#and I know the writers did not have good intentions

[whateverloomis]

Hiiii :3

This just came to me, and it's based on something I own. Imagine kissing Stu all over his face while wearing a super glittery clear lip gloss, and he forgets he has it on until Billy says something lol :3

Have a good day/night, ~Spade♧ :3

Hi! Thank you for your request Spade <33 Here's a little drabble and some inspo pics ✨

Note: I have a bunch of other requests that I'll slowly get to as my writers block starts to diminish ☝🏼

Warnings: GN reader, making out, flirting, they want a threesome lol, unedited

You're on Stus couch straddling his lap. Your glossed lips on his. It's watermelon flavored and he absolutely loves it when you wear it.

It's a playful makeout session, your hands are playing with his hair as he grabs your hips and follows your lip movements.

You're giggly and pull back occasionally to kiss his cheeks and nose before capturing his lips once again, brushing your tongue against his.

"You're so fucking cute," Stu says, releasing a little grunt of cuteness aggression.

"Ugh no, you are," you answer and kiss him again, both of you giggling and grabbing each other everywhere.

Billy walked in the kitchen to pour himself a glass of water when he heard you and your boyfriend abnoxiously making out. He couldn't help but take a peek and when he saw the position you were in he unconsciously bit his lip.

Billy wanted to join in the fun but wouldn't give you the satisfaction of knowing it. Instead, he displays annoyance when he walks in the living room, very obviously interrupting.

Stu and you stopped playing around with each other and looked at Billy standing not far from the couch.

"Well look who woke up from his naaap," Stu teased and Billy rolled his eyes before sitting down next to you.

His eyes automatically scanned your body, lingering on Stus hands on your lips before he looked at his best friend. He chuckled in mock and ran his finger along Stus cheek, collecting some of your lipgloss that nearly covered his entire face.

"Jeez, did you pour that damn lipgloss all over his face?" Billy said and you blushed. You had forgotten that you were wearing the makeup half way into your makeout session.

Stus face was glittery and glossy, the outline of your lips was visible in certain areas and your boyfriend couldn't help but laugh at the realization.

"It's watermelon flavored," is all he said and a thick tension developed at the mention.

You and Stu had talked about letting Billy join you guys during sex multiple times, but this caught you off guard. Even if it did you didn't hesitate to follow Stus obvious intentions though.

"You wanna taste?"

[bbyboybucket]

Okay okay, now that I’ve had time to actually think about all this and get the evidence and do the math: imma give y’all a little ted talk on Bucky’s Stockholm Syndrome.

So I’m gonna preface all this by saying that this probably wasn’t an intentional choice from the writers of TFATWS. For two reasons, one cause the show overall had a ton of writing issues beyond just Bucky and was kinda a mess as a whole. And two, to actually make that claim firmly, I’d have to do a rewatch and I don’t got time for all that. That said, as a viewer, choosing to look not just TFATWS, but at all of Bucky’s appearances from the perspective of him having Stockholm Syndrome, makes a lotttt of sense. It adds a lot of depth to his actions, words, etc. Also even if it wasn’t intentional, if you chose to look at it through this lens, the narrative of TFATWS being contradictory towards him can actually be a reflection of what’s going on in his head. The way the show is sometimes sympathetic but other times judgmental can be a reflection of how he sees himself and his inner conflict regarding his past. Again, I don’t think the writers intentionally did this, but it’s cool way to look at it and repurposes their mistakes.

Now, I just wanna point out that Stockholm syndrome can develop within merely days or weeks, so it’s almost kinda silly to think that it wouldn’t occur if someone had been held hostage for decades. It’s practically undoubtable that Bucky had Stockholm Syndrome for at least some part of his captivity, but I think he’s still dealing with the remnants of it. Zemo was right when he said there’s something still in Bucky and he can’t get rid of hydra. But it’s not that he’s some evil killer at heart, it’s that he has leftovers from Stockholm Syndrome.

In a very simplified summary, Stockholm syndrome usually happens and works when captors cause immense pain to the victim and then treat them well afterwards. The captor shows them some form of kindness, flattery, mercy, etc. back to back with harm. Also a big factor in it is the victim becoming dependent on them for basic needs. Seriously, learned helplessness is a huge factor in Stockholm Syndrome. All of it causes a “bond” to form. And the more this occurs over time, the stronger it gets because the victim is constantly exposed to them, they become their only source of interactions and relationships. Stockholm syndrome is thought to be a complex trauma response, a defense mechanism for surviving during cruel and terrifying conditions.

Think of it like the victim disassociates the perpetrator from the abuse and then emotionally bonds with them, so that they can lessen their fear and feel a sense of security. Also with Stockholm Syndrome (especially within cults), not only does the victim bond with their captor, but being isolated from the rest of the world causes them to adopt their captor’s views and lifestyle. They get completely indoctrinated and start to think the same way as the captor.

Now think about what we see with the Winter Soldier. Even from the very little that we know, it’s a cycle of Hydra severely hurting him but then giving him praise, encouragement, validation, etc. All for manipulation ofc, but a broken mind isn’t going to see it that way. He would be relishing in the fact that they’re making him feel like he’s needed and wanted, like he’s done good, etc. Especially since that’s the only affirmations and positive reinforcements he receives, and is otherwise forced to suffer. Those moments of praise and “kindness”, are so so so heavily weighted against everything else.

