Love, Blood & Rhetoric
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The Special Weapons Dalek AKA The Abomination AKA that scene where the Doctor Who crew packed a little too much explosive into some Dalek shells, blowing out the windows and setting off car alarms in a wide district of urban London and ending with the swift arrival of the Metropolitan Police Anti-Terrorist Branch.


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Remembrance of the Daleks: Ashes to ashes. Dust to dust.

(Source: timelordsandladies)


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There’s a certain terrifying symmetry about the fact that the Doctor started and ended the Time War committing genocide.

Those who watched The Day of the Doctor and said that of course the Doctor would find a way to end the Time War without wiping out the Daleks and the Time Lords have a rather selective view of just what some incarnations of the Doctor have been capable of.

Also a good reminder that Seven’s both adorable and a manipulative, ruthless bastard. My own personal head-cannon is that the Doctor waited so long before returning for the Hand of Omega because after the First Doctor, there hadn’t been a regeneration which had been enough of a cold-blooded so-and-so that they’d consider using it as a weapon. Let’s not forget that One was the adorable, giggly old man who in his first appearance attempted to smash a wounded enemy’s skull in with a rock.


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Just touch these two strands together and the Daleks are finished. Have I that right?


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linnealurks:



No. I said “no”. It means no. No… ‘cos this is what I’m gonna do. I’m gonna rescue her, I’m gonna save Rose Tyler from the middle of the Dalek fleet, and then I’m gonna save the Earth, and then just to finish off, I’m gonna wipe every last stinking Dalek out of the sky!


In which Christopher Eccleston acts more with his neck than some people do with their whole bodies.

linnealurks:

No. I said “no”. It means no. No… ‘cos this is what I’m gonna do. I’m gonna rescue her, I’m gonna save Rose Tyler from the middle of the Dalek fleet, and then I’m gonna save the Earth, and then just to finish off, I’m gonna wipe every last stinking Dalek out of the sky!

In which Christopher Eccleston acts more with his neck than some people do with their whole bodies.


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Doctor Your Valeyard is Showing | Dark Doctor in New Who

↳ Dalek


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cleowho:

"Ten million ships on fire."

Dalek - series 01 - 2005

Best episode of the Nine era? Certainly, I think, Chris’s most powerful performance. He was spellbinding in this scene. You couldn’t look away.


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J.D.: You a Heather?

Veronica: No, I’m a Veronica…Sawyer.

(Source: alisonhendrix)


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Mako and Stacker, Pacific Rim.

(Source: nalyne)


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nymre:

"Sometimes the feeling of what could’ve been is stronger than what actually happened because the memory of perfection lasts longer. And even though we didn’t end up together, you’ll never change the fact that you changed my life forever" — Dante Basco

Late birthday present for Mati


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ridgerooms:

IN WHICH I SHARE MY SUPER-SECRET, SUPER-EMBARRASSING PROCESS OF MAKING SUPER-FUN, SUPER-COOL ART!
Few people ever see this! I mean almost no one! Because it’s so embarrassing! But people ask me about my process all the time, so I’m sharing how I make most of my art prints. You too can be a starving artist at home in your spare time if you follow these easy steps!
Step 1 (frame 1 & 2): Super-messy rough draft in Illustrator that I lovingly refer to as Blobby Mockup™. It looks like a child drew it because I draw that step with a mouse (which I totally suck at) as opposed to my Wacom tablet which I use for the final illustration. This step is to mess around and decide the basic layout of my design without wasting a bunch of sketch paper.
Step 2 (frame 3): Once I have ol’ Blobby looking somewhat cohesive, I (sometimes) do a full drawing in pencil, then scan to overlay as a guide to the final drawing. I used to do this for all prints, but now that my process has evolved and I’m getting quicker/smoother with my cartoon style, often times now I just skip this step and go right to working on the final drawing, thus keeping the entire process in Illustrator. (Plus, I need a new scanner and can’t really afford one right now, so …)
Step 3 (frame 4): Start shaping the final drawing in Illustrator using the scan as a guide. One of my favorite steps of a project (possibly THE favorite step) is when I feel I’ve gotten enough from the pencil drawing and can delete the scan layer and just start having fun with final shaping, coloring and details.
Step 4-1000 (frame 5-9): Revise, revise, revise, revise, REVISE, changing colors, moving things around, closing Chico’s eyes, giving him a left leg, until my hand falls off, my eyes are fried and burning out of their sockets, and my Wacom tablet has desperately begged of me "PLEASE, NO MORE, YOU INDECISIVE, HELLISH TASKMASTER!"
Step 1001 (frame 10): Open the program back up and sneak in a few more nudges. In this case, changing Groucho’s smoke from red to green.
A few notes:• I hesitated to show the first frame due to people probably thinking "It would’ve been so much cooler with their name at the bottom!!!" And yes! It would’ve been fun! But the decision was made early on to avoid that branding treatment in order to stay away from copyright gray areas.• This piece was made in the early days of developing my current cartoon style of prints, although if I drew it now, I’d mostly still do it this way (for example, gradient shading as opposed to all hard solid vector shading) because I was going for a cross between modern cartooning and ’30s art deco style. I might not have done the noses, though. (And yes, not even Groucho’s!)• I don’t know if people even notice my trademarks (such as my ban on noses that I mentioned above), but this has the most prominent usage of one of my favorite recurring visuals: having a plume of smoke that rises and breaks the frame. (Twice, I’ve even snuck that into the glow layers on prints.)• Fun fact: the highlight in Zeppo’s hair forms the initials “WM” which was a nod to my friend (and classic-movie-buff) Will McKinley, for his fine detective work on tracking down the correct spelling of “Tootsie Frootsie” from a published script he had. I often sneak little jokes into my work for friends.
This limited-edition print was originally made for Bottleneck Gallery’s “The Gang’s All Here” show. A few of those are still available through my shop.

