#because i really just feel like we have to be on the same page about it yknow??

[makuyi13]

Lucy, X-Men is because of me? Wow...

Batman TAS, Wednesday, Heartstopper (I don't have Netflix)

All my socks look the same

I have smoothie trauma. My mum, convinced that me and brother were slow eater sat anything but smoothies, fed us blended monstrosities for five years in elementary school. I can no longer drink 99.99% of smoothies, but the 0.01% I can drink are pretty good.

It depends on the occasion and my gender.

Soft-boiled with salt.

Anything close by that fits between pages. Or a dog-ear.

Black, because I own many, many of the free black T-shirt that my youth ensemble gives out every year. After that, blue.

I used to collect Japanese erasers. I still have them.

I'm very bad at smelling anything but peanuts (allergic). I like the sound of the ocean.

I love it when they give us a bunch of book quotes to pick from.

I wear glasses half the time.

He never says he'll do something if he doesn't want to do it. Only if he wants to. And if he wants to, he'll do it if it kills him. This is my favourite thing about him, but also my least favourite.

Pencil

Home for me isn't as much a place as it is a person, a feeling, an action, a food, a moment, a situation. It's when I'm by people I love and I can feel okay with myself being with them for once and we're just vibing.

I have a good few houseplants. None have names.

I have an oversized beige hoodie that says "Lothlórien: Home of Lembas Bread" with the Leaf of Lórien on it. It's really comfy, and I got it printed in Vietnam. I've had it for several years now.

Some rings

I wouldn't want to have watched anything from history. Sorry.

Harry Potter

Geometry

I love those classical sculptures of women. I just love them.

Iced

It's either another '80s song or some really sad song about betrayal and stuff.

I don't know.

I have my ears pierced once. I would like a second piercing right next to it. As for tattoos, none, thanks. The most I'll go is a temporary finger tattoo.

I can't cook for shit but I can bake muffins. And earl grey lavender cookies with lemon glaze.

No. They're all on my violin case.

Yes.

Yes. I don't remember what my favourite set was.

It's organised in some areas. On the left we have all the jeans, pants, and in drawers, underwear and socks. In the center, it's a free-for-all. On the right, we have shirts and a few sweaters and hoodies. We are Asian, so shoes go by the door, not in the closet.

"Please Don't Say You Love Me" by Gabrielle Aplin

Blue. A cosmic blue, probably.

Headphones.

Yes.

His name is Peter, and he is a tan dog with dark brown ears.

I'm decent at the what-is-it-called-the-little-soccer-guys-in-a-box?

I don't care.

Hello? Everything I watch and listen to is alien to my friends.

My friend vented to me.

Citrus.

Maple.

Yes. I don't have a favourite.

On

I hand people the exact amount of money. Occasionally, I don't, and I just shove it back in my wallet.

It fluctuates from being the most beautiful handwriting and being horrendous.

Nothing that comes to mind.

Yes, unless I'm in the middle of something.

They're all the same.

Pretend it's not raining.

Dark, silent, in my bed, kind of cool, but not hot; two blankets, specifically one thin, one thick. The thin one under the thick one.

ASK ME ABOUT ANY OF THIS

50 Questions Just Because

What are three shows in your watchlist that you’ve been meaning to get to?

Describe your favorite pair of socks

Do you like smoothies?

What do you wear when you have to dress nicely?

How do you like your eggs?

What do you use to keep your place when you’re reading a book?

What color dominates your closet?

Do you collect anything? If so, what?

What sounds or scents calm you down?

What’s your favorite kind of uquiz question? (Lyric, color, aesthetic, etc)

Do you wear glasses or contacts?

What’s something about your best friend that you love?

Do you prefer to write in pen or pencil?

What are some places where you feel most at home?

Do you have any houseplants? Do any of them have names?

Describe your favorite hoodie. How long have you had it? What makes it unique?

What’s the last thing you ordered online?

What’s one historical event that you would have liked to have witnessed?

What’s your favorite Halloween costume from when you were a kid?

What kind of math are you best at?

What’s your favorite period in art history, your favorite famous work and/or your favorite style of art? If you don’t know any that’s ok!

Iced or hot drinks?

Which songs do you like to sing in the shower?

Are you a good driver?

Do you have any piercings or tattoos? Are there any that you want?

Can you cook or bake? If so, what are some of your specialties?

Do you have any keychains on your home or car keys? Describe them!

Can you swim very well? Do you like swimming?

Did you play with Legos as a kid? What was your favorite set?

Is your closet organized? If so, how?

What’s the last music video you watched?

If you could dye your hair any color, regardless of how you think it would look, what color would you choose?

Headphones or earbuds?

Can you read analog clocks?

