#The writers can come up with something

[tomlinfonda]

My most toxic trait is that the credits could start rolling at the end of the Ted Lasso finale after they showed Ted on a plane to Kansas at peace with his decision to leave and having said goodbye to everyone and I would still believe there's a post-credits scene coming in which he gets off that plane to stay in London.

[crystallizsch]

jhgnngggn i’m back to thinking about post-nrc yuusha and jamil--- extremely long ramble below prepare for uh angst??? i guess???

i buried some of these lore in the tags somewhere but anyways-

yuusha and jamil exchanged hair ties when they separated and went off on their own post-nrc as a way to "remember each other by".

they both have different plans for their own futures despite wanting to be "together"— whatever that means. yuusha stayed at nrc working as staff and jamil is out travelling.

at this point though they STILL never officially “dated” but oh they were so so close SO many times to putting a label on it.

“what happened then” <- idk man they’re incredibly stupid. yuusha is still horribly noncommittal and jamil is- jamil. (“…the hell does that mean” <- SHHHH i will not elaborate)

they ended as just "really good friends" (something something on they’re on the spectrum of queerplatonic but they didn’t understand that that was the case) .

━━━━━━✦

at first they did well keeping in touch from a long distance—

yuusha never forgets to check in on jamil, texting/calling whenever possible, she was always the first to initiate.

and jamil still would’ve made the same effort of course, but yuusha always beats him to it. he sort of just expected her check-ins every day.

and he looks forward to that 1-15 notifications that he gets as soon as he wakes up. it does get him going knowing that she was specifically thinking of him at the start of the day.

that wouldn't last though. eventually, the more yuusha met more people and cultivated new relationships, the more she felt herself grow further and further apart from jamil.

yuusha thrives on physical relationships and the majority of the time the only communication and contact between her and jamil is through the phone.

and so the messages from her became less and less frequent as yuusha got more absorbed and interested in her work and other relationships.

don't get it wrong, she still cared about jamil. loved him even, in her own way.

he just became less of a priority.

━━━━━━✦

it was bittersweet to think that jamil finally had the chance to initiate the conversation.

because that meant yuusha had been thinking of him less and he had to remind her himself that— hey he's still there, remember him?— although that's not exactly what he would say. that's a bit too antagonistic and petty. surely, she's just busy. right?

yuusha would respond as if everything was normal. but the usual fondness, the usual warmth, they weren't there. her words through the screen felt dry. forced.

she can use the unnecessary punctuations and emojis she wants but she is not getting past him.

they called. it was nice to hear her voice. but. there's the same feeling of detachment. why are they talking as if this was one of their first times?

yuu, what happened?— is what jamil wanted to ask. but he would also respond nonchalantly. as if everything was normal.

jamil still tried to reach out to her. similar to how she did with him.

but it was to no avail.

their interactions felt too far gone from what they had.

eventually jamil also realized that there was No Point.

if she wasn’t going to make the effort anymore, why should he?

━━━━━━✦

professor yuusha tala walks in to her class which her signature braid and feathered hair tie.

it's lovely having gotten used to working at nrc. her students are surprisingly behaved and she enjoys teasing chatting with her coworkers. surely she isn't missing anything, is she?

and the traveler, jamil viper. he's seen most of the sights, experienced a lot of things. it's like he is slowly fulfilling his childhood dreams.

he ties his hair with the same one he's been using for years. it's a surprise it hasn't snapped yet from how worn out it looks. this really belonged to someone so cheap, huh.

he wonders why he's still using it. he had come across fitting souvenirs that could replace it.

waste of money— jamil convinces himself. besides, this hair tie is fit for every occasion and it's still holding up anyway.

he'll just get a new one when this one finally bites the dust.

if it ever does.

it's really stubborn for a hair tie.

[bonefall]

Did Brambleclaw actually disown the Three when the secret is revealed? I don't remember this happening (then again, it's been a while) but it does bug me how all three go "Poor brambleclaw :(( He was such a good dad to us and he has to learn we're not even his biokits :(((( poor guy" while simultaneously shitting on Leafpool and Squirrelflight despite them showing them more care and affection before AND after the reveal. If he does disown them, then.... WOW is the double standard real here.