While he was captive, while Hydra had him, he likely thought they cared about him. It probably felt close to love. Now ofc Bucky, as a free man with a clear head, knows it wasn’t love or anything at all except being viewed as a weapon. But I bet there’s still a part of him that desires that again, even if he knows it was fake, especially in the wake of becoming lonely and left with his own negative thoughts. Because like I said before, the affirmations were fucking heavy weighted. During those 70 years just the slightest bit of praise or mercy probably felt like the world’s greatest high. Especially when it was given in the midst of pain.

These manipulative affirmations also result in the victim justifying their abuse. This happens in a lot of abusive situations but especially in Stockholm Syndrome. Think about the scene where Pierce is praising the winter soldier so he can convince him to do what he’s told. What immediately follows? He slaps him. Then he electrocutes him. But the winter soldier doesn’t resist either, doesn’t complain, etc. He takes both, which is definitely a conditioned response, but it’s also likely due to the thoughts of “I’m disappointing them, I deserve this punishment for not behaving.” And to play devils advocate, let’s say he didn’t feel as if he deserved it. Even so, without speculating his thoughts, his reactions to the abuse and the fact that he’s been conditioned to deal with that at all, are still signs of Stockholm Syndrome. Because the captor’s behavior has become normalized.

Also he very well was dependent on them for his every single need. For food, water, shelter, hygiene, human interaction, and probably things he didn’t need but was manipulated into believing were necessities. And that, especially with the learned helplessness and with him likely being in constant survival mode, reinforces that feeling of dependence. The feeling that he needs them. The feeling that they’re Hydra isn’t so bad because they take care of him. The dependence also circles back into kindness thing. Providing for him could easily be seen as small acts of kindness, further making him feel like Hydra cares about him.

Another huge huge huge part of Stockholm Syndrome is that the victim shows resistance and anger towards those trying to help them or that try to oppose the captor. Look at how the Winter Soldier reacts to Steve, various times throughout the movie. With almost everyone else, he’s mostly objective, just fighting anyone who stands in the way of Hydra. He’s brainwashed but he’s not stupid, he knows Steve had another motive. He knew Steve wanted to help him in some way or separate him from Hydra. And that made him fucking livid. He wasn’t just irritated, like he was when Natasha shot his goggles. He was fighting with full on rage, because didn’t want to even think about a life outside of Hydra.

Now, I don’t think it’s full blown Stockholm syndrome anymore now that he’s a free man. That’s why in my initial post I said it’s to certain degree. In remission is maybe a way to word it. He can’t have full blown Stockholm Syndrome, because if he did, he wouldn’t acknowledge that hydra was bad at all, he’d straight up defend them. However, he clearly has some level of it since he considers himself to have been hydra, to have been one of them, rather than just their captive.

But this all plays into Bucky’s overall-mcu characterization and the way he has conflicting views on his time as the soldier. Because Bucky knows what happened to him was fucked up, that it wasn’t actually his fault, but he still feels that way because he was indoctrinated into their culture and his psyche was completely altered by them beyond just trauma. The degree of his stockholm syndrome is what makes him having stressful, conflicting, confusing feelings on it. It’s cognitive dissonance. In case anyone doesn’t know, here’s a quick definition: cognitive dissonance is when you have two conflicting thoughts/feelings at the same time or when your actions conflict with your thoughts/feelings.

Cause we know he has cognitive dissonance from his actions as the winter soldier. We know he has extreme stress, shame, and guilt from the fact that he killed people despite it not being in line with his morals. BUT if we’re talking about Stockholm Syndrome, it unravels other areas of cognitive dissonance. It’s why he struggles so much with accepting his own innocence and forgiving himself, and rarely acknowledges what was done to him. He knows he was a victim yet he was also a perpetrator. Those don’t align, they contradict each other, he can’t see how they can be simultaneous, it doesn’t neatly make sense how the perpetrator could also be the victim, especially from his perspective. A lot of times, the way people deal with cognitive dissonance is by ignoring one of the feelings/beliefs. His way of dealing with this is to put the blame on himself, because even though it still feels shitty, it’s less confusing and easier to accept that than the fact that multiple things can be true at once. Or more accurately from the outsider’s perspective: the fact that his innocence outweighs his guilt.

That’s why he shuts down anyone who points out he’s not to blame. He’s avoiding the feeling of victimhood that conflicts with his beliefs that he’s at fault. It shakes everything thing up and makes him feel even worse than just the guilt alone does. Which also is due to the fact that it’s easier to believe you’re the problem than it is to acknowledge you were helpless. And to deal with the cognitive dissonance he’s choosing the more manageable option, being at fault. But all this cognitive dissonance just completely feeds into his guilt and self esteem problems.

(Side note, no I absolutely do not think his guilt is boiled down to just this. This looking at one little piece of the puzzle, it’s wayyy bigger than this. I’m just sticking to the context of this post right now.)

