#I love a family moment <3< /div> Explore tagged Tumblr posts

[simmerfromhell]

Rahul hosted this year's Harvestfest feast. He's not nearly the cook his mother is, but she appreciated his vegetarian-friendly salad.

[puppetmaster13u]

Prompt 261

“So is no one going to talk about the eldritch space child or…” 

“I mean, do you want to get between a child and Batman? I think the only one who could even get close right now is Superman…” 

“No you’re right, I think- oh my god the eldritch space child is playing with batman’s bat-ears and he’s not doing anything about it what the fuck I thought only Robins could get away with that-” 

[atoriv-art]

older designs for my specialest guy

[peace-hunter]

tfone au where OP is created as the last of the primes but way after them, a sparkling born at what were thought to be the last days of the war against the quintessons, the beginning of a new generation of peace after eons of war. a child meant to be loved and raised knowing nothing of war nor sacrifice.

he's kept mostly out of the spotlight by his siblings, who don't wish to expose him to everyone's optics so young, and want to wait until the war is done and over to properly introduce him to their people.

except of course the primes are betrayed and murdered by sentinel, the war is lost and everyone who knows and cared for the truth is either banished or outright killed in order to suppress it.

and the high guard, the ones the primes trusted the most, the ones that were supposed to protect them, the ones who failed in their most important duty, have to make a choice. to take the last prime, their last hope, with them to the surface, a hostile environment where there's little to no supplies and where they'll be hunted down by both sentinel and the quintessons as the biggest threat to their regimen.

or hide him in plain sight. place him where sentinel won't think to look for him. one more sparkling among many. and hope it will be enough to keep him alive. pray to primus that he'll protect his last child long enough for them to come back for him when it's safer (even if most of them have already lost their faith on him when he allowed the rest of his children to be massacred like that)

they almost lose their resolve when they realize they will have to take the little one's cog away in order to make him blend in with the rest of the newborns (and oh do they burn with murderous intent when they see what sentinel has done to their people but it's not the time yet-) but in the end they decide an impaired little prime is better than a dead one.

and so in the chaos of thirteen dead primes and a sudden energon crisis, a little sparkling who very few mechs really knew about and even fewer had seen completely vanishes. and in the depths of iacon a mech in charge of a new batch of newborns scratches their helm in confusion as they realize they must have miscounted the first time.

optimus prime is quietly erased from any official records by sentinel, written off as dead when they find a sparkling's frame mangled beyond recognition after an attack on the base of those rebels that insist on being a thorn on his side. killing the sparkling hadn't been precisely in his plans, he probably could've found some use for it after all, but he's not particularly upset about it either.

and orion pax grows up with an ache on his spark that tells him he's missing something far more important than a t-cog and dreams of gentle and loving hands, cradling him against the frames of mechs he cannot recall the faces of.

[quillium]

things TeSTAR has canonically done that drives me nuts (spoilers!!)

Kim Raebin was accused of plagiarizing... himself.

Park Moondae arranged a concert with someone who kidnapped and attempted to murder him. UNPROMPTED.

Cha Eugene ran away from his hotel room in the middle of a massive problem that he caused with only a single note. He also didn't bring his cell phone OR wallet.

Seon Ahyeon tried to put Moondae in a psychiatric hospital (DESERVE)

Keun Sejin believed Moondae when he said he was a transmigrator with basically zero proof. Hello???

Ryu Chungwoo got into a serious car accident that destroyed his whole life and career and immediately was like. Haha what if I join this idol survival show. AND DEBUTED AS LEADER.

Park Moondae caused an entire company to dissolve

Bae Sejin: [started IdolCo with 0 basic skill] "I think the most important part of being an idol is basic skill"

Keun Sejin was the first person to surpass the System's potential limitation (!!!)

[dukeofthomas]

"Jason just needs to see things from his family's perspective and understand how much they love him (despite them never actually communicating or showing him through their actions)" is out. "The batfamily putting a single bit of effort into understanding Jason and reconciling with him on his own terms" is in.

