I want a story about Brooklyn residents and their POV after Steve moves back and is an Avenger and fighting and then coming home to Brooklyn and everyone simultaneously unphased and blasé but also alternately super protective and proud of their hometown hero.

And like Steve is just there and he’s a neighbor and a helper and a participant in block parties and spaghetti dinner fundraisers and checks in on the elderly and carries boxes and furniture for people and helps with neighborhood watch and teaches self defense classes and speaks at the schools.

And when he’s fighting and the fighting comes to Brooklyn or people are targeting Cap and everyone is like out on the street with baseball bats and yelling and being super protective and Steve is just like what are you doing are you out of your minds go back into your homes and stay safe and the people of Brooklyn are like fuck no, we are going to help you whether you like it or not. This is our home and you’re OUR kid. Brooklyn born and bred, that shit doesn’t leave you. And you’re not leaving US again.


#this makes me so happy #because then Bucky’s back right? #cripes you think they’re protective of Steve #imagine the collective wrath of Brooklyn whenever someone starts trying to paint Bucky Barnes as a Bad Guy (tm) #like a radio show is talking shi t#and suddenly they are just swamped with calls from angry Brooklyn folks #wanting to know if they like having front teeth (via bonesbuckleup)


soooo the first time bucky goes on a mission that fucks up his arm and he ends up in the hospital while tony takes a look at it elsewhere do you think steve rushes into the hospital room and bucky’s just like, ‘woah. woah. it’s okay. i’m alright.’

and steve looks at him for a second because he’s covered in bandages like a haphazard mummy and there are bruises and scrapes everywhere and there’s no way bucky is anything close to alright unless… and then he narrows his eyes

and then bucky says, ’i’m alright. all right… get it?’ and then just sits there giggling to himself

Marathoning ‘Orange is the New Black’ and I really like it. I’m on the penultimate episode of series 1 right now. The only weird thing is that I haven’t seen or heard the word ‘bisexual’ used once. Which is weird when this show is being pretty cool and informing and non-judgemental about the L, G, and T from LGBT.






In our society today girls feel that they need to be skinny in order to find love.  Fact is, your true love is gonna love you no matter what.  If he cares about the size of your thighs more then the size of your heart…drop him my darlings as no man should make you feel bad about your size if he truly loves you <3

Reblog. Every. Single. Time.

This is so perfect and beautiful and wonderful

I haven’t seen this movie, but I heard it was not good. Can anyone confirm? I might give it a shot.

I liked it, but it wasn’t good in that it’s going to give you warm fuzzies and be perfect and everyone is kind and gentle and never terrible.

Essentially the plot is this: a group of four old friends (from high school I think) reunite for rebel Wilson’s wedding. She is the only one who has her life together, the others are incredibly fucked up in their own way. Dunst is a control freak with bulimia, Lizzy caplan is an underemployed drunk, Isla Fischer is an aged out party girl, and although they’re all ostensibly friends, they’ve all got sour grapes that Wilson has the hot man and the good job and all that shit. So after ruining her low key bachelorette party with through their various self-centered and self-destructive behaviors, she goes to bed and they get drunk and make fun of her for being fat by trying to fit both dunst and caplan in her wedding dress at the same time. Of course, they fucking rip it.

So now they have like, 9 hours to find a way to repair the damage and save the wedding. But it’s more than just the dress that needs repairing…it’s themselves and their friendships. (Yeah I made that super hokey on purpose)

Essentially, it’s not a great film if you want a great message from start to finish, though it tries at certain moments like this one, but I think it’s strong character-wise, showing that malicious actions against other people stem from malicious feelings about ourselves, and how female freidnships are fraught with complex contradictions. It felt a lot like an ensemble Young Adult, but actually comedic.

Idk if I would rec it for you, because the dress scene is really mean spirited and hard to watch, but the film itself definitely does not endorse their behavior or reinforce the idea that rebel doesn’t deserve her happiness. It’s more about how the other characters are unhappy and why.

I’m so happy to see this gif set reblogged with an actual description of the film. 


Everything is Steve’s fault. Literally everything.

  • The fact that Kate calls Bucky gramps
  • The fact that Eli calls him mom
  • Everything Billy does, ever
  • Teddy’s obsession with Bucky Bear and the subsequent places he hides said bear
  • Thanksgiving, both times
  • That thing with Jon Stewart

There’s a whole lot more Bucky holds Steve responsible for up to and including Bucky having to attend America’s Parent Teacher conference - something her super powered time traveling lesbian moms still hold over his head.