In-canon? It's something you have to approximate. They don't seem to have a concept of ""disowning"" because blood relation is taken as such an insurmountable, FUNDAMENTAL fact of life. He doesn't write them out of his little kitty will and testament, but his actions ARE disowning.

It's as if the fact he is not their biological father is an automatic disowning. From the reveal onwards, he is immediately cold, distant, and the "betrayal" is mentioned often. The Three also explicitly don't blame him for his behavior, like it's just to be expected that he's Not Their Dad anymore.

Lionblaze in particular stares longingly at him several times, really missing him. And like... that's kinda what gets my goat so much

I do believe Brambleclaw is entitled to his feelings of betrayal. I believe Squilf was ultimately in the right to lie, actually, but he's still allowed to be upset and angry that she didn't trust him enough to tell him something so important. THAT SAID, YOU ARE NEVER ENTITLED TO TREAT OTHERS POORLY.

And that's what GETS me. He isn't upset that it was all revealed in such a painful and embarassing way when this could have been avoided, or that his lover struggled with this lie for so long without him, or that he feels he's lost his children. Squilf points it out in The Last Hope-- He's so ANGRY at Squilf that he will THROW HIS FAMILY AWAY

Lionblaze seems desperate to be his son again. Hollyleaf is gone for months, and Brambleclaw is still huffing about the secret when she comes back from the dead. Squilf is fawning in the hopes it makes him talk to her again. Doesn't matter. Brambleclaw Is Upsetti Spaghetti so the narrative will never examine his role in hurting this family he apparently loved so much.

(Narrative seems to understand full well that when Squilf lies for a good reason, that doesn't invalidate the hurt Brambleclaw felt... but when Brambleclaw is upset for a good reason, it actually DOES validate what he put her and his kids through)

In BB it is explicitly a disowning. He cuts them off as his children, and they reciprocate. BB!Lionblaze does so in a ball of fury, vowing that he has ONLY a mother.

[natjennie]

i think mostly we as a culture need to stop pretending media is for us and instead recognize that it's for the people making it. "the show didn't do the thing I wanted it to" is so not the point. did it do what the people making it wanted it to do? did it tell the story they were trying to tell? than it was successful. if that doesn't align with what you wanted to happen, don't get up in arms about it. don't badmouth the creators and throw a tantrum. that's what fan works are for. the text is the text, and it told the story it was telling. you wouldn't be like "ugh shakespeare is insane for act v btw like there was no reason for juliet to kill herself she should've just waited and then her and romeo could have been together wtf this ruined the whole play" like no!!! the themes were there the set-up was there the foreshadowing was there shakespeare did what he intended to. just because it wasn't a happy ending and just because you thought it should've went differently doesn't mean it was bad. read a fic where juliet lives and move on.

[necrotic-nephilim]

as an apology for being gone for a month, have a uquiz i spent a week making! pls feel free to reblog with which character you got, i worked way too hard on this silly little thing. there are eight different characters you can get that are varying levels of unknown, with comic recommendations for each character <3

[sesamestreep]

“requiem for methuselah” crazy ass episode for many reasons. Kirk is being fully insane, like I don’t actually think, even controlling for how quickly and easily and readily he seems to fall in love with anybody at the slightest encouragement, that he’d go that bonkers for that android woman he just met while everyone on the ship was this close to dying, but that’s neither here nor there, because in the background you’ve got an equally but much more subtly insane episode for Spock, who extremely uncharacteristically admits to experiencing an emotion (or nearly experiencing, whatever) and that emotion is ENVY of all things. And then spends the rest of the episode warning Kirk away from this new love interest (something that doesn’t usually happen, even when Kirk has very inadvisable love interests) and is, in the end, the person who accurately identifies that Rayna’s competing love for Kirk and Flint is ultimately what overwhelms and destroys her with the most killer line in maybe history???

