dimensiondoored

[dimensiondoored]

best storylines are the ones where the wildest most off-the-wall shit occurs, one thing after another, unrelenting, and then at the end you realize it’s been happening over the course of like.. just a week. everyone’s been having a HELL of a week in that universe. that shit was happening on a thursday. of all days.

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[dimensiondoored]

hey um. your boyfriend gained genre awareness and in an attempt to defy his inevitable tragic demise he only sealed his fate. sorry

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okay so the thing about clue crew is that everyone feels like they belong to a different genre. the genres overlap, yes, but everyone feels like they’re the main character of a different show. and where this is especially true is with mel, who as the loremaster, is able to switch genres (or cause a genre-switch) more readily. clue crew switched into “normal” YA dramedy with the party episode, which was brought on by mel. also relevant with the rager is the introduction of adam into mel’s storyline, which coincided with the addition of more comedic dialogue (quick back and forth, insults) into mel’s story. mel is quite literally changing the genre of her own story, and she doesn’t even realize it

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Blythe Baird, from If My Body Could Speak; “The way I was taught to love”

[Text ID: “Half daughter, / half apology, all fire and the wrong kind of love.”]

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doomed by the narrative AND haunted by the narrative AND a secret third thing (mourned by the narrative)

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my girl wronged by the narrative, my girl haunting her own story, my girl dead in the first act, my girl the blank in between the lines, my girl the phantom of the past the apparition of the future

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on girlhood, cruelty, and god (you have put me up for slaughter)

(kristin chang) / ginger snaps (2000) (dir. john fawcett) / essay fragment: preexisting conditions (torrin a. greathouse) / joan of arc (john everett millais) / the night errant (john everett millais) / (anne sexton) / (margaret atwood) / romeo + juliet (1996) (dir. baz luhrmann) / journal excerpt, july first (twinnedpeaks) / winter love (hilda doolittle) / carrie (1976) (dir. brian de palma)

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can’t believe i have to go to work when all i want to do is think about the relationship dynamics i have made up between fictional characters

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we have to start sexualizing being unbearably neurotic

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Jonny Bolduc, Ending

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time loop au you will always be famous (to me)

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soulmates but not in a soft romantic way soulmates in a destined to change each other for better or for worse, cannot be who they are without each other, unstoppable together but they’re also the only ones who can defeat each other, equals, existences undeniably tied to each other way

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JESSICA CHASTAIN as Lucille Sharpe in CRIMSON PEAK (2015) dir. Guillermo del Toro

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why are you even talking to him… you know he’s doomed by the narrative right

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Pussy so good it haunts the narrative

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there is not a single day i don’t think about this quote in relation to tragedies