He didn’t want to do anything Hydra made him do, he never wanted to be with them, yet he accepted Hydra as a home during those 70 years and some of their practices linger in his head. It’s inconsistent to have not wanted to apart of it but adopted the lifestyle anyways. The stress that inconsistency brings is not easy to resolve. Especially because he likely doesn’t understand why he felt any kind of attachment to something that caused him and others so much pain. Think about the line “Hydra was my people”. We all hate it. But….if you look at it from this perspective, it’s not necessarily wrong. He spent 70 years with them. 70 years of having nothing but Hydra, having to rely on them, having to endure all the things that cause Stockholm Syndrome to develop. He didn’t have a choice in the matter, but it really was his home in his eyes. An abusive, nazi nightmare of a home but still, sadly….his home. They were his people, because they forced themselves to be. They were his only people. Again, that’s where the cognitive dissonance comes in: he hates them, he wishes they weren’t ever his people….but the fact is that they were. And that eats at him.

And like I mentioned before, Stockholm Syndrome involves indoctrination and adopting the ideals of the captor. It would be hard to completely remove that if it’s what you spent decades living by. Hydra’s world view and practices probably still slip into his mind a lot, but they don’t align with what he truly believes is right, they’re not who he is as a person: again, more cognitive dissonance that’s causing him distress.

All of this is also probably a factor in why he wants to make amends, not only because he wants to right his wrongs and make up for his sins, but he wants to act on this cognitive dissonance. Because amending does align with his feelings of being against hydra, of not wanting to be a part of Hydra. And acting on that might help push away those other feelings of being one of them.

Also think about how he never argues or defends himself when people speak down on him and his past, he never corrects anyone when they say he’s hydra, he never has any rebuttal against negative comments about him. Which of course, is due to his low self esteem, and again, guilt. But also it goes back to the Stockholm Syndrome and cognitive dissonance that fuel those feelings. He can’t argue or defend his character to anyone else, because he can’t even convince it himself. Because for any excuse, any explanation, any proof he has of being good….he has something to contradict it with. And how can he truly say he’s still a good guy and not at fault when even he is confused about what’s true? When he still has uncomfortable, lingering attachments to Hydra that he hasn’t shaken yet?

The point is, his head is fucking mess, which we all already knew….but looking at it like this just makes you realize how much more confused and lost he is, how his thoughts are literally at war with each other all the time. And when you look at the narrative as a reflection of his feelings, it makes sense why it switches up every second. If it’s confusing for a viewer to see the seesaw go back and forth from “victim” to “criminal”, then imagine what it’s like in Bucky’s head.

Now I do feel like there’s a lot more here, you could go way deeper and I’m probably missing some stuff, but it’s a place to start. Just some fuel to get the motors running.

[bloomingdead]

i might go in depth on this later, after I’ve played the game a few times, but i really think the greatest issue with datv is a lack of time. there’s such a good shell there, although it seems very disjointed and poorly written at times, even compared to inquisition which used to be considered the worst of the games. like the companions internal struggles feel hollow, it’s like they tried too hard to shorten quests and decided that they required less talking rather than less gameplay. which is awful considering how they promised to have “gone back to their roots” with focusing on their characters. but a lot of it felt half-assed.

like yes i had to improve my relationships with my companions and their factions in order to get a “good ending” but there were so many side quests that could’ve just been blended into the story missions while gaining me approval with my companions. if i don’t bring the companion with me, they’ll be standing at the trigger point to start the personal quest when i arrive anyways. so then why couldn’t i have had my party of 3 turn into 4 when i meet up with this companion, have it be a feature of the story mission I’m on, and in return increase my bond with both the companions in my party as well as the tag along for their personal quest, that is built into the story missions rather than just coincidentally in the same map location as the story missions? if all of my companions are “at every main story fight but just off screen doing their own thing,” why couldn’t the gloom howler mission be apart of a story mission, where i meet up with davrin real quick and we do our free willy thing, then go back to fighting the main boss?

and the 1 on 1 socialization writing is so weak, it really feels like no one ever wanted to make suggestions or (constructively) criticize a coworker’s work, or like they all checked their own work without anyone else looking it over. which in turn has left the veilguard feeling scared to openly criticize one another. there’s no real tension, there’s no scene where a companion is drunk and angry the world is ending, no scene where we get drinks together (unless you include the intro bar scene w varric ig), no scene where i was genuinely scared there’d be no positive resolve between any two characters including my own, no genuine infighting like would be natural in an organization rushing to save the world.

i know from interviews I’ve watched in the past, BioWare has some weird thing with springing entire storylines on employees. like trick being spread thin is talked about in a positive light, as if they’re just so amazing they can do anything when really, i can tell taash’s writing suffered in favor of solas. as if someone said either you get everything you want with character A at the expense of character B, or the inverse. how many writers did they do this to in this game, that aren’t on trick’s level of detail oriented? is this an intentional tactic utilized to force compromise in a company where the employees are nervous to be genuine with their criticism? or is it just a symptom of a rushed game with fired/quitting employees being scabbed halfway thru the game? whoever was in charge of making sure different employee’s visions were meshing, they did a poor job.

[nonbinaryezrabridger]

I think Greer is such an interesting and important addition to stargate canon!

From the beginning military characters have always been the protector. Obviously, because the scientists aren’t always trained to defend themselves. Mostly, the military characters are good guys. They protect their people, and often refuse orders from above to harm innocents.

