Animated Scrap Metal Figures By Guillermo Galetti

Forgive me.

Pride & Prejudice (2005) dir. Joe Wright

Beautiful nature scenes/backgrounds from the Anne Shirley anime, episode 1

One day river has a dream. He's old. To his mind's eye, he looks like his grandfather. He's in a care facility exactly like the one he dropped David off at - except River isn't alone. There's another old man there, with hair wisped over a bald spot and gold half-rimmed glasses perched on a nose sculpted with unusual perfection, like someone's paid good money to erase any signs that it was ever broken. The man carries a cherry wood cane, although he rarely needs it, and he has a permanently fussy look stamped upon him, with his pristine coat and his bespoke house slippers.

In the evenings, the two of them retire to one of their rooms. Together, they sit at a small table barely fit to hold a tray, and they play cards. The card game they play, the only card game they ever play, is the only game they know that gives neither one a clear advantage. It's also the only card game they both hate. They both know this, although neither one wants to be the one that admits it first. That's the real game they're playing, and the first to crack loses.

If River squints, he can spot on the other man's temple, poorly hidden behind the thinning hair, the crackling, spidery web of an old scar.

The voice that speaks hasn't aged a day.

"Tell me, River. Did you ever become the best?"

River startles awake with tears on his face. He doesn't know why.

He's older than that voice now by a few years, and it's always going to stay that way.

(And he's still at Slough House.)

Jack Lowden as River Cartwright Slow Horses – S04E05 – Grave Danger

Happy 32nd birthday to my sibling @awesomepaste who requested Boromir and Faramir being happy for their birthday present. And why shouldn't they get to be happy?

– Alright, be serious!

PEDRO PASCAL Behind the scenes of Gladiator II

maybe if you bombed during the day, you'd hit your targets.

I do love that in Rohan culture, it seems that it's the custom for men to go out and fight and die heroically, and for women to honour their sacrifice by crying over their bodies or at their funerals. The men are to be brave, the woman to be loving. The men are to do great things. The women are to remember.

But in the film, whereas Eowyn's most iconic moment is her slaying of the Witch King, a great, heroic deed that cements her place in history, Eomer's most iconic moment is (arguably) his guttural scream when he sees Eowyn dead on the ground, dropping to his knees and cradling her to his chest.

Not only is Eowyn's most iconic moment a scene in which she takes on, by her culture's definition, the man's role, the most important role of a man, to die heroically, Eomer's most iconic moment is when he takes on the "woman's" role, to grieve.

I do love his "Death!" charge in the books so much, but because of this parallel between the siblings, I also love the film version where there is no battle for him to fight, no justice for him to wreak, there's nothing for him to do but cradle Eowyn to his chest and rock her back and forth.

KISUKE URAHARA

Cute cakes appreciation post