It’s a pattern. Steve has them all fooled with his ‘aw shucks’ and his ‘I’m adorable let’s play pranks on Bucky it’ll be fun’ eyelash batting. And fine, Bucky gets it. He’s the grumpy one who tells them to do their homework and brush their teeth and no, Kate, Clint Barton is not an appropriate chaperone for your high school dance…he gets it. Someone has to be the bad guy and he has extensive experience there. 

So when he and Steve fight - and it’s a big fight, one of the biggest they’ve ever had - he fully expects the kids to take Steve’s side. They are teenagers: picking sides is to be expected, and Steve is the favorite, he’s sure of it. He doesn’t mind. He doesn’t.

Okay, he minds. They’re an impossible bunch of brats and they drive him crazy on a good day, but they’re his responsibility and he cares for them. He really cares for them. 

But he knows he’s someone they tolerate more than they like. He’s prepared to lose them to Steve over this, even if it’s just temporary.

And it is temporary. Steve caves first because he’s genuinely incapable of functioning like a rational person until they make up, and that’s fine because he was 100% in the wrong. 95%. 80% at the very least.

What Bucky isn’t prepared for is the wall of teenagers that suddenly place themselves between Steve and the spot where Bucky is decimating one of Stark’s supposedly ‘unbreakable’ sparring dummies.

"I think you should come back later," Billy says firmly.

"Much later," Teddy adds, slightly less firmly - his hero worship for Steve is so extreme it’s a miracle he’s saying anything at all.

"And you better bring flowers-" America adds.

"Bucky doesn’t like-" Steve protests.

"Did I stutter? Flowers. And chocolate."

"I brought chocolate!" Steve says hopefully, holding up a slab of Bucky’s favorite. America snatches it from his hand.

"That’s a downpayment."

"I’m not going to get to talk to him tonight, am I?" Steve sighs. Bucky’s doing his best to ignore him. He really doesn’t want to talk to Steve yet and he’s okay enough with his head right now to know that’s alright, it’s allowed. He can be mad if he wants to. He can make Steve bring him flowers if…christ, it’s no wonder Eli calls him mom….

"Come back tomorrow," Kate tells Steve. "We’ll reassess your case."

Bucky half expects Steve to argue but he doesn’t. He says, “Look after him for me?” and leaves. Bucky’s stopped beating on the dummy and there is silence for a moment until Teddy moans, “Oh my god, I just yelled at Captain America.”

The Bucky looks up and he’s surrounded by several very young, very serious faces.

"We’re gonna hug you now, okay?" Kate says, phrasing it in a way that suggests he has no say in the option, but from Kate it means quite the opposite. She gets just as twitchy with casual touching as he can some days.

He has a split second to respond before several arms are flung around him and he’s buried at the bottom of a pile of teenagers.

"I yelled at Captain America for you," Teddy tells him. "That officially makes you the favorite."

"Right," Bucky says, not really in a position to hug anyone back and just sort of going with it. "Okay."

"We love you most," Kate adds.

"We’ll love you more if you let us have pizza," America finishes.

"You had pizza yesterday," Bucky’s squashed between her and Teddy and he’s really glad they are both checking their strength. 

"Boo!" America moans. "How about ice cream?"

Bucky thinks about it for a second and soaks up the unabashed love radiating from the pile of bodies he’s buried under. “Ice cream would be okay.”


NOTE: This is my “for very beginners” screenwriter list.  For people who maybe haven’t even written a screenplay before. Or are on screenplay #2 or 3. So this will be basic.  Any more in depth questions, put in my ask box and I will attempt to get to them.

Almost all of these points could be expanded into a post by themselves.

Also, a lot of this advice is lovingly stolen from various books, professors, and hollywood professionals.  You might’ve heard it somewhere else. You’ve probably heard it somewhere else. 

Also, there are exceptions to all of these rules. 

And now, the list of things I wish young screenwriters knew….