But do we really believe every military person in the stargate missions would act that way? Military people are famously trained to obey orders above all else. This is sometimes mentioned in passing in sga/sg1 but never really focused on.

So the question can be raised, what if there was a military protector character who did obey orders without question?

Now we have Greer. He is military, and practically obsessed with being a protector. He canonically will follow young’s orders- even including torture (kinda) and (believed) murder of another military leader, without question because young is his commander. Now, he does seem to pick and choose who he thinks is worth obeying - he will listen to young, but other military commanders he doesn’t approve of (like Telford) are liable to get malicious compliance or outright rebellion. We also can’t forget he was basically in prison at the beginning because he attacked a military superior he didn’t agree with (also Telford I think?)

It is canon that Greer is not violent just be violent, he sees it as a necessary tool to get things done. If anything he doesn’t want to be violent for no reason or all the time - as we see when he remembers his abusive father. He wants to be different than that!

I also don’t think he’s necessarily a bad person or a one dimensional character. He obeys orders blindly at times, but he has many other aspects than that, and as I said above he doesn’t just listen to anyone. His blind loyalty does need to be earned.

So if Greer plays the protector as expected, and seems to pick and choose who he feels are good leaders, how is that different than in previous stargate shows?

The problem is that Greer will see anyone as an enemy if ordered to - when the scientists who are typically protected by military characters in stargate canon stage a coup that seems not only logical but legitimate in its reasoning, he no longer sees them as his people to be protected - they are now enemies.

He seems to dislike them intensely, at times trying to intimidate them (without being ordered to) or making them aware he’s watching them for punishable behavior. He’s sometimes shown following them around the ship, looking for something to prove they are going to rebel again - that they are truly enemies. Even military people aren’t safe - once Telford is revealed as a mole, and thus an enemy, he is willing to stand by as young seems to torture and kill him - even stopping people trying to save him by force.

We also see, when he is under the hallucinogenic affects of the tick, that once his beliefs that the scientists are conspiring actively again are confirmed, he takes drastic action almost immediately.

Of course, we do have remember he is under the affect of an unknown substance.

However, how and why he takes violent action is revealing:

He follows rush and Camille, the leaders of the conspiracy from before, and has previously thought he saw them doing unsavory actions. Once he sees rush act “guilty” - simply by running away - he leaps into action, and violent action.

He follows rush, and then closes him, Camille, and himself into a room and destroys any way for them to get the door open again.

However, I want to stress he is not doing this because he feels like it - we are explicitly shown that he is hallucinating young on his radio, giving him orders that lead to this behavior.

Young, or what he believes to be young, essentially orders him to imprison and interrogate rush and Camille. Camille is already injured at this point and he either cannot not see it because of the substance, or chooses not to acknowledge it. Otherwise, whether this intended interrogation includes active violence and straight out torture is never clear. However, “young” also tells him that he is allowed and even encouraged to kill her if needed, and he doesn’t seem to hesitate at this.

His blind following of orders in the end not only encourages him to allow immoral behavior, but leads to him threatening the very people he’s supposed to protect!

He’s a great example of how the stargate protector trope could go wrong, and I love watching him grow throughout the show.

[pikkish]

breaking news: surprising absolutely no one, pik has fallen in love with the fast paced fps game where the big, silent badass of a main character's sole goal is to protect the small, squishy innocents.

[aq2003]

series 3 is so frustrating because there is like a shining core of pure diamond underneath the problems . like conceptually it rocks so incredibly hard. but the problems

[rahabs]

I love SVU, but "rape is okay when it's committed by a minority and white women should feel guilty about those rapists being punished by the law/reporting those rapes" was a very, very bad message to send, and a bizarre one considering what the show is, what it is about, and what it's historically been about.

[letmetellyouaboutmyfeels]

The I feel like she sees me line being said to Eddie who is the person that truly sees Buck for all that he is. Are we supposed to take this line at face value which would indicate piss poor writing because they needed to rush to a horrible ending or do we take it as Buck being an unreliable narrator? What was the audience supposed to interpret from Buck saying that, were we truly supposed to believe him or we supposed to be pissed at Buck for saying this to the one person that truly sees Buck?

Good morning to me, I guess.

I'm assuming you haven't really seen people's reactions in the fandom on tumblr because I feel like I saw this said in quite a few posts going around, but you are absolutely not supposed to take this line at face value. I'm surprised that people think you should. 9-1-1 has from the beginning had a habit of turning friendships into romantic relationships (Bathena and Madney) and taking their time with these things rather than having an instalove situation. Even Karen and Hen, who meet when they're set up on a date together, don't instantly fall in love. I do not think they would set Eddie or Buck up for an endgame relationship with a woman by having them date that woman immediately, even if they didn't plan to make Buddie canon.

Buck is clearly struggling post-death. He's lost and once again looking for the answer from a romantic partner. He did a lot of growth in regards to his family relationships this season but not his romantic ones. Remember, his couch ended up destroyed and he asked his latest girlfriend to pick the new one out for him. Again. He's still not picking his own damn couch. After being unable to sleep on the one his mom gave him but passed out instantly on Eddie's where he ran to feel safe.

