#after they were gone

[pillowspace]

Uhhhhhh. Would someone who's extremely self-indulgent over Puppet Charlie make THI

[petricorah]

scenes i loved from Real Enough to Get Me Through by @marriedzukka <333 [ids in alt]

[genderqueerpond]

We don't talk enough about the fact that Amelia Pond, s5 Amelia Pond, before the timeline is reset, isn't just a normal orphan. Her parents didn't die, didn't abandon her, and didn't send her away. They never existed in the first place.

And if her parents never existed, then Amelia cannot exist. She is a causal impossibility.

"People fall out of the world sometimes, but they always leave traces." A photograph. A face carved into an apple. Yes. Sure.

A child.

Now that's too big, surely.

But that's what she is. She is exactly the same as these things. A trace. An echo of something that could never be, never was, never could have been.

And the universe should never allow it. A whole person, that's just too much. She could not have continued to exist indefinitely, in normal circumstances, after her parents never existed.

In normal circumstances.

Because the Doctor didn't just save her from things coming out of the crack in her wall. He saved her from going into it. And he didn't just save her from the threat of going into it simply because of its vicinity.

No, by arriving when he did, he interrupted a process that was probably already in motion. And then by arriving again only moments later on a cosmic relative timestream (too quickly for the process to complete) and yet in the local relative timestream, years later --- years of a potential future caught midway through the process of rewriting -- he solidified that existence. Amy is a creature from another timeline, caught in amber. The Doctor prevented her from never existing, but only after she could already never exist.

And so, no one around Amelia thinks about it. Neither does she. There's some kind of consciousness block, because if you thought about it, really thought about it, for two seconds you'd realize she cannot exist. And the human mind can't deal with that. So, to protect itself, everyone's brain simply slides off it before ever noticing. They just assume that her existence makes sense, and don't question it, and don't notice what they don't question, that is staring them in the face.

But of course, to some extent they do notice. They can't think it, but they notice subconsciously that there's something they can't think. They notice there's something wrong with her, something uncanny. And they don't like it, and they alienate her even more because of it.

"Does it ever bother you Pond that your life existence doesn't make any sense?"

[steddiealltheway]

Something that is canon in my mind that I forget to tell people:

The reason why Steve can’t get bitches in his Scoops Ahoy era is because there’s a rumor going around that he’s gay (probably because someone caught him hooking up with Eddie)

[tavolgisvist]

'Just call him on the phone'

Q: Aside from the millions you’ve been offered for a reunion concert, how did you feel about producer Lorne Michaels’s generous offer of thirty-two hundred dollars for appearing together on Saturday Night Live a few years ago?* A: Oh, yeah, Paul and I were together watching that show. He was visiting us at our place in the Dakota. We were watching it and almost went down to the studio, just as a gag. We nearly got into a cab, but we were actually too tired. Q: How did you and Paul happen to be watching TV together? A: That was a period when Paul just kept turning up at our door with a guitar. I would let him in, but finally I said to him**, “Please call before you come over. It’s not 1956, and turning up at the door isn’t the same anymore. You know, just give me a ring.” He was upset by that, but I didn’t mean it badly. I just meant that I was taking care of a baby all day, and some guy turns up at the door … But anyway, back on that night he and Linda walked in and he and I were just sitting there watching the show, and we went, Ha-ha, wouldn’t it be funny if we went down, but we didn’t. Q: Is that the last time you’ve seen Paul? A: Yes, but I didn’t mean it like that.

<...> Q: You say you haven’t really listened to Paul’s work and haven’t really talked to him since that night in your apartment— A: Really talked to him, no, that’s the operative word. I haven’t really talked to him in ten years. Because I haven’t spent time with him. I’ve been doing other things and so has he. You know, he’s got twenty five kids and about twenty million records out — how can he spend time talking? He’s always working.

