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antoinetriplett:

fighthehurricane:

antoinetriplett:

fighthehurricane:

antoinetriplett:

fighthehurricane:

antoinetriplett:

antoinetriplett:

My sister brought me a string of black pearls from China.

I have never been so aroused by a necklace in my life.

I’ve just realized how that sounds

PSA: I DID NOT FUCK THE NECKLACE

I DO NOT WANT TO FUCK THE NECKLACE

I WANT TO WEAR THE PEARLS AROUND MY NECK AND SING JAZZ STANDARDS AND SMOKE CIGARS AND CRUSH BOYS UNDER MY FEET AND MAYBE TAKE OVER THE WORLD

THAT’S WHAT I MEANT

Molly

DONT MOLLY ME I FIXED IT

NOPE IT’S TOO LATE

I FIXED IT

IT HADN’T EVEN OCCURRED TO ME UNTIL YOU BROUGHT IT UP

EXACTLY

HOW WAS I SUPPOSED TO THINK OF THAT IN THE MOMENT

bookishandi:

padfootstolemycrumpet:

NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO.
 
But also YES.
 
Because for me this is a pretty important part of the final battle. A lot of folks accused JKR of just wanting to kill people off, and Lupin and Tonks were one of the major “sins” in that category. But for me, one of the major themes of her books is vicious cycle of violence, and another is the ways ordinary people can break that cycle. It’s important that we know that Harry doesn’t stop all the pain, that he’s not the last war orphan. Just like the first War, parents and adults have to make choices, choices with consequences.
 
Like James and Lily, Lupin and Tonks didn’t risk their lives to defeat Voldemort. They gave their lives for each other, because no one person should bear the weight of the sacrifice. They gave their lives for their son, who deserved a better world. They gave their lives for love, not for victory.
 
I think it’s important to see the ways Voldemort’s evil creates these cycles, children taken from their parents and parents taken from their children, again and again. I think it’s an important sobering note in the victory—yes, this time Voldemort is really dead, but there’s another baby this time, another infant who will never know his beautiful, wonderful parents because of Voldemort and his message of hate and violence. Another child who will grow up wondering where he came from, what his parents were like, what would be different if they were alive.
 
But it’s also beautiful that Teddy will have such a different experience. And his experience will not be different because Voldemort is “really gone.” His experience will be different because his grandmother will tell him about his brilliant mom. Because Harry will tell him about his wonderful dad. Because Harry will help him deal with his pain and loss, be a sympathetic ear who understands what it’s like to grow up without your parents. Because the Weasleys will welcome him as another grandchild, and he’ll grow up with Victoire to throw dirt at, and James as a little brother. His experience won’t be different because Harry won a war, it will be different because of love.
 
That’s the whole story of Harry Potter. Sometimes we have to fight for what’s right, but what really makes life worth living and what really changes the world isn’t magic or power or moral superiority. It’s love.

sherlocksstudykitchen:

I must say I find that girl utterly delightful. Flat as a board, enormous birthmark in the shape of Mexico over half her face, sweating for hours on end in that sweltering kitchen while Mendl (genius though he is) looms over her like a hulking gorilla - yet without question, without fail, always, and invariably: she’s exceedingly lovely. Why? Because of her purity. - The Grand Budapest Hotel (2014, dir. by Wes Anderson)

I love this movie a lot.

mee toooooo!

(Source: saoirseronanworld)

giraffepoliceforce:

mjwatson:

fishingboatproceeds:

faultinourstarsmovie:

normal—sucks:

💏

I just want to point out one thing here: When was the last time the girl kissed the boy in a teen romance? Ever? Has it happened ever? I seriously think it might not have happened ever.

lmao is john green praising himself

Listen here, shitstain. I’m sick and tired of all the John Green hate popping up on my dash today and we’re going to talk about this.

The film industry today is one big colossal fuckstorm. The odds of an author having one of their books adapted into a film is so monumentally slim that even getting film rights optioned (which in no way guarantees the book will be made into a film) is something the majority of authors will never be able to experience. The odds of a book being adapted into a film that stays faithful to the source material is nigh on impossible.

Movie studios are large corporations intent that exist for the purpose of earning large amounts of money. It’s problematic, yes. But as of now it’s one of the only ways for a film to be financed in such a way that allows not only for production but distribution and promotion as well. These studios are very defensive of their money, and are therefore very cautious about the sort of movies that they will produce. This results in them taking as few risks as possible, with their definition of risk being anything other than the basic, predictable, and often misogynistic tropes that we’re all getting tired of.

Yes, John wrote the scene this way. But the fact that the studio allowed it to stay in the film moderately intact is surprising, and John Green is allowed to be both happy and surprised by it.

it is very unlikely that a movie studio would be willing to make a film centered around teenagers who are dying, let alone pour enough money into it to give it a real shot at being a success, and John Green is allowed to be both happy and surprised by it.

And seriously? This man is watching one of his dreams come true and you’re going to give him shit for being happy about it? Jesus Christ. Give it a fucking break.

Word.

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