If people think this is all, somehow, an accident or the writers are doing this without knowing what they're doing, then I can't help you. Do you also think the symbolism I put into my fanfics are a total accident? Do you guys think I picked the name of the poem "Fuchsia Emerald Alizarin Rose" just because the colors are fun and they accidentally spell out F.E.A.R. or do you think maybe I did that absolutely 100% on purpose and was waiting for someone to realize?

Buck saying that to Eddie is 100% supposed to make the audience raise their eyebrows. Especially when we see Eddie's reaction. He's confused and he's hurt and he's annoyed. Eddie then spends his next few lines showing Buck (and us) that he sees Buck. Buck misses it, it goes right over his head, but the audience is shown that Buck is wrong and Eddie sees him.

I think there was a lot of internal stuff going on behind the scenes way high up the ladder that meant Buddie didn't happen this season. No, I don't mean that in a tinhatting way, I just mean that they knew Fox wouldn't renew them, they didn't know if they'd get picked up somewhere else, Fox hasn't promoted or cared about this show the way it has its other shows in a while, and I think it's pretty clear there was shuffling and changes going on with 6B. So I think things had to be put off. Similar to the pandemic, where I genuinely wonder what kind of season four we would've gotten if we'd had the full 18 episodes and hadn't had to work around Covid. I think that when we know there was a big shift going on behind the scenes, we need to have some grace and patience in how that will effect the story that's told on screen.

But I think that this default to "everything good we see on our screens is an accident and the writers are making shitty choices" is a horrible bad faith argument, and it's exhausting. Aren't you exhausted? I'm exhausted. Fandom shouldn't treat the writing and production team like their enemies any more than the writing and production team should treat the fans like their enemies in some kind of war they have to win (looking at you, GoT showrunners).

We are supposed to be annoyed that Buck is missing the point. We are supposed to see Buck's yearning to be a husband and a father, and how he's missing what's right in front of him. We are supposed to put two and two together and see that Eddie was hurt by Buck's words, that Eddie sees Buck, that Eddie is Buck's safe place, and that Eddie in that moment decided he might not have a chance with Buck and needs to move on, because previously we saw Eddie admit he wants romance again but he doesn't want to go out on dates, we saw his aunt say she met her husband through work, we saw him say 'we have time' and then we saw him immediately after Buck tells him about this new girl who "sees him" flee to visit his mother and then immediately actually try dating. On a meta level this is also because Eddie needs confidence in himself as a romantic partner and needs some more experience under his belt before he's ready to take the plunge with Buck, but in Eddie's mind, I think it's pretty clear he feels Buck will never want him back and he's trying to find the love he wants somewhere else, even if his heart is still Buck's.

So that's what I think. I think it's not explicitly spelled out for a few reasons, but frankly if one of them was a woman we wouldn't need it explicitly spelled out and personally I kinda like that it's not. Something that annoys me with M/F pairings is the constant "we all know you two like each other" talks from third parties that half the time aren't about the characters but are about the audience, to either tell the audience SEE THEY LIKE EACH OTHER THAT'S WHAT THIS IS ABOUT or to give the audience some fanservice while the characters aren't ready to get together. I don't need to be pandered to that way, thank you, so I'm a fan of the slightly more subtle approach that I, personally, see going on with Buddie.

If you or anyone else disagrees with me and feels it was just "piss poor writing" then that's entirely your right. I'd just appreciate it if people who feel that way would stop watching the show, and stop putting their complaints into the inboxes of people who clearly do enjoy the show.

TL;DR - You answered your own question, Buck is an unreliable narrator (and always has been) and we are supposed to be frustrated he said this to Eddie who has proven time and again (and does so in that very scene) that he sees Buck.

[vermillioncrown]

[+] my revision of formulation for the whole study & thesis was majorly approved, ppl can no longer pretend to or actually be lost

[+] minion² was contained, showed up in person and got the sense that no one was going to take his nonsense

[+] no major disagreement between the supes, all subteams understand their tasks

[-] back-to-back-to-back meetings w advisors, integrators, external working groups, and study lead in the next two weeks

[-] i have to finish reading... 15+ papers and compile their data

[-] fix a data structure implementation in my optimization model that i had promised since... nov last year lol (it wasn't entirely necessary. until now)

we'll see if i'm in the mood for stress relief writing instead of just stress relief daydreaming... there's a lot of stuff for every fic but it's all over the place. tpac hyperfixation is still holding strong (esp when compared to all other wips, it is second place for most concrete ending + actual epilogue)

(first place is larb bc every chapter is outlined and scoped; just haven't felt like writing it)

(not saying the other fics don't have planned endings but besides their plot i don't have the context for the endings yet. the shape of the ending scenes are very much informed by the long, in-between chapters)

[luna-rainbow]

Park Jihoon (actor for Dojun's chauffeur Ha Inseok) interview:

What type of actor is Song Joongki? Very…very good. He will never treat any scene lightly. If he feels there are things that can be improved upon, he will explore this in a discussion. In order to emphasise my character, he will even suggest sacrificing some of his own time. He's a very warm guy, and looked after many of us well. He is very good.

What is the most common question you've been asked? The most common question is…is Song Joongki really that good-looking? Yes, he's very good-looking!