And then to wrap it up we get an equally uncharacteristic sort of denouement scene (TOS loooves to cut an episode off right after the actual climax, leaving little time for falling action or character reflection, or to stick a sitcom-y button on the end where the gang all smiles and laughs at their misadventures and everything resets to zero, which is not a criticism, it’s just the style of that era of tv, honestly) where Kirk is literally miserable over Rayna’s death (again, kind of unusual for a lot of his love interests, he tends to be able to move on pretty quickly) and Spock goes to see him and he falls asleep right in front of Spock (also odd) and then when Bones comes in to give the final word on Flint, Spock waves him off from waking the Captain (tender) and Bones gives him that awful speech about how it’s sadder that Spock can’t even imagine the love Kirk felt for this random android woman than it is that Kirk lost her in the first place (debatable but also rude) and how his great tragedy is that he can’t love at all like they can and how all he wishes is that Kirk could forget about all of this and move on. AND THEN, to have Bones leave and Spock go over to Kirk and very gently, tenderly, reluctantly touch him and put his hand to his forehead and tell him to forget and HAVE THAT BE THE END OF THE EPISODE??? What am I supposed to do with that??

[amee-racle-ofmyown]

I've been unable to work on my longer WIPs for some reason but take this. for lack of a better title:

idiots locked in the world's most romantically charged staring contest

Heist Mark x Y/N (reader) | 628 words

You wait just around the corner, quiet and out of sight, and lightly smack Mark's arm with the back of your hand when he tries to peer around you, lest someone see and you have both your covers blown.

Your partner rolls his eyes exaggeratedly and you level him with a stare.

You understand the anticipation, but patience is crucial for jobs like this. You wait for the signal. One wrong move could cost you a lot more than just your loot.

The little nook of the building you're waiting in is, rather conveniently for means of slinking around unnoticed, out of the way, and quite narrow. Even with Mark leaning back against the opposite wall, you are mere inches apart.

He checks his watch. 'Should be any minute now,' he utters in a hushed voice.

You nod. Several seconds pass. Distant chatter echoes down the halls, muffled into a steady background ambience of rich party attendees blissfully unaware of the thieves in their midst.

You look at your partner, simply because you have nothing else to do. He's craning his neck again in a futile attempt to peek around the corner more subtly.

His suit for the night is crisp, and gives his silhouette a sharper outline than the more typical cosy sweaters and soft flannel shirts. His hair looks especially dark cast in shadow, but there's enough light from outside the enclosed space that you see it reflected in his eyes. Softly glowing white and orange and magenta specs, floating on deep brown. Pretty.

It's as he turns his head back to face you, that he notices you staring, and meets your gaze without missing a beat.

Mark smiles, faintly roguish, but gentle and just for you.

He holds your stare, and something to the way he does so makes you wonder if he sees the same lights sparkling in your own eyes, and if he finds the sight as oddly captivating as you do.

A minute passes.

Mark loosens his tie.

It's a simple, small thing, but it stirs something inside of you, and you don't know why, but your breath hitches a little and your eyes widen slightly and he definitely notices. But he doesn't say anything and neither do you. All he does is keep looking intensely into your eyes until he doesn't because his gaze is flickering elsewhere — trailing across your features, settling on your mouth for longer than can be dismissed and when you bite your lip subconsciously it's as if he's mesmerised. You can hardly recall where you are or what you're doing here, none of it matters as much as his head tilting ever so slightly and then—

A voice through your earpiece jolts you out of your stupor. You suddenly take stock of the warmth from Mark's breath on your face. Your noses almost bumping. When did he get so close?

You press a button on your earpiece to answer the call, and by the look on your partner's face, he hears it too. It's Wubba and Bubba, giving the signal as agreed, and the moment is gone and your friend clears his throat and straightens up, as a confusing mixture of disappointment and frustration and lingering excitement flutter and twist in your gut.

When he moves out of your immediate space, the inches feel like miles.

You push the feelings down. You have work to do.

Mark mumbles something over the voice channel before turning back to you once again.

'You ready, buddy?'

The corner of your mouth quirks up, matching his own eager grin.

'You know I am.'

His grin widens.

'Good,' he says, adjusting his sleeve and finally getting a better look around the corner, now that the coast is decidedly clear. 'Alright, partner. Showtime.'

