#ben idle

[yonderghostshistories]

The Fathers (The Goons), The Sons (The Pythons) & The Holy Spirits (The Six Idiots) of British Comedy. A Meme:

[youarenotthewalrus]

Read Scott Pilgrim recently and like. Why did Bryan Lee O'Malley give Scott a social circle consisting almost entirely of women and gay men? Like, Scott is supposed to be a straight dude but he has literally two straight dude friends and one of them later turns out to be gay. It's not even like this is some accident of how the supporting cast happened to shake out either, Scott explicitly says that all his friends in high school were girls. This is a deliberate characterization choice and like... why?

[commonguttersnipe]

(insert photo compilation of the Six Idiots members compared to photos of their Monty Python member equivalents)

I think I’m more or less correct!

[the-angry-pixie]

the losers love each other moodboards (14/?) - Benverly 💌

[kylos-starlight]

Teehee might fuck around and have a paranoid episode inside a grocery store🫠 /srs

[parttimesarah]

This photo of the Six Idiots…

SOOOOO reminds me of this photo of the Python boys…

[idledreams4]

Oh. My. Chuck.

These turned out sooo good!

[duranduratulsa]

Up next on my 90's Fest Movie 🎬 🎞 🎥 🎦 📽 marathon...Casper (1995) on glorious vintage VHS 📼! #Movie #movies #comedy #casperthefriendlyghost #Casper #billpullman #christinaricci #DevonSawa #CathyMoriarty #ericidle #malachipearson #MelGibson #amybrenneman #benstein #bradgarrett #ClintEastwood #jessicawesson #rodneydangerfield #riprodneydangerfield #chaunceyleopardi #garetteratliffhenson #johnkassir #HarryShearer #DonNovello #danaykroyd #vintage #VHS #90s #90sfest #durandurantulsas4thannual90sfest

[selenadrawsstuff]

“You can call them ghosts if you like, or as I prefer, the living impaired. They need help sometimes. Just like us.”—Dr. Harvey, “Casper” 1995 directed by Brad Silberling

[protocolseben]

I can feel my old cynical and pessimistic self creeping back I need more supply to keep it away (sebtent)

[yonderghostshistories]

Made a collage-y of sorts poster for the future fanfic about the Monty Python/Six Idiots crossover where the Pythons meet the Idiots via accidental time-travelling....in a wardrobe (via an offbrand, Poundland version of the TARDIS (to avoid copyright law in-universe of the fanfic) in the form of a regular looking wardrobe which can time travel through time and space, but unlike the TARDIS, the regular wardrobe is *slightly* more cramped and can only fit in a maximum of 6 people lol). Anyway uhh here it is! :

(btw the title for the fanfic is gonna be called "When Monty Python met ThemThere (formally known as The Six Idiots)" )

[commonguttersnipe]

Monty Python: The Broadway Musical

Graham Chapman- Andrew Rannells

John Cleese- Christian Borle

Terry Gilliam- Aaron Tveit

Eric Idle- Jonathan Groff

Terry Jones- Joey Richter

Michael Palin- Ben Fankhauser

Neil Innes- Ryan McCartan

Connie Booth- Ariana DeBose

Carol Cleveland- Jasmine Cephas Jones

[izzyspussy]

tagged by @penspiration-writing to find the given words in my WIP(s). her words for me are winter, sweet, gold, and soft.

winter

Stan is the first to put the signs together. He brings his theory to the Losers-That-Are-Left over winter break sophomore year: werewolves have come to Derry.

from idle wild (IT fic), currently 4k

Sign up to be tagged when I post this fic, or any other IT fics here.

sweet

Fred's voice is low and quiet, with an inflection that makes xem sound inhuman, but other than that it's as familiar as always. It reminds Eddie of both of their parents; the steadiness of their father, the sweetness of their mother, and the underlying croak they all have from smoking like chimneys.

from Curse The Messenger draft 1.3, currently 10k

gold

Ferris holds back a snort. Oh, but isn't Camille Fay simply the finest specimen on earth? Surely only the most gold- and furs-laden mourners will be allowed at her funeral. Ferris can't wait to not show. Of course, that would be in poor taste even if he were properly dressed. Since he's going to murder her and all.

from Feline Retribution, a Witch Noir story

@girlfriendsofthegalaxy @haectemporasunt @jezifster @blackhannetandco @fearofahumanplanet @godsleftarmpit @littlehastyhoneydew @rainbowabomination @antihell @isherwoodj

Sign up to be tagged when I post about this project here.

soft

"What happened?" Ben asks softly, sympathetically. Eddie's throat hurts; the truth hurts. He coughs it away as best he can.

from gold rush (IT fic), currently 28k

I tag @winnieleighwrites and @gailynovelry. My words for you two are arrange, early, scratch, hungry, and inch.