[queerhockey]

had a dream that sid was starring in a production of bye bye birdie so now i’m going to be plagued for the rest of my life by a musical theatre fic that i will never write smh

[midnightcitymoon]

I am divinely protected in all ways from any harm or consequences of the spells I cast, no matter what.

11:11 ☆MiracleMakeAWishComeTrueSpell🌙

Eleven-Eleven, This is a call to all angels in heaven, give me a miracle and make my wish come true!

🌜☄⭐🕤🕙🕦⭐🕯🕯📰🎁🎆🎈🎉🎖🔜🔝🔔🕯💰📰💳📧📭🔥🗝🔮🛡🌟☄🌛🌞🌈

Like to Charge, Reblog To Cast spell

[valeriehalla]

actual writing advice

1. Use the passive voice.

What? What are you talking about, “don’t use the passive voice”? Are you feeling okay? Who told you that? Come on, let’s you and me go to their house and beat them with golf clubs. It’s just grammar. English is full of grammar: you should go ahead and use all of it whenever you want, on account of English is the language you’re writing in.

2. Use adverbs.

Now hang on. What are you even saying to me? Don’t use adverbs? My guy, that is an entire part of speech. That’s, like—that’s gotta be at least 20% of the dictionary. I don’t know who told you not to use adverbs, but you should definitely throw them into the Columbia river.

3. There’s no such thing as “filler”.

Buddy, “filler” is what we called the episodes of Dragon Ball Z where Goku wasn’t blasting Frieza because the anime was in production before Akira Toriyama had written the part where Goku blasts Frieza. Outside of this extremely specific context, “filler” does not exist. Just because a scene wouldn’t make it into the Wikipedia synopsis of your story’s plot doesn’t mean it isn’t important to your story. This is why “plot” and “story” are different words!

4. okay, now that I’ve snared you in my trap—and I know you don’t want to hear this—but orthography actually does kind of matter

First of all, a lot of what you think of as “grammar” is actually orthography. Should I put a comma here? How do I spell this word in this context? These are questions of orthography (which is a fancy Greek word meaning “correct-writing”). In fact, most of the “grammar questions” you’ll see posted online pertain to orthography; this number probably doubles in spaces for writers specifically.

If you’re a native speaker of English, your grammar is probably flawless and unremarkable for the purposes of writing prose. Instead, orthography refers to the set rules governing spelling, punctuation, and whitespace. There are a few things you should know about orthography:

English has no single orthography. You already know spelling and punctuation differ from country to country, but did you know it can even differ from publisher to publisher? Some newspapers will set parenthetical statements apart with em dashes—like this, with no spaces—while others will use slightly shorter dashes – like this, with spaces – to name just one example.

Orthography is boring, and nobody cares about it or knows what it is. For most readers, orthography is “invisible”. Readers pay attention to the words on a page, not the paper itself; in much the same way, readers pay attention to the meaning of a text and not the orthography, which exists only to convey that meaning.

That doesn’t mean it’s not important. Actually, that means it’s of the utmost importance. Because orthography can only be invisible if it meets the reader’s expectations.

You need to learn how to format dialogue into paragraphs. You need to learn when to end a quote with a comma versus a period. You need to learn how to use apostrophes, colons and semicolons. You need to learn these things not so you can win meaningless brownie points from your English teacher for having “Good Grammar”, but so that your prose looks like other prose the reader has consumed.

If you printed a novel on purple paper, you’d have the reader wondering: why purple? Then they’d be focusing on the paper and not the words on it. And you probably don’t want that! So it goes with orthography: whenever you deviate from standard practices, you force the reader to work out in their head whether that deviation was intentional or a mistake. Too much of that can destroy the flow of reading and prevent the reader from getting immersed.

You may chafe at this idea. You may think these “rules” are confusing and arbitrary. You’re correct to think that. They’re made the fuck up! What matters is that they were made the fuck up collaboratively, by thousands of writers over hundreds of years. Whether you like it or not, you are part of that collaboration: you’re not the first person to write prose, and you can’t expect yours to be the first prose your readers have ever read.

That doesn’t mean “never break the rules”, mind you. Once you’ve gotten comfortable with English orthography, then you are free to break it as you please. Knowing what’s expected gives you the power to do unexpected things on purpose. And that’s the really cool shit.

5. You’re allowed to say the boobs were big if the story is about how big the boobs were

Nobody is saying this. Only I am brave enough to say it.

Well, bye!

[stillalittlelostngl]

The impact of the person who first wrote omegaverse....I wonder where they are and if they know their idea was used to determine ai was using fanfiction as data for the stories & chat bots it makes

[luveline]

Hiiiiii!!!!!!! I recently got back into criminal minds and devoured all ur hotch fics like a MANIAC (you write. So unbelievably well. Im also in love w ur tasm peter stuff, you are just such a good writer thru and thru) and that one request where Jack calls reader mom for the first time really stuck w me so I was wondering if maybe I could request smth of the opposite? Like not-so-single mom!reader and hotch have been dating for a while and her lil girl calls him dad for the first time :3 🖤🖤

thank you for requesting! 💌 —your daughter calls Hotch dad for the first time. fem, 2k

“Come in, come in!” Hotch says, the door held ajar by his arm, forcing you to squeeze in and save the heat. “Quickly, honey, please, get out of the rain.” 

