbage,’ but for me, Harrison’s class makes it an underrated gem. Watching the footage, we get an insight into George’s excellent technique throughout the song; expertly switching between flat-picking, hybrid picking and straight finger picking to accent the lead lines and add texture to his parts. There’s a great shot where you can see him with his pick palmed while playing with his fingers, followed by a quick adjustment of the volume and tone controls, before swiftly returning the pick for some flatpicking. It’s skillfully done and impressive to watch.” - Kevin Starrs (Uncle Acid and the Deadbeats)

“I mean he was one of the first guys to really play melodic slide because most guys that play, they want to play blues, you know? Which is great, but George from My Sweet Lord on, he would play really melodic. I love the way he played, and he was really kind to me. He was very supportive, and he told me several times that he liked the way I played slide too, so I’m greatly indebted to George.” - Mike Campbell (Tom Petty and the Heartbreakers)

'My impression of George when I first met him was that he wasn’t really extremely confident, didn’t understand what all the fuss was about and felt like maybe people were mistaking him, or making a mistake, or seeing something that wasn’t there. That was the feeling I got from him. Everyone was into hot licks, but he didn’t have any. So I feel he didn’t have a glimpse of how really wonderful a musician he was…He was very conscious that he couldn’t read music and that he couldn’t play searing solos off the top of his head. What he could do was worth more to me. He was a beautiful musician, extremely musical. The 'Moonlight Sonata' is a very simple thing to play on the piano, but it’s beautiful. And beauty is not about technique." - David Bromberg

Something's Gotta Give (2003)

Director: Nancy Meyers

Cinematographer: Michael Ballhaus

The holiday, 2006

regarding my folklore event

thank you to everyone who participated in the polls! here is the finalized order that the “tracks” will be written in.

due to high demand (you don’t need to sell your soul hehe), i switched the ordering of exile and august. :)

ADD YOURSELF TO THE FOLKLORE TAGLIST!

1. betty – jack champion

2. peace – steve harrington

3. august – regulus black

4. my tears ricochet – peter parker

5. the last great american dynasty – timothée chalamet

6. illicit affairs – sapnap

7. epiphany – stiles stilinski

8. the 1 – bellamy blake

9. this is me trying - dylan o'brien

10. exile – regulus black

11. hoax – steve harrington

12. seven – nancy wheeler

13. cardigan – karl jacobs

14. the lakes – timothée chalamet

15. mad woman – thomas (TMR)

16. invisible string – dream

17. mirrorball – georgenotfound

I'm not trying to be contrary but I'm genuinely curious why you think Jack would be jealous of Claire rather than follow her around like a lost puppy.

I mean, he might try to be friends at first. Jack likes to style himself as a polite, young fellow, after all. Plus, he appears to be uncomfortable about Jimmy Novak, if you go by the script outlines. There'd be guilt mixed up with everything, too. He has his dad because she lost hers. Claire is someone he'd instantly want to protect.

But Claire is mean as a fuckin' snake, and Jack's feelings aren't iron-clad. He also can tend to get snipey and sassy when pressed, especially if he thinks Claire is doing something dangerous.

For her part, Claire doesn't want to be protected. She wants to show off and be the superior hunter, which of course gets her into trouble.

And well. Jack's never really had to share Cas before. Not like that. I don't know if he'll understand at first why he's so uncomfortable, but he definitely will be.

///

Maybe you're right that you'd need one of those serpent tongues around to voice the most uncharitable interpretations of events, in true SPN fashion. This way, Jack's fears and jealousy can get riled up more properly (Claire, on the other hand, doesn't need any help getting riled up).

Instead of a demon or villain of the week to be the mouthpiece, I'd choose Dark Kaia. I mean, Dark Kaia is ruthless and cunning and blunt and cruel...and she tried to skewer Claire. Plus...

REGULAR KAIA IN HER DEBUT: I mean, you picked the wrong bait. I'm not the kind of girl folks come for. In this world, I don't even rank a milk carton. No one is gonna come for me. I'm not white, rich, blonde. No one's gonna fight for me. I don't matter.

Still, regular Kaia fell in love with Claire, even though she was milk-carton gorgeous. But Dark Kaia tried to kill Claire, because Claire was the thing taking her twin from her.

We also understand that Dark Kaia is jealous of Kaia for even having a Claire in the first place, just like she admits to being jealous of her world.

In 15x12, Dark Kaia too sees a beautiful, Claire-like face in a magazine and angrily shoves it across the table. Like regular Kaia, she seems to have hang-ups about the sort of person society seems to "instantly care about."

All that to say, she'd totally be the voice in Jack's ear pointing out the contrasts between how Claire is treated versus how Jack is treated. Look how soft they all are on Claire, how precious she is, how they protect her, etc. etc.

Sorry, that wasn't really your question, was it. The real answer is...because I like the flavor.

Claire is jealous because TFW gives Jack more responsibility; Jack is jealous because they give her less.

It's spicy.

ADDENDUM: If she'd been an active player in the plot, Claire would absolutely volunteer to "Kill Jack Kline...so Cas, Dean, and Sam don't have to." Dark Kaia would agree, and regular Kaia would be looking for a way to save him. If Jack killed Claire, that might be the thing that motivates Cas to act more visibly out of character, similar to how Mary's death pushed Sam and Dean to the brink.

btw: Lucas, Dustin, Steve, Will, El, Mike, Mom, Dad, Granny, Uncle Jack, Billy.

Max wrote eleven letters :)