[kaurwreck]

If ever my thoughts become too idle, the chorus of Touch Your Heart by Fahrenheit (as released on March 4, 2009) plays incessantly in my head, occasionally while chaotically layered over its own opening chords, which are strikingly similar to the opening chords of Rockin' the Suburbs by Ben Folds (as released on 9/11), which my mind often then also plays, not in place of, but simultaneously with Touch Your Heart. So, you can imagine the stress I am under.

[inkmchine]

life hack: you can never be betrayed if you never let people get close to you.

[imastoryteller]

Write Like a Director: Crafting a Cinematic Novel (With Examples)

Writing a novel like a movie means propelling your reader through scenes with relentless momentum, slashing through fluff, and ensuring each word drives the plot forward. Trust your readers to connect the dots through dialogue and action, immersing them in vivid, immediate experiences without drowning them in verbose descriptions. Every chapter should feel like a high-octane scene, keeping readers on the edge of their seats, hungry for the next twist, the next revelation. Keep it tight, keep it thrilling. Here are some examples to illustrate each aspect of this dynamic storytelling approach:

Fast Pacing

Chase Through the Alley: Jake sprinted down the narrow alley, the thud of heavy boots echoing behind him. A sharp left, then a right—no time to think, just run. This example thrusts the reader directly into a high-speed chase, emphasizing immediate action and urgency.

Heist in Progress: The vault door creaked open. "Thirty seconds," Maria whispered, stuffing bonds into her bag. The alarm blared. "Move!" The scene conveys a sense of time running out and rapid movement, maintaining a brisk pace with no room for delays.

Dynamic, Fast-Going Plot

Kidnapping Twist: Laura opened her front door to find an empty stroller on her porch. A note inside read: "If you want to see her again, come alone." The unexpected discovery of a kidnapping sets up an immediate and compelling conflict, driving the plot forward swiftly.

Escape Plan: The prison lights flickered. "Now!" whispered Tom. They climbed through the hole, hearing guards’ shouts in the distance. The urgent breakout from prison keeps the plot dynamic and intense, with characters constantly on the move.

Show, Don't Tell

Fight in the Ring: Blood trickled down Max’s face. He clenched his fists, dodged a punch, and delivered a powerful uppercut that sent his opponent to the mat. The physicality and immediate consequences of the fight are shown through actions rather than explained through exposition.

Silent Farewell: Tears streamed down Lily’s cheeks as she handed Jack the letter. Without a word, he turned and walked away, his shoulders slumped. The emotional impact of the farewell is conveyed through the characters' actions and expressions, not through internal monologue or narrative explanation.

No Tedious Descriptions

Quick Change: Sam grabbed the nearest shirt and jeans, pulling them on as he ran out the door, glancing at the clock—he had five minutes to reach the station. The scene moves quickly from one action to the next, providing only essential details to maintain momentum.

Sudden Revelation: In the dim light, Sophie saw the glint of a ring on the thief’s finger. Her father's ring. She gasped, stepping back. The revelation is made through a brief visual detail, keeping the description succinct and impactful.

No Infodump

Mid-Battle Realization: Amidst the chaos, Sarah recognized the tattoo on the enemy soldier’s arm. Her brother. She hesitated, the war raging around her. The revelation about the brother is integrated into the action, avoiding lengthy explanations and keeping the focus on the immediate situation.

Urgent Discovery: Ethan flipped through the ancient book, stopping at a page with a familiar symbol. "It's the same as the pendant," he muttered, pocketing the book and running out. The discovery is brief and directly tied to the plot's urgency, with no extensive background information provided.

Avoid Fluff

Straight to Action: Ben didn’t bother with pleasantries. “We’re out of time,” he said, throwing the bag into the car. “Get in.” The scene cuts straight to the critical moment, avoiding unnecessary dialogue or description.

No Idle Chatter: Emma answered the phone, cutting off the caller's introduction. “What’s the plan?” she demanded, glancing at the clock. The character immediately seeks vital information, eliminating small talk and focusing on the plot's progression.

Tight, Immersive Narrative

Immediate Danger: As the elevator doors slid open, Mark saw the bomb timer: 00:10. He dived for the wires, heart pounding. The imminent threat and the character's swift reaction immerse the reader in the tension of the moment.

Critical Decision: The bridge was collapsing. Anna had seconds to decide—jump or try to save her friends. She took a deep breath and ran back. The character's quick decision-making in a life-or-death situation keeps the narrative focused and engaging.

By applying these principles, you can craft a novel that feels as dynamic and engaging as a blockbuster movie, keeping your readers hooked from the first page to the last.

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