Sarah bursts in through the door and away from the rain, her vinyl coat covered in raindrops, her boots wet with mud. “Aaron!” she says, pulling it into something softened and excited at once, though her ‘r’s are weak, closer to ‘w’s. “I missed you.” She jumps from one foot to the other. 

He makes sure you’re safely inside before he abandons you. It’s not very kind to you, but he can’t help himself. “Sarah,” he says, without your daughter’s sweetness but heavily fond, “I missed you more, honey. How many days has it been?” 

“Four!” she says, holding up four fingers as Hotch grabs her by the waist. 

He doesn’t mind her wet coat, working an arm around and beneath her to shuck off her muddy shoes. They topple to the ground to unveil damp socks. 

“Oh, no, your socks are wet. I did all the laundry while we were waiting, I have some warm ones for you in the dryer. Should we get you out of this coat?” 

“Where’s Jack?” you ask. 

“Eating. He was starving, couldn’t wait.” 

You kick your shoes off and gather them with Sarah’s to line up by the door. Hotch takes off Sarah’s coat with some one-armed manoeuvring, aware of her smiley gaze following his every move. 

“I,” you say, pressing a swift kiss to his cheek, cold lips to his rough skin, “am gonna go to the toilet really quickly. Hi, handsome.” 

He savours your kiss and watches you go. He owes you a better greeting, he missed you just as much as he missed your girl. For now, he wipes the cold from Sarah’s cheeks and stations her comfortably on his navel. 

He loves her like his own. He’s privileged to get the opportunity, and it’s hard not to feel that low level of awe whenever she’s around, because she loves him the same way. Sarah waits for him to smile before she wraps her arms around his neck, long enough to twine her fingers in the short hair she finds there. 

It’s funny to love someone you had no hand in bringing into the world, but no less real. He’d do anything for Sarah. I miss you doesn’t cover it, but it’s a start. “I missed you,” he murmurs, not well-versed in baby talk but always willing to try for his kids. “It’s so nice to see you. Jack missed you too, should we go see him? I can change your socks.” 

He ushers her back enough to see her. She has such loving eyes, not shy at all as she nods her head. “Can you make crackers?” 

He beams. “Oooh, yes. Crackers and cheese and apple slices, I know what you want, honey. It’s ready for you in the kitchen.” 

Things weren’t easy at first for either you nor Hotch. He works too much, and you both have priorities that can’t be shifted, but the connection between you was easy. Love, undoubtedly, pretty much the moment you met, even if it scared him. He never thought he’d get a second chance and he’s not sure you thought you’d find yours either, and yet loving you has been as helpless as loving your daughter. He doesn’t have a choice and he doesn’t want one. 

In this time, you’ve found routine. He’s introduced the idea of moving in together and you’re excited for it, though concrete plans haven’t been laid. There’s a lot of questions and no need to rush into answering them yet. He has no intentions of letting you go now —Hotch will do anything it takes to keep his small family. 

Today, right now, that’s crackers. 

“Sarah!” Jack says when he sees them, jumping off of his chair to climb on top of it. He holds his hands out and Hotch leans down with a loving laugh to let his son hug her. “You’re back!” 

“I’m back,” she agrees. 

“Do you want some of my sandwiches? Daddy made me two.” 

“Yes!” she says, wiggling to be put down and given what he’s promising. 

Hotch fights to take her to the sink and wash her little hands, to her horror and whining. He says, “Okay, okay, I’m sorry, sweetheart, but you gotta wash your hands before you eat.” 

He puts her in her own chair, and it is Sarah’s chair, outfitted with a big pillow so she can see the table and marked by a pink star sticker, putting a placemat in front of her. Jack quickly pushes one of his sandwiches towards her. “There you go.” 

“Thank you, Jackers,” she says. 

Hotch smiles. Despite their different interests and ages, they’re quick to get along. 

He shouldn’t pry while you’re in the bathroom, but he worries about you. “Honey?” he calls up the stairs. 

“I’m just changing!” 

“Yeah? Can you bring some socks for Sarah, please?” 

You shout back something incomprehensible. He returns to the kitchen, where Sarah looks over the chair with pleading eyes and asks, “Crackers?” a piece of lettuce stuck to her chin. 

“Ah,” he says showfully, turning to the fridge to grab the plate of crackers, sliced cheese, and apples he’d Saran wrapped an hour ago. He peels off the wrapping and places it in front of her. “Here, sweetheart. Do you want anything else? Maybe some chips?” 

She laughs and grabs a piece of apple without answering him. 

“What about you, sweetheart? Drink?” he asks Jack. 

“Yes please, daddy.” 

Hotch makes Jack a cup of orange juice and Sarah a sippy cup, hers diluted some with water. He places them down in front of the kids, crouching between their chairs, intending to stay and chat. “How’s that?” he asks, tilting his head to the side to listen for your light footsteps on the stairs.  

“Thanks, daddy,” Jack says. 

“Thank you, daddy,” Sarah echoes, reaching for him. Hotch offers his hand, startled, not quick enough to hide it. She doesn’t pay any mind to his expression, pleased to have her hand held and her big plastic plate of crackers to munch on. 