(John Lennon, 1980, All We Are Saying, David Sheff)

*It was in 25 April 1976 **it was in 26 April 1976

Well, when I, when I was Just a little baby boy, Every night, every night I would call, Because your number, you know, Brought me such sweet joy. I've called your name, John, Every night since then But I ain't never, no, no, never Heard you calling me, My sweet, sweet babe, So, you know, you better call me back again, I call your operator but I still can't get through to you, Call me back again

(Call Me Back Again, presumably, 10 June 1976, Seattle)

Tell me, is she everything i see Or is she really not the one for me? We know, and though some may disagree But do they know the way we want to be? <…> Building something One thing made to last And holding something Special from the past And do I still believe in stories we've been told***? Are all the things she brings me worth their weight in gold? Oh yeah, (oh yeah) pure gold

(Pure Gold, Paul for Ringo, 1976)

***I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. I’d dreamt that before but I’d never found anything other than an old tin can. But in this dream I found a gold coin. I kept digging and I found another. And another.The next day I told John about this amazing dream I’d had and he said, ‘That’s funny, I had the same dream’. So both of us had this dream of finding this treasure. And I suppose you could say it came true. I remember years later talking about it – ‘Remember that dream we had?’; ‘Yeah, that was far out’. So the message of that dream was: keep digging lads.'

(Paul McCartney to The Big Issue, Feb. 2012)

After you've gone And left me crying After you've gone Ain't no deny You'll feel blue You'll feel sad You'll miss the dearest pal that you ever had

There'll come a time And don't you forget it There'll come a time When you'll regret it****

Someday when you grow lonely Your heart will break like mine You want me only After you've gone After you've gone away

(After You've Gone, 1977, Paul's version - 'just for fun' as he said - of a 1918 popular song written by Turner Layton and Henry Creamer, and it's Frank Sinatra's (and Sophie Tucker!) version.

****the line 'Don't you forget it/When you'll regret it' reminds another old (not as old like After You've Gone but old) song -  I Love You And Don't You Forget It by Perry Como. The song, what our lads were singing in their early years so playfully:

Klas Burling: Tell us something about how you find a song… how you get the idea about a song, to write it down. John: Well, sometimes it's the words first, and then the music after. Klas Burling: Very often you've got a title, you know… Me and you, and everything like that? Paul: Yeah. We try to do that, to make it personal so it's… so we really mean it. When we sing a thing about 'I love you,' it's easier. John: (singing) 'And don't you forget it!' John & Paul: (singing together, jokingly) 'I love you and don't you forget it!' Paul: Well, you see, it's easier than singing something about the cat that lives on the hill, man. (laughter) Paul: It's a lot easier just to sing about what you feel yourself.

(August 23 1963, interview with Klas Burling)

Was I just dreaming or was it only yesterday I used to hold you in my arms And now a baby, and a another on the way [Indescernable] in a farm Now must we be alone? If it don’t feel right, don’t do it If it don’t look right, look right through it If it don’t feel right, don’t do it Just call him on the phone

(John Lennon, Real Life, Feb 1977)

We'd had a bread strike over here***** and I rang him and I was saying, What are you doing? He says. I'm baking some bread.' 'Oh! Me too.' Imagine, with the stereotypes, John and Paul talking about baking bread.

(Paul McCartney, May 2001, interview for Mojo magazine)

*****a bread strike in England was in Nov 1978

Q: Do you regret that your life has become so public? A: I realized that a good fifteen years ago. I remember actually thinking when I went on holiday somewhere, ‘God I’d really better start thinking now about keeping a few countries aside where we don’t sell records. I won’t be able to go anywhere without being recognized.’ But now I think, ‘Really, I’ve reached the point of no return. There’s no going back.’ Even if I didn’t want to sing anymore, I’d just be like Greta Garbo or Brigitte Bardot. They both retired but you’d never know it. John said this to me a year before he died. He said, ‘Be careful what you wish for, it might just come true.’ That’s the way I look at it. I wished for all this and I got it. To regret it would mean I’d have to sit here and live with negative thoughts about it. I know that would only sink me. Even if I had feelings of regret my personality would not really let them out. ‘Look mate, you don’t regret it. Look on the other side,’ that’s me. Not to sink. I always used to do that instinctively, and not allow too many negative thoughts to surface.

(Paul McCartney, April/May 1982, interview for Music Express)

The couple of years after the Beatles broke up it was very touchy because I think we suspected each other of business manoeuvres. So anyone would ring up, it would be like, “Why is he ringing?” And when you put up the defensive like that it’s very difficult to say, “I’m not! Honest!” You just don’t know where to put yourself. So we had a lot of those ups and downs for quite a few years. But the favourite thing was that if ever we talked not business – and what we ended doing, actually, was make a rule not to talk business on the phone – and on those occasions, we had really good vibes, man. And it was great; we just talked kids, we talked family, we talked cats, we talked life, rather than, “oh, what songs are doing with x business affair?” And one of the great things for me, one of the consolation prizes after John was killed, the only thing– you know, you find yourself holding on to little bits of wreckage to keep yourself afloat. And with me it was the fact that our last phonecall was really one of the best we ever had together; it was really warm, we were really friends again.