[iwasbored777]

I love so many relationships in these movies but these two just hit different

[h0estar]

i love how twilight and yor complement each other so well and the two of them don't even realize it.

yor constantly telling loid to chill tf out (affectionate) and rely on her a little + loid reassuring her every time she feels insecure for not being "normal" enough is peak marriage behavior.

reading the chapter and looking at these panels, you'll see they're a very cute and normal fake couple. to a bystander, they probably look like adorable newlyweds. and to the readers, well, they look canon as hell🤭

[lefthandarm-man]

Bucky Barnes // The Winter Soldier Captain America: Civil War (2016)

the way he looks at steve (part 1, part 2, part 3)

(steve vers.)

[erabu-san]

I love Tighnari and Cyno's relationship sooo much man. They clearly care about each other so much and love each other. I love them just. Being them. I honestly find friendships to be so much more compelling than romantic ones. Not that I don't like romantic relationships- but the platonic ones just...hit different.

Right right ?! There is this authentic friendship when you can trust each other. Also the comfort of knowing there is someone on your back, always here for you,,, of course, you also find this in romance trope.

But it is also a common trope in friendship that we tend to forget. What true friends are ! A choosen home, a found family. With who you can spend hours without noticing time passing, with who you don't talk for months but you know it doesn't shutter your friendship and when you meet again, it becomes an euphoric moment. There is something more deep between Tighnari and Cyno than just "romance"

Tbh I see in them my dynamic with my friends or with my brothers, and I love my friends so much <3 when everything was difficult, and I didn't trust myself enough to save me, I trust my friends. And I was right to trust them ! And that's it, if one them start to doubt themself, they can trust their friend. That's how authentic and meaningful their friendship are !! And.. the found family trope is make it more important too

I already talk about how family is important for Cyno (did I?? I don't remember if I talk about this in public), morever than his family are not related by blood (Cyrus, Lisa... Tighnari is as much as important for Cyno). Maybe it is because I have brothers and lucky of us we are united, but I believe that for man, having a brother is as deepful as a romance story (not saying that romance is bad i'm sorry !! I love romance) (maybe I'm also biased because I am in aromantic spectrum <//3) (and maybe not only for men ??)

Anyway !! I feel like we tend to prioritized romance than friendship, as a pyramidical system. But for me, their intensity in love are similar, it is just a different kind of love. It is like.. two differents pillars than a pyramide !

[raihanijulie]

Eclipse' Strong Guardian!!!

[puppetmaster13u]

Prompt in Memes 6

Let's make it some in-world memes this time :)

[creativenicocorner]

...lately I've been thinking a lot about Susan Sto Helit. Specifically her introduction and farewell in the Discworld series.

About how her introduction in Soul Music is through the eyes of Miss Butts who goes on describing this recently orphaned girl as:

"something frankly unloveable about the child. Academically brilliant in the things she liked doing, of course. But that was just it. She was brilliant in the same way that a diamond is brilliant, all edges and chilliness." *

And then the very last we see of Susan within the Discworld series, is in Thief of Time, ending with... well no matter one's personal opinion of Susan and Lobsang Ludd... the Death series ends with love. ( I could go on a tangent about how each Death book is about some version of Love but thats for another time)

ANYWAY the last we read of Susan is:

"She put the chocolate in her mouth, and shut her eyes. A faint cardboard-y sound made her open them. The lids were lifting on the boxes of stars. They spilled out, and whirled up into the shadows of the cupboard, brilliant against the darkness, a galaxy in miniature. Susan watched them for a while, and then said: "Alright, you have my full attention, whoever you are." At least, that is what she meant to say. The peculiar stickiness of the nougat caused it to come out as: "au-rite ou av my full at-em-ntion." Damn. The stars spiraled around her head, and the cupboard's interior darkened into interstellar black. "If this is you Death of Rats," she began. "It's me," said Lobsang. Tick! Even with nougat, you can have a perfect moment."

It ends with love!! Love for a girl who was described as "something frankly unlovable" we bid farewell to Susan in the series with a Perfect Moment!!

Does this mean anything? Do you see the glimpses of what I'm feeling and barely managing to articulate?!

*Please forgive me if the quotes aren't entirely accurate in terms of punctuation etc, I only have the audio form and transcribed it while listening.

[xxplastic-cubexx]

chat i think im gonna be sick

(Powers of X #6)

[denerturee]

Madagascar Party Theme 1 - Penguins

Skipper, Rico, Kowalski and Private are the best family group

@madagascarparty

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.