ridgerooms:

IN WHICH I SHARE MY SUPER-SECRET, SUPER-EMBARRASSING PROCESS OF MAKING SUPER-FUN, SUPER-COOL ART!

Few people ever see this! I mean almost no one! Because it’s so embarrassing! But people ask me about my process all the time, so I’m sharing how I make most of my art prints. You too can be a starving artist at home in your spare time if you follow these easy steps!

Step 1 (frame 1 & 2): Super-messy rough draft in Illustrator that I lovingly refer to as Blobby Mockup™. It looks like a child drew it because I draw that step with a mouse (which I totally suck at) as opposed to my Wacom tablet which I use for the final illustration. This step is to mess around and decide the basic layout of my design without wasting a bunch of sketch paper.

Step 2 (frame 3): Once I have ol’ Blobby looking somewhat cohesive, I (sometimes) do a full drawing in pencil, then scan to overlay as a guide to the final drawing. I used to do this for all prints, but now that my process has evolved and I’m getting quicker/smoother with my cartoon style, often times now I just skip this step and go right to working on the final drawing, thus keeping the entire process in Illustrator. (Plus, I need a new scanner and can’t really afford one right now, so …)

Step 3 (frame 4): Start shaping the final drawing in Illustrator using the scan as a guide. One of my favorite steps of a project (possibly THE favorite step) is when I feel I’ve gotten enough from the pencil drawing and can delete the scan layer and just start having fun with final shaping, coloring and details.

Step 4-1000 (frame 5-9): Revise, revise, revise, revise, REVISE, changing colors, moving things around, closing Chico’s eyes, giving him a left leg, until my hand falls off, my eyes are fried and burning out of their sockets, and my Wacom tablet has desperately begged of me "PLEASE, NO MORE, YOU INDECISIVE, HELLISH TASKMASTER!"

Step 1001 (frame 10): Open the program back up and sneak in a few more nudges. In this case, changing Groucho’s smoke from red to green.

A few notes:
• I hesitated to show the first frame due to people probably thinking "It would’ve been so much cooler with their name at the bottom!!!" And yes! It would’ve been fun! But the decision was made early on to avoid that branding treatment in order to stay away from copyright gray areas.
• This piece was made in the early days of developing my current cartoon style of prints, although if I drew it now, I’d mostly still do it this way (for example, gradient shading as opposed to all hard solid vector shading) because I was going for a cross between modern cartooning and ’30s art deco style. I might not have done the noses, though. (And yes, not even Groucho’s!)
• I don’t know if people even notice my trademarks (such as my ban on noses that I mentioned above), but this has the most prominent usage of one of my favorite recurring visuals: having a plume of smoke that rises and breaks the frame. (Twice, I’ve even snuck that into the glow layers on prints.)
• Fun fact: the highlight in Zeppo’s hair forms the initials “WM” which was a nod to my friend (and classic-movie-buff) Will McKinley, for his fine detective work on tracking down the correct spelling of “Tootsie Frootsie” from a published script he had. I often sneak little jokes into my work for friends.

This limited-edition print was originally made for Bottleneck Gallery’s “The Gang’s All Here” show. A few of those are still available through my shop.


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jeisma:

creator-ambivalence:

David Bowie— the only one meant for the Iron Throne. GoT

I would watch this.

jeisma:

creator-ambivalence:

David Bowie— the only one meant for the Iron Throne. GoT

I would watch this.

(Source: labyrinthresource)


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stickyvalentine:

I shot an arrow in the air; she fell to earth in Berkeley Square.