Describe your favorite stuffed animal, either now or from when you were a kid.

What’s an arcade or table game (air hockey, ping pong, etc) that you’re really good at?

Do you mind if others are in the kitchen when you’re cooking or baking?

What’s one show you watch or musician you listen to that your friends know nothing about?

What was the best part of your day today?

What’s your favorite kind of tree?

What scent is your deodorant?

Do you have any games on your phone? If so, which one(s) is/are your favorite?

Do you shower with the lights on or off?

What do you do with spare change?

Do you have good handwriting?

What’s the last thing a friend recommended to you that you looked into and actually liked?

Do you like to go on walks?

Do you have a favorite plate or bowl?

What’s your favorite thing to do when it’s raining?

Describe your perfect sleeping conditions

[literary-illuminati]

2025 Book Review #5 Daisy Jones and the Six by Taylor Jenkins Reid

This was a book recommended by a friend an absolute eternity ago which I finally got around to reading, having long since forgotten any of its selling points or interesting qualities which might have accompanied the recommendation. Going in blind, I quite enjoyed the book as I read it, finished it feeling it had ended somewhat anticlimactically, and have grown a bit more sour on it as I thought about it to write this review. It’s not a bad book – still a fun, easy read! - but I’m not sure it’s really much more than that.

The book is structured as an oral history – or maybe the transcript of a documentary – about the titular band, a musical phenomenon that set the world on fire for a moment in the late ‘70s before dramatically breaking up halfway through the tour after releasing one of the best albums of the decade. Aside from bits of narration and scene-setting at the start of each chapter (and one conversation in the climax) the documentarian is invisible, and the story is entirely told through quotes from members of the band, associates and hangers-on, or just critics and writers on the period, as they’re interviewed thirty years and change later in the 2010s.

In the abstract, I adore this. I love unreliable narration, and Rashmoon-esque scenes where we get mutually exclusive versions of the same conflict from different perspective. Properly packaged, I am an incredibly easy mark for messy self-destructive codependency and melodrama. Thanks to some peculiar media taste on my parent’s part, I even have enduring fondness for the whole, I don’t know, heroic age of rock&roll? And the whole mass of accompanying narratives and tropes that you get buried in talking about music in the 60s-through-early-80s. And it’s not that the book doesn’t deliver on any of that, exactly – it’s not at all poorly executed, it knows what it’s trying to do. It’s just-

It feels like this is a book about a fictional band because it would be impossible to make such a morally simple, happy and redemptive story about any of the actual bands that clearly inspired it without seeming like Jenkins was getting paid to whitewash someone. It’s not that there isn’t mess, exactly, but it comes across like a born again Christian giving lurid descriptions of their debauched and sinful former life. There’s sex and drugs galore, but the worst person in the entire book is just a shitty deadbeat boyfriend. The entire main thrust of the book is building up an unacknowledged love triangle between Daisy, Billie and Camilla – actually quite compelling! And then it finally reaches a head, is cleanly and simply resolved in the most boringly conventional way, and the story jumps thirty years ahead to a ‘where are they now’. Where is the toxicity, the mess, the unforgivable betrayals everyone has to ignore so they can get on stage together, the fortune-destroying legal battles over the rights to the band’s legacy once it all falls apart? You finish the book feeling like Charlie Brown trying to kick a football.

This might be a problem of me setting my expectations too high, but up until the halfway point it does feel like it was building up to something appropriately nuclear. Instead, it peaked with Billie (and, despite the book’s name and cover art, in a narrative sense he really is the main character of the book) hits rock bottom and goes to rehab so he can be a good father for his daughters and husband to his wife. A truly mind-numbing fraction of the book from there is dedicated to singing the praises of the redemptive power of the reproductive nuclear family and an advertisement for going to rehab and learning self-control before drugs ruin your life. I spent two hundred pages waiting for it all to be groundwork for juicy, bitter dramatic irony, but no – just sincere, straightforward themes of the work. Hideous.

There is one rather hostile reading of the book that works? It’s revealed at the book’s climax that the diegetic framer and compiler of this oral history is Julia, Billie and Camilla’s daughter, and she is creating this project when her mother rather abruptly dies. And you know? This story is exactly what you might expect from an entertainment industry nepo baby asking her parents and a bunch of family friends (including who everyone assumed to be The Other Woman) about her parent’s romance and relationship and putting it all together into a deeply mediocre documentary that will kickstart her career entirely thanks to all the juicy stories from last generation’s superstars. But I am on the one hand really pretty sure this is not even close to the intended read of the story, and on the other still leaves you only reading the deeply mediocre documentary with no access whatsoever to the more interesting story underneath it. Decent conceit for fanfiction, I guess?

