My Gf Sent Me This Picture And We Made One Meme On Goosamu AU By @originalartblog! Also I Thought It

HEY.

(yes, cross-over)

I made some blobs for yall

bc zhongli’s backstory hurts all 3 of my feelings.

full size here!

CHAMPIONNAT DE FRANCE 2008 - SOUCY - MINIME

10-year-old Charles Leclerc, a tiny creature

Fuck personality tests. Who comes to your mind when I say "Michael"

Reblog if Feuilly matters to you

I’m trying to prove a point.

Voice Actor Albedo voicing Khoi Dao HAGSGSSHAHAHAHAHAH

HKJFSDHFLS PLS MY MIND IS RUNNING RN

HELP NOW ALL I CANN THINK ABT IS ALBEDO USING LOGIC IN GAMES LIKE AMONG US THAT FEATURE THE OTHER VAS, ONLY TO LOSE HIS MARBLES LATER 😭

khoi as a genshin character tho 🥺🥺 hELP HE WOULD BE SO FUNNYFHDKSJ

if you don’t mind, what are some of your favorite soft mclennon moments?

JOHN: I used to try to get George to rebel with me. I’d say to him, “Look, we don’t need these fuckin’ suits. Let’s chuck them out of the window.” My little rebellion was to have my tie loose with the top button of my shirt undone. Paul’d always come up to me and put it straight. [x]

PAUL: There’s a story that I used to straighten John’s tie before we went on stage. That seems to have become a symbol of what my attitude was supposed to have been. I’ve never straightened anyone’s tie in my life, except perhaps affectionately.

The Times Profile of Paul McCartney - 1982 [x]

“And John and Paul thought back to the time they’d been in Paris before. Flat-broke, unable to afford a taxi, without funds for a decent meal. ‘Maybe we’ll buy the Eiffel Tower this time’, said John with a grin.”

“The Beatles in Paris.” Beatles Book Monthly Magazine No. 8 (March 1964). [x]

““Okay, okay,” I said, “don’t go on, John.” I felt a surge of embarrassment because my instrument was the cause of such hilarity. “Look guys, that’s enough. What have you two been doing while we’ve been struggling to get here? I hope you’ve done some practising and got the song list sorted out?” I was getting more and more annoyed as this episode was dragging on. “Yeah, yeah, don’t worry Len. Paul and I have got it all sorted out. Haven’t we Paul? Paul! Paul! I said haven’t we Paul?” Paul McCartney looked up with a wry smile and paused. “Tonight will run just like clockwork. I am going to give the audience the best rendition of ‘Guitar Boogie’ they have ever heard this side of Garston.” “Hey, this is a new twist,” I said. “Paul just cracked a joke. He must have a sense of humour after all, John, shall we have him in the group?” John was enjoying the banter as ever. “Yeah, we’ll give him another try and if you don’t get it right this time, Jimmy,” Jimmy (James) was Paul’s first name, “then…” John waited to see the expression on Paul’s face. “Then we’ll,” again a pause, and by this time we were hanging on John’s next words, “then we’ll have to send him for some more guitar lessons!” Paul joined in the laughter and at that we were all back to normal.”

— Len Garry, John, Paul and Me: Before The Beatles. (1997) [x]

“One of my great memories of John is from when we were having some argument. I was disagreeing and we were calling each other names. We let it settle for a second and then he lowered his glasses and he said: “It’s only me.” And then he put his glasses back on again. To me, that was John. Those were the moments when I actually saw him without the facade, the armour, which I loved as well, like anyone else. It was a beautiful suit of armour. But it was wonderful when he let the visor down and you’d just see the John Lennon that he was frightened to reveal to the world.” [x]

“Whatever bad things John said about me, he would also slip his glasses down to the end of his nose and say, ’I love you’. That’s really what I hold on to. That’s what I believe. The rest is showing off.” [x]

“I remember being shocked one day when John started worrying about how people would remember him when he was gone. It was an incredibly vulnerable thing for him to come out with. I said to him then, ‘They’ll remember you as a fucking genius, because that’s what you are. But, you won’t give a shit because you’ll be up there, flying across the universe.’” [x]

“If John Lennon could come back for a day, how would you spend it with him?”  “In bed.” — Paul McCartney answers questions for Q magazine, 1998. [x]

“John and I grew up like twins although he was a year and a half older than me. We grew up literally in the same bed because when we were on holiday, hitchhiking or whatever, we would share a bed. Or when we were writing songs as kids he’d be in my bedroom or I’d be in his. Or he’d be in my front parlour or I’d be in his, although his Aunt Mimi sometimes kicked us out into the vestibule!”

— September 26, 1997, “Paul McCartney - Meet The Beatle” by Steve Richards [x]

“We were recording the other night, and I just wasn’t there. Neither was Paul. We were like two robots going through the motions. We do need each other alot. When we used to get together after a month off, we used to be embarrassed about touching each other. We’d do an elaborate handshake just to hide the embarrassment… or we did mad dances. Then we got to hugging each other.”

