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HERE YOU GO BABIES!! : Arrow Season 2 Bloopers

(Source: olicityalways)

Anonymous

Anonymous asked:

Oh hey, you know in the 'Dark Moon' when Araya asks why Stiles and Lydia would go all the way across the border for someone like Derek Hale, and Stiles says 'because we don't like to lose'? What if it had a double meaning and he was also referring to his chess board? Because Derek is the king and without the king you immediately lose the game.

weasley-detectives:

sterekmeta:

That is an excellent catch, Anon!  It also served as a reminded that we were back to playing chess, rather than playing Go! like we were in 3B. 

Because Peter was clearly playing chess this season. Which is why it made no sense that he ended the game by flipping the board over and jumping on top of it. (sigh)

I always assumed Stiles’ ‘we don’t like to lose’ reply to Araya’s question was another example of Stiles deflecting again. In a season of Stiles’ concealing secrets, this makes sense. Obviously Stiles doesn’t want to show Araya all their cards, but as with so many scenes it also draws the audience’s attention to the nature of Derek and Stiles’ relationship. It gets us subconsciously asking questions: what is their relationship? Allies, friends, pack? Does Stiles now care about the person he has previously shared a humorously antagonistic relationship with? It also harkens back to Derek’s dream sequence. It’s interesting that out of all the characters who have had an important development with/connection to Derek (e.g. Scott, Chris, Peter), Stiles is the one this question is finally posed to. It keeps the question of Derek’s relationship to the pack open, and more specifically his relationship with Stiles. And in the finale we get Stiles’ look of realisation: following this season’s thematic pattern, that scene was Stiles confronting the answer to Araya’s question.

The Most In-Depth Query Letter Advice on the Internet

writeworld:

Writing a query letter can be one of the most daunting tasks of the writing process. You have to pitch your entire book to an agent in ~300 words and hope they’ll be interested enough to ask for more. But when you search Google for help, all you find are sites that say, "Write a good hook!" or "Be brief in the body of the letter!"

Well, in this post, you’re going to get an (extremely) detailed breakdown of my query letter, which garnered a good number of requests. You’ll find what hooks agents, what not to include, and a step-by-step guide to tackling the formidable “back cover description”in the body of your letter.

Read More 

mgnemesi:

*FLAILS*
Okay.
Okay.

Of all the things to get stuck on this episode, I got stuck on this. STUCK, I TELL YOU. Now, as for the why (I’ll try to be brief ‘cuz I can’t use the [[more]] tag in a photo post).
Back when movie direction was one of my actual curriculars, I attended one wonderful lesson that I always remembered vividly: one about subtle direction choices, and what they mean/convey/tell to the audience’s subconscious.
The main part was about this: when you’re filming about a character being in danger, it doesn’t matter how many other people are present, you must always, ALWAYS show first the reaction of the one that’s most emotionally involved. The reaction of the one character who’s got the deepest connection with/interest for the one in danger. We dissected a movie by Sergio Leone, we analyzed a particular scene, and my professor said something along the lines of: “Yes, sure, showing the sidekick/best friend’s reaction first, you could construct something interesting, even fun, or suspensful. But you always show the girlfriend’s reaction first. Because she LOVES the hero. And that’s what matters the most. The love.”
And.
Yeah.
They showed us Derek’s reaction first here. So.

I GOT TOTALLY STUCK.

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