“Why’d you look like you’ve seen a ghost?” you ask, passing him Sarah’s socks, and rounding the table to stand by Jack's other side. “Hi,” you add, ruffling Jack’s hair, “look at you, gorgeous, you got your hair cut.” 

Hotch rubs Sarah’s knuckles, trying to phrase it, not sure how to tell you with the kids still there. Will Sarah feel embarrassed if he brings it up so swiftly? Will she feel like she’s done something wrong? Will you? 

“What’s wrong?” you ask. 

He decides to present you with the situation. He’s not manipulative, but clever. “Mommy got your socks, too. Can we take these cold ones off, is that okay?” 

“Yes, please,” Sarah says.

You watch in confusion. Hotch gives you a quick look. Trust me for a second. 

He eases the socks off of her feet, laughs when she laughs at his tickling, even if he’s not quite sure how to feel. Happy, he gives her toes a squeeze and bunches a sock up to pull it over her heel and up to her ankle. “One,” he says, repeating the process with the same tenderness. “Two. There we go, all warm again, Sarah.” 

“Thanks, daddy.” 

You breathe in. 

Sarah puts some cheese on a cracker and offers it to Hotch, who eats it while you summon him away with silent parent talk. He kisses her forehead and wipes it clean as he goes. 

“Did she do that when I was upstairs?” you ask quietly. 

Hotch knows you. Loves you, but knows you intrinsically. He knows just by looking at you that you’re happy, but you’re worried about something, and it’s not hard to guess what it is: he might not want Sarah to call him daddy, and telling her not to might break her heart, and yours too. 

“She did.” 

“She’s never… expressed that interest to me.” 

“Sometimes they think about things more than we know.” Jack still surprises him as he did when he was a toddler.

“She just loves you,” you say. 

“I love her. She can call me whatever she wants to.” 

You hold his wrist, taking a step closer to him. “Are you sure?” 

“Of course I’m sure.” He murmurs now you’re close, ducking his head to yours, two halves of the same heart looking at one another’s hands. “I love her more than anything in the world. I want to make her crackers for the rest of my life.” Hotch puts his index finger to the soft skin under your chin. “Maybe by tomorrow she’ll forget she called me daddy and she’ll never say it again, but… I want her to. Is that okay?” he asks. 

You lean up to kiss him and you nod into his lips, which makes it hard but not impossible to kiss back. “She loves you so much,” you say quietly. You’d only wanted a quick peck. 

He might’ve said he loves her more than anything, but there’s a level on which he holds her and Jack where you sit too. He loves you. You made Sarah who she is all by yourself, and you’re so lovable standing in his reach. You’re perfect. 

Maybe he’s feeling sweet because Sarah called him daddy. 

“I think Jack confused her,” he says. 

“Maybe. You are, you know, her dad. You do everything a dad would.” 

Hotch slots his leg between yours and leans back to force you into his favourite kind of hug. You laugh slowly, hug the same, your arms sliding up over his shoulders to wrap behind his head, your hand cupping his hair. 

He closes his eyes and feels your waist. 

“You don’t have to worry,” he says. 

“I don’t worry about you and Sarah, I know you love her. I guess I just worry about us. Not that you don’t love me, Aaron.” 

“Big changes,” he guesses in a whisper. 

“Big changes.” 

He encourages you away to hold your face. He hopes that waiting with you in quiet for a while can explain it better than words. 

Your shoulders finally relax. 

[girluimfailing]

Its *Selina.

Please God tell me you are not ignorant enough to think any of that wasn't racist.

Talia wants visitation rights to part 4

Disclaimer: My post was NOT made with the intent of shaming/attacking other races and cultures. This is purely a comedy skit based on one of the many versions of Damian’s conception. It is not meant to offend nor shame anyone. I use multiple different versions of different events to come up with various skits normally comedy-centered and hadn’t known people would assume that the assault aspect of this event was in relation to the race of the character. Forgive if this previously came off otherwise and thank you to those kind enough to point this out to me in a civil, kind manor upon my confusion and defensiveness.

(Texting)

Talia: What do you mean how my son was conceived?

Selena: Oh sweetie you can’t be THAT stupid.

Selena: Please God tell me you are not ignorant enough to think any of that was consensual.

Talia:…

Talia: That is none of your business.

Selena: How the hell is it not my business when you basically assaulted my husband?

Talia: I just don’t think your opinion is necessary.

Selena: I warned you-

Talia: What could you possibly do to hurt me? I am Talia Al Ghul. Leader of the league of assassins. My father was the head of the Demon and

Selena: Since you apparently love a long ass introduction allow me to write one for you-

Selena: “My name is Talia Al Ghul and I am a Daddies girl who used a pit full of life reviving chemicals as a f*cking hottub as a teenager. Making me crazier than I already was,”

Selena: “,My mommy never loved me so hyper-fixated on babying my own son until I got tired of him decided to make a bunch of clones to spice things up a bit,”

Selena: “,Then I sent him to live with his biological father who resents me because I tried to force him to love me back through a string of drugs and violence,”

Selena: “,This then leading to a lot of emotional baggage for his future and the woman he actually does love.”

Talia:…

Selena: A little short I know but much more realistic than what you were saying.