(Paul McCartney, 1984, interview for CBS Morning News)

Q: Do you remember your last conversation with John? A: Yes. That is a nice thing, a consoling factor for me, because I do feel it was sad that we never actually sat down and straightened our differences out. But fortunately for me, the last phone conversation I ever had with him was really great, and we didn’t have any kind of blowup. It could have easily been one of the other phone calls, when we blew up at each other and slammed the phone down. Q: Do you remember what you talked about? A: It was just a very happy conversation about his family, my family. Enjoying his life very much; Sean was a very big part of it. And thining about getting on with his career. I remember he said, “Oh, God, I’m like Aunt Mimi, padding round here in me dressing gown”– robe, as he called it, ’cause he was picking up the American vernacular –“feeding the cats in me robe and cooking and putting a cup of tea on. This housewife wants a career!” It was that time for him. He was about to launch Double Fantasy.******

(Paul McCartney, Dec 1984, interview for Playboy)

******Double Fantasy released 17 November 1980

I was lucky. The last few wee... months that he was alive, we’d managed to get our relationship back on track. And we were talking and having real good conversations. Real nice and friendly.

(Paul McCartney about This One, interview with Bernard Goldberg for the TV series 48 Hours, 1989)

[logansgaar]

thinking about how no one even tried to recover Bucky's body even though it was in a far easier to reach place compared to Steve's, and what that says about how the world viewed both of them. Bucky never being mentioned when they toast to Steve's memory too.

Steve was just the super soldier, they wanted his body to recreate the serum, and Bucky was just a footnote. This is fine.

[magikkittenz]

something about finding safety in a bed that's long been empty

[bunnieswithknives]

Could you explain changelings? I'm curious it sounds like interesting lore for fop

Changelings are the outdated practice of leaving a fairy baby to be raised by (usually) a human. This can take many forms such as Replacement: where a child is taken and replaced, Mimicry: where the original child remains and the fairy child is to be raised like a twin, and Gifting, where a fairy child is given to someone who doesn't have kid but often wants one, sometimes as part of a more elaborate deal.

Fairies evolved as a type of Aggressive Mimic, specifically they are very good Brood Parasites. The fairy child would be put under a specialized charm to suppress their magic and make them look like an exact copy of the child they were replacing. Most changeling children wouldn't even know that they were changelings until their teen years, at which point they start molting and presenting classic fairy bug features (pasta puberty is not real to me I am closing my eyes I do not see it). Their magic would start returning to them too, and through a mix of magic and deeply ingrained instincts they would find their way back to Fairy World.

Over time though many fairies started to agree that this was an extremely unethical practice which led to a catastrophe of them trying to raise their own children. Since their lifespans were so long and their population was fine they eventually decided to put a temporary ban on having children as they figured out more ethical and practical solutions. This ban did not end up being temporary. By the time Peri was born basically all the knowledge related to raising fairy children was lost and forgotten.

Bonus some peri for lifecycle reference. Unfortunately the Glimmer spell has been mostly lost to time so no Glimmer for him!

Bonus info: Dog fairies/other animal fairies are not a separate species from normal fairies they're just changelings/the decedents of changelings that were raised by animals

[madmaxified]

the fact that BOTH of them were in and somehow survived a weird homoerotic relationship with ella is shocking

like wtf they put in the little blue haired girl??

[tangledinink]

Does Donnie have any feelings about how he’s able to walk on water, and also can he choose not to? It must suck for a turtle not being able to swim if not :(

Also how often does he dance?

Would Mikey dance with him? (Cause I think Mikey was once described in the show to be a good ballet dancer)

he can choose not to and he can still swim! walking on the water feels totally natural and normal to him-- someone would have to point it out to him before he'd start to question it.

also, he spends tons of time dancing! hours every day are dedicated purely to ballet. partially because, even before he became the guardian of the lake, it was one of his favorite hobbies. and partially because he feels compelled to by the lake itself. in terms of mikey--

absolutely they dance together.

[stil-lindigo]

DONATE THROUGH PAYPAL

DONATE THROUGH VENMO

Safebow, led by raindovemodel over on instagram, is a grassroots team currently doing their best to evacuate almost 200 Palestinian individuals from Gaza.