The identity of the diegetic narrator is also the justification for how shamelessly the story plays favourites with which band members to focus on – of course her parents and their relationship will be the central focus of the whole piece, of course her uncle and his girlfriend will get second-string status, of course the rest of the band will basically exist to provide colour commentary and throw peanuts (if that). A disparity the story itself draws enough attention to it, honestly, goes from charming to eyeroll inducing when it never actually does anything with it.

The story very much wants to be About gender and feminism, and (going by the discussion questions I glanced at while skimming through the reader’s guide section at the back of the book) is proud of it. Which isn’t really unjustified – it really does have a decent number of different female characters with their own developed personalities and prominent roles in the narrative. It does the thing I kind of hate where by happy coincidence all of them (even the ones on opposite ends of a romantic triangle) end up liking each other whenever they interact, but that’s just kind of a piece with the book not really letting anyone be a proper piece of shit. It is however very funny that the only black-coded character in the entire story is literally in the narrative to be Daisy’s longsuffering and supportive best friend there to provide a bit of maternal influence and talk sense into her when she really needs it.

But yes, decent airport read I suppose? Fun for a lazy day if you enjoy the premise, but not really worth seeking out otherwise.

[wolfstarlibrarian]

firstly, i would like to thank you PROFUSELY for this blog. i stumbled upon it when i was a fandom baby, without a tumbr or ao3 account and no knowledge of tagging or kudos or pretty much anything. almost all of my first wolfstar reads are from your rec lists, and i basically went through ALL of them. i know how to use everything now, but this blog has a special place in my heart for starting my journey.

onto my ask: i know you don't normally rec unfinished fics, but i was curious if you had any WIP recs, preferably a few chapters in with a long way to go. i've learned i really enjoy following the journey and getting emails with updates.

thank you so much for everything you do!

This is SUCH a kind message to receive. Thank you so much and I’m so happy I’ve been able to introduce you to so many wonderful works in this fandom!

I’m not sure how long any of these fics have to go (even with a chapter count we sometimes get extra epilogues 🥰) but they are the most recently updated ones I have subscriptions for. (I checked my subscriptions tab and there are 26 pages, so………..)

Anyway, hope you enjoy these! And everyone should feel invited to reblog with their own WIP or a friend’s WIP!

Wolfstar WIPs to Follow

While I breathe, I hope by @marigold-hills

Sirius Black has made many mistakes, but the very worst one happened when he was sixteen. Five years later, he tries to atone.

***

“Mate. You alright? Let me take you to a hospital. Or do you need an ambulance? Those wankers, I swear…”

But he doesn’t finish the thought. The man raises his head, startled. And it’s him. Behind the dirty hair and the blood smeared lips, the new scars, the cheekbones made sharper by hunger. Sirius would recognise him anywhere.

Love, Probably. by @chlobliviate

The Love Actually Marauders era AU. Featuring Minerva McGonagall as Billy Mack. It's chaos, it's ridiculous.

Christmas Eve Will Find Me by @lumosinlove

Sirius Black and Remus Lupin have spent their entire careers together—from training all the way to being assigned to the same team working for the secret intelligence agency, Salazar. Sirius has loved Remus for just as long, but has never told him.

The Endless Night by @gardenoflupins

When Remus finds himself being followed, he has two options. Either deal with the stalker himself or get the help of a few bikers nearby. Little does he know that by approaching them, the trajectory of his life would change entirely.

WAIT! Let me add that that I am recommending these fics AS IS. Please please please please don’t ever pester an author to update. That’s why I don’t usually recommend WIPs. Because it adds extra stress to an author and stress never helps anyone to write.

Even sending anon asks about updates is uncool and will generally just push an author further away from revisiting a fic.

If you love a wip, tell them, in detail, in the comments. Comment every time you read how thankful you are for the fic even. Or give another emoji as a comment.

But don’t ever ask for an update. Please.

[hyohaehyuk]

Den of Geek - Interview With the Vampire Cast on the One Thing They Don’t Tell You About Playing Vampires

Den of Geek: Jacob, in the first episode, Louis asked Daniel to let the story seduce. Do you feel you’ve accomplished that, and how does it feel?

Jacob Anderson: Yeah, I think he does let the story seduce. I think it reveals at the end that Louis let the story seduce himself. I remember Rolin talked about this quite a lot, Louis tries to hypnotize himself a little bit when he’s telling this story. To the extent that he believes it himself. Maybe he believes there are things that he says that might not be completely reliable. But then, who among us really tells a reliable, completely truthful, story about our own lives and our own participation in our lives, and other people’s? Yeah, I think he succeeded. Maybe a little bit too well.

Sam, you are center stage in two character-defining