  1. Your first screenplay will absolutely suck.  It doesn’t matter if you’ve written books, short stories, short films, plays, poems, spells, fanfiction, to-do lists that kick ass, or tons of blog entries: your first screenplay will suck. And guess what. THAT’S OKAY.  It’s practice.   So get to writing, and don’t over edit. 
  2. Pick up a screenwriting book and read it, front to back. I like “Save the Cat” and “Screenplay, writing the picture” for beginner books.
  3. Format is king. Find a script online.  Find a script in the library.  Notice all the weird margins and things? Copy them.  Copy them EXACTLY. The biggest thing you can do that will get any script reader to just throw your script out without even reading the first line is to submit a script that’s out of format.  It doesn’t matter how good it is. It really doesn’t.  If you don’t want to spend brainpower on the format (and really, who does) then get final draft, movie magic, or celtx. ( celtx is free at )
  4. Recognize, that for the script to be read in hollywood, you need to follow hollywood format.  This means a three act structure. First act = 30 pages, which end with the characters status quo being broken and them “leaving” on a journey. Second act = 50-60 pages, that are the “journey” to the goal. Third act = 20-30 pages of facing the final conflicts, almost losing, and then winning despite (or because of!) the loss.  (me and my masters degree just wept at seeing screenplay structure be boiled down so simply.)
  5. Outline the hell out of it. Write an outline.  Think it’s long enough? It’s not. The longer the outline, the easier it is to write the script.
  6. Think about your character. What does the character want, and what does the character need.  They shouldn’t be the exact same thing.  Does the character want riches, yet need a family? Does the character want beauty, but need approval? Does the character want vengeance, but needs the feeling of teamwork? Does the character want to reconnect with his wife, but need to save her and a building full of hostages from a group of german terrorists? You get the idea.  Almost every movie can be broken down with this.
  7. What is your characters’ flaw? This goes directly into characters strength and wants. Is your character really strong, but needs to learn tenderness? Is your character smart but needs to learn humility? 
  8. How will your plot directly impact the characters flaws, strengths, wants, and needs? Think, for a moment, the movie Rainman.  What does Tom Cruise want at the beginning? Money. What does he need? His family.  He is directly offered the money at one point, but he rejects it, for the sake of family. 
  9. Realize that you will probably not sell this screenplay.  One of my professors told me that it takes a person an average of 7 scripts before they “intuitively” know how to write scripts. And it generally takes people longer than that to become good at it. 
  10. Realize that you have more than one story to tell.  It was a thing of HUGE annoyance in all my screenwriting classes when someone would come in and write the same script over and over again, because it was THEIR STORY and THEY HAD TO TELL IT! That’s all fine and dandy, but that won’t get you a career. It also probably means you’re too close to the subject material to write something well. So take a step back. Write something that doesn’t have to do with your story, your passion, or your life events. You can always return to that idea after you have some experience under your belt.


atmeridiem replied to your post: Why do people keep crediting Joss Whed…

please expand on these feelings? I really want to know your thoughts

I’m sticking the long version under a cut for those who don’t want to hear me complain (because I am in a shitty mood, and so I’m not going to be as nice as I could be).

But short version?

I’m thinking you’re looking for an answer re: Bucky getting the River Tam treatment should Whedon ever get to write him.  And I’ll get to that.  But first I need to establish my issues with Whedon.

Joss Whedon is very good at writing a certain set of characters, but when he’s presented with a group of pre-established characters (such as, I don’t know, the Avengers) he tries to shoe horn them into being characters that they aren’t.  He isn’t great at diversifying his work, and you can trace archetypes throughout all of his writing.

This does contain discussion of Age of Ultron spoilers, so tread lightly.

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naruto: you're the moon because you're pale as fuck and dark deep down
sasuke: ....
naruto: im the sun because im bright and happy
sasuke: youre the sun because no one wants to fucking look at you directly



ok so i was watching this gif carefully 


and when i first saw it i was like “aww Nat jumping into steve’s lap that’s so cute she’s like AHH STEVE SAVE ME” and then i was thinking ‘well she probably realized he’s way stronger than she is and could help shield her if they crashed’

but then i kept watching it and i noticed how she immediately pulls him forward 


and first i thought it was the momentum of her jump but you can clearly see in the gif how she gets settled (quickly) THEN pulls him close to her

and then i realized


that is a bullet hole. 

Nat somehow knew EXACTLY where Steve was gonna get shot at, jumped up into his seat, and saved him


Natasha Fucking Romanoff 


she didn’t just jump in the front to save steve, tws shot at her first 

she also pushed sam away from the bullet bc she knew he’s next


all of this in the span of 3 seconds how fast do u think her brain works i mean DAMN