[cluescorner]

I cannot imagine being a Damian stan right now. You've got both Zdarsky's bullshit (where he clearly doesn't give a shit about your boy) and The Boy Wonder (where Juni Ba clearly gives so many shits about your boy) coming out on the same day. The whiplash must be insane. I hope y'all get some nice warm soup for your efforts jfc

[theprinceandthewitch]

I still don't see how people can legitimately argue TOH was subverting romantic expectations when it doesn't... actually do that.

In order for this kind of subversion to work, you need to address why Luz and Hunter getting together is detrimental to them. But at no point do the writers actually show us WHY Hunter and Luz aren't a good fit for each other. You'd expect them to be very careful in how they go about writing Luz's and Hunter's relationship - like making sure Willow is the most important character to Hunter's arc.

But they don't actually do that - instead of having Willow act as the catalyst for Hunter's arc it's Luz. She is there for all of Hunter's important moments... which is not what you would do if your goal was to actually subvert romantic expectations. Another thing you don't do is make Luz and Hunter parallels to past lovers who are deeply tied to the story's villain.

People tend to use Witches Before Wizards as evidence of a subversion of romantic expectations... but that was used to foreshadow Belos' true nature and Hunters' relationship to him [Sense and Insensitivity does this as well... like they rlly wanted to make it clear Belos' and Hunter's relationship was something integral to the story]. I also need to point out WBW comes right after the first episode - which has a talking point about how you shouldn't punished for something as innocuous as shipping. So to have the first episode be proceeded by an episode that establishes Luz's relationship to a prince as something VERY IMPORTANT because of how it relates to the story's villain is... hmm... suspicious to say the least. I don't think this is something they'd do if their goal was to create an argument against Luz and Hunter getting together.

Even if you wanted to make a case by using Eclipse Lake as evidence for Hunter and Luz being bad for each other - it still doesn't work. Yes, Hunter, in Eclipse Lake is technically making a choice between Luz and Belos like he did in Hunting Palismen. But here's the thing: this choice isn't used BY THE WRITERS to argue why Hunter and Luz would be bad for each other. If it was intended to be used against Luz/Hunter then Luz's perception of Hunter would have changed and his choice would be used as a point of contention between them. This would have been a perfect way to insert Willow into Hollow Mind instead of Luz.... but they don't do that.

They don't do that because Hunter's and Luz's relationship was never intended to be painted in a negative light.

In fact, Hollow Mind goes so far as to parallel them with Caleb and Evelyn. And I'm not talking about making Evelyn's appearance more like Luz than Willow. I'm talking abut stuff like this:

Must I rlly point out why this is so crazy... just look at the bottom left corner...

here's a more HD version of the painting:

There's also the parallel of Caleb/Hunter being "lured away" from Philip by a witch from another world... with the bonus points of Evelyn/Luz expecting the arrival of a new family member. Which is unbelievably haunting to me btw LMAO.

Thanks to Them takes it even further by telling the story of Caleb and Evelyn.... while Luz is dressed as a witch and Hunter is cosplaying as a human... and they made sure Luz was sitting right next to Hunter when the story was being told... I'm not making this shit up - that's literally what happened. Once again, this was another moment that could have been given to Willow instead of Luz.... but it's not.

[A/N: Seeing Luz sit next to Hunter with her gf right before the writers release the Caleb/Evelyn bombshell on them is so fucking funny. This entire episode is a joy to sit through because it reads like an episode written by someone who doesn't like Lumity and Huntlow. I don't know how they could have written the most anti-Lumity and anti-Huntlow episode in the show accidentally, but they did. 10/10 episode tbh.]

Then there is Luz's association with wolves highlighted by Hunter's newfound love of wolves... then there is Flapjack only letting Luz use him during their fight with Belos... then there is Flapjack flying to Luz instead of Willow when he's on his deathbed... FINALLY, there is Hunter coming back to life looking like Caleb and pleading with Luz - who is still dressed as a witch - to help him fight his grand-uncle-brother.