To do this, they had to raise over $300,000 in a very short amount of time. Amazingly, they not only raised that amount, but surpassed it to the point that they'll now be able to buy prosthetics for the hospitals they work with.

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They are on a time crunch as they desperately try to recoup their money before the border closes. Please donate to their Paypal, Venmo or Zelle. Their window of success is genuinely a matter of days.

[lilithofpenandbook]

Something I can't stop thinking about is that Snape began the series being perfectly okay

He was actually at his best. He'd spent ten whole years in Hogwarts without the Marauders and before Harry Potter walked in.

Of course it wouldn't have been easy for him to adjust, but he did. And I just can't help but think of those first months where the other teachers got to know him, and got to realise that this boy needed them, needed their help, and took care of him. I can't help but think of how they promised him that it's okay, it's over, everyone's safe and he's not what he thinks he is. He's okay.

Like, for ten years he would have been happy. He had friends. He had a job. He had a home. Hogwarts was his home.

And then Harry Potter came and everything went wrong.

Can you imagine, him seeing Harry's face for the first time? After so many years of actually being content and happy, suddenly he sees James Potter's face, Lily Evans' eyes. Suddenly he's reminded of Voldemort who will return now, and now he's got a ticking clock, a countdown warning him that that's it, time's up, everything you've built in these ten years are soon going to break. And then come the events of the first and second year. Okay, so they're chaotic and stressful, but it's fine, they're all stressed, they're all in this together.

Then it's Harry's third year.

And that's when everything falls apart.

Remus Lupin, one of his abusers and a serious gaslight, is here in the job he wanted, and acting like everything's fine between them while simultaneously disrespecting him and forgetting to take the potion and being a huge risk to them all. Sirius Black, one of the two main abusers, is on the loose. And no one is ever gonna believe him about Lupin, are they? Suddenly it's Lupin's home. Lupin's safe space. But what about Snape? Do the past 13 years mean nothing? It seems so. And in the end, he has a complete breakdown because it's all coming down.

Then comes the goblet of fire. Okay, normal, right? But then there's moody. And there's the visiting schools. And then there's Kararoff who will not leave him alone! And then...

And then Harry Potter comes with the dead body of a teenage boy, crying and screaming that Voldemort's back.

And now Snape knows that time is up and things only get worse. Everything happens after that, from spying to dealing with that wretched Umbridge who's trying to destroy the school.

And then...

And then he has to kill Dumbledore.

And that when it all ends.

All he built in the past 16 years....

All the promises that they'd never leave him...

That they'd always look after him...

That they know he's not that person he used to be...

That everything will be okay because he has them to look after him...

They mean nothing now.

He's not okay anymore.

[crownedwithstars]

the reasons I think Fëanorians should not get the Silmarils back

it's a better and more compelling story this way. their fall from grace and the way they corrupt and destroy themselves because of a hopeless quest is peak tragedy, which would be ruined by their success.

it's a justified consequence of the Kinslayings: the right of ownership is not and cannot ever be more important than somebody else's right to live.

it's also a justified consequence of them stealing and destroying someone else's priceless semi-sacred property: Teleri will never get their ships back because Fëanor burned them out of spite, so it's only fair and square that the Silmarils are never returned to him or his heirs. 

if Stuff is so important to you that it causes you to ruin the lives of all your children, losing that Stuff forever is probably just karmic justice. (see also: "if more of us valued food and cheer above hoarded gold...")

And no, nobody else should have the Silmarils either. It's clear that having a Silmaril messes with your brain. At the end of the Silm, they should become public property. I would go even further than this and say that the actual resolution of the Silm, where nobody can have them and the single surviving jewel is carried as a star that everyone can indiscriminately see by a guy who never expressed a desire for it, is probably the only correct one. 

[bones-of-a-rabbit]

readerbot au where you have one final chance to talk to ur murderer before ur home burns to the ground but the guy is kinda super dead so its not like talking to him will accomplish anything and ur too far gone to find closure anyhow but its almost comforting so u spend the final hour with him anyway

[macaroonkitti]

Quick treat for my Zelda followers, thinking about Link post totk <3

[dykealloy]

luffy getting frozen-hugged to death by a bird harpy woman, so close to giving in and passing out only to be woken up by the very THOUGHT of zoro telling him to get a grip.