— John Lennon, The Beatles by Hunter Davies [x]

Q: “What musician and composer do you respect most?” Paul: “No, I don’t know, really... John Lennon!” John: *mock-shy* “...Paul McCartney.” [x]

conversations with mccartney, paul du noyer [x]

“It was 8:30. I could hear people talking about the likelihood of a storm later on that evening. I can remember hoping that it would clear up before my cycle ride back to Wavertree. Up to now it had been an eventful day but very tiring and as a group, although committed to playing, we all wished that we could pack up and go home. All of us apart from John Lennon. I think that meeting Paul had whetted his appetite and by the time we went on stage for our session at 8:45 he looked refreshed and seemed to have a new sparkle, as though he had had an injection of renewed optimism and enthusiasm as he played and sang through our usual repertoire that evening. […] I went outside for some air and a smoke; John and Pete decided to come with me. We stood outside pulling on our cigarettes, enjoying the breeze that had risen with the oncoming storm. “Do you know, John,” remarked Pete as we stood outside, “I’ve never heard you sound as good as you did just then. I know you’re going to say that I’m not very musical but I could hear the difference. I can see that something’s happened to you. Even the skiffle numbers which I know you’re not that keen on sounded good. You seem to have put more effort into them.” “Pete’s right, John. I couldn’t help noticing it as well,” I said. John was silent for a few minutes, just enjoying his smoke. “I guess someone took the trouble to share what he knew with me and it’s just given me a little encouragement for the future, that’s all.” “Oh I see, you’re getting a little sentimental in your old age, aren’t you,” joked Pete, who had never seen his life-long friend in that light before. “Don’t be thick, Pete,” replied John, who seemed almost back to his normal abrupt self. “Come on, I need a drink.”” — Len Garry, John, Paul and Me: Before The Beatles. (1997) [x]

[x]

Paul's persistence and endless patience for John while he was dealing with the death of his mother Julia:

But Paul seemed to have limitless patience for John, sneaking away from his classes to drink coffee at the Jacaranda coffeehouse, or else spend the afternoon nursing pints and punching rock ‘n’ roll songs on the jukebox at Ye Cracke pub. Certainly, Paul preferred hanging out with his friend to grinding through lectures and assignments at his schoolboy’s desk at the Liverpool Institute. But the hours they spent together held an emotional significance, too. For even if they rarely spoke about the pain of losing their mothers, the mutual feelings of loss—and the rawness of John’s wound—gave them a connection that was as vital as it was unspoken. It was, Paul said later, a “special bond for us, something of ours, a special thing.” … “We could look at each other,” Paul said, “and know.”” 

…

John, however, had other things on his mind. Though the fall of 1958 and well into 1959, John was far too busy engaging in art-school life—if not exactly his studies—to think much about playing in a rock ‘n’ roll band. He had started dating another student, a quiet blonde from the relatively posh Hoylake district on the Wirral, named Cynthia Powell. She proved a warm, stabilizing influence, which helped mitigate John’s ongoing grief and rage.

He had also grown particularly close to one of the school’s most promising students, a blazingly talented painter named Stuart Sutcliffe, whose emotional portraits and densely wrought abstracts had already caught the eye of the university’s instructors, along with the gallery owners, artists and critics who orbited the bohemian section that bordered the campus. John had been drawn to Stu’s talent, too, and when his classmate invited John to move into his large, if downtrodden, flat around the corner from the college in a row of once-elegant homes on Gambier Terrace, the two art students became even closer. The flat became a hub for their college friends, a reliable address for drinking bouts and all-night parties.

 Nevertheless, Paul made certain not to be a stranger. He was a regular around Gambier Terrace, often toting his guitar to spur a little playing and singing, and if circumstance permitted, a bit of songwriting. John remained an eager music fan, and generally enthusiastic partner for playing and singing. But his disinterest in the band, prompted at least in part by his deepening friendship with Stu, frustrated Paul. 

…

John was moving on, and not in a promising direction. George, for his part, had grown sick of waiting and joined the jazz-and-skiffle centered Les Stewart Quartet, though he made it clear to Paul he’d be back with the Quarrymen whenever they resumed playing. Paul, on the other hand, wasn’t interested in playing with anyone else. For whatever combination of emotional or visceral reasons, he couldn’t seem to imagine a musical life that didn’t include John Lennon as his primary partner.

So he persisted, dragging his guitar to Gambier Terrace, making himself a fixture amid the empty beer bottles, overflowing ashtrays, shattered Vicks inhalers, and paint-splattered clothes.

If John didn’t evince any interest in being in a band, Paul would simply wait, guitar at the ready, until he did.

— Peter Ames Carlin, Paul McCartney: A Life [x]

I'm almost 100% sure this is how the agency will stop Fukuchi getting One Order

Aya seemed to recognise the flash of One Order. Why? One Order was made during the war and never used, so there’s no way she’s seen it before. But there is one blinding flash that she would have seen, and that she could never forget

AND GUESS WHO IS RIGHT THERE ON THE BATTLE FIELD!

I think Kunikida swapped out One Order for a fake containing a flash bang, Tanizaki is also there and could have used light snow to make them invisible while Fukuzawa distracted Fukuchi. And Fukuchi couldn't stop this by cutting the past, since he would have no way to know where they were at any given moment

But how could they have done it? They are on deaths door, well as Kunikida says here...

I thought it was weird that Yosano hasn’t shown up in the airport so far, she is way to central to the ADA to be left out of what seems to be building to the final conflict, this would be a great way to bring her in and call back to Kunikida saving Aya. The ADA is strongest together, and the biggest mistake Fukuchi (someone who does not have a great track record with subordinates) makes is forgetting that.

I thought for ages that Ranpo’s plan with Poes book was incredibly dumb, it was way to straight forward and he had shown Fukuchi what the books could do beforehand. But if it was just to make Fukuchi think he had thwarted him and let his guard down then it makes perfect sense!

I also think that Fukuzawa trying to convince Fukuchi to kill him and spare the others was not part of the plan, he feels responsible for everything that happened to the agency, and feels like Fukuchi only targeted them to get revenge on him.

So I still think there is a good chance of him potentially dying

Overall I'm really confident about the flashbang thing, since otherwise Aya's line makes no sense. but the rest also fits very well! They could use Annes room to escape afterward and Fukuchi would have no way to follow them, Ranpo is not stupid enough to leave room for error in such an important moment.

IM SO EXCITED TO SEE HOW THIS ENDS