I also want to note Willow's costume in TTT takes design cues from Evelyn's stereotypes. I don't think this was intentional, because if it was then that would have been used to foreshadow Hunter NOT ending up with Willow. But it is very funny to me and I like to think that it was a sneaky move done by a Huntlow hater in the crew... I know I would do something like this if I was forced to make Hunter and Willow a thing LOL.

So yeah, you'd think they'd give all this stuff to Willow instead of Luz, since they intended to culminate Hunter's arc with him holding pinkies with Willow instead of helping Luz fight Belos.

At this point you're probably thinking... hmm... if the writers always intended to make Luzs and Hunters relationship detrimental to their stories, then they're not doing a very good job at it. And you'd be right... because they never intended to write an argument against it in the first place.

Even though they wanted Hunter to be paired off with Willow, they never bothered to make sure she's there for all of his important moments. Instead, Hunter's important moments are given to Luz - the only character in this show who has a thing for angsty warrior princes with tragic yet compelling backstories.

And I havent the faintest fucking idea why they though this was a good idea... but I sure do know it wasn't because they wanted to create a compelling argument against Luz/Hunter.

[sillyfudgemonkeys]

Me rn with all the new avatar news:

[keepingupwiththeboltons]

My bet on if they cave and add nettles to the show, is that they wont have her pop up behind a rock and suddenly exist and already have claimed sheepstealer, but instead theyll do something insane and stupid and have her claim the cannibal or some shit instead

[deoidesign]

Can you make a tutorial on how you world build and make ocs? I can't seem to make any people in my brain, but then when I try to come up with environments jobs, beliefs and little details to slowly come up with someone, I think: well I don't really know how people have influenced the world- it's a weird loop

To be honest, I don't think I can! Writing is an extremely personal process. The way I write is directly related to how I process things, what I find important in stories, years of my own analysis of my and other's writing, etc... The way you write will be unique to you, as well. But I can explain how I personally think of it.

The short answer:

Write. Write anything and everything, it's a tool to explore your ideas. Analyze your own writing, and write more. Then, as you discover which ideas you want to develop, write more to explore them more. You won't know what you want otherwise!

The long answer:

I think this kind of loop is common. It's easy to feel like everything needs to be done "at once," because our job as writers is to make elements logically fit with each other for our readers. But as you've discovered, developing multiple elements simultaneously isn't really possible, or at least is extremely difficult.

Personally, when I think of writing, I break it into three major elements; characters, world, and plot. As much as possible every scene explores one or more of these, and as much as possible these three things tie back into what I personally consider most important: theme.

Everything I do is in service of the themes I want to present. Without them my events feel aimless. It can take a while to discover them, but they're the core of my work. You will have to discover what you feel is the core of yours. Analyzing other media helps with this too.

Concepts in your brain exist in a state of infinite potential. But when you start writing you have to start making choices, which removes potential as you move forward... But you have to move forward anyways. If there's ideas you want to explore later, you can always explore them later.

What this ends up meaning, to answer your question, is that I don't think of my characters as "people in my brain" or my worlds as something people have influenced... Not at their core, at least. They are tools that I use to represent specific ideas. Obviously they're also my blorbos, but mostly they're serving a specific narrative purpose.

So above all else... Write. Write, and discover what you're writing about, and then start over and write with that in mind. Keep doing this. But you have to write!

[milfbrainrot]

"claire's a bad mom" claire chose to have her kids claire tells her kids bedtime stories and claire pretends not to be in life threatening danger when she's terrified for her own and her kids' safety to help them stay calm and literally only wants to know if they're okay before prioritizing herself and keeping them far away from danger by rescuing herself i think ur just racist

[gothsuguru]

personal rant incoming bc i yap like it’s no one’s business

[imminent-danger-came]

Come on! Show me the real Sun Wukong. The old you would have leveled this whole mountain range to stop me! But you're scared of hurting some kid? Pathetic! After all Sun Wukong has but you through, how much he has let you down, you would still meet your fate trying to protect him! He doesn't deserve such loyalty, yet you insist on learning the hard way just as I did—I should have never trusted the Monkey King! The false sage, equal to nothing!

[puppppppppy]

who up seeing their disorder in a fictional character but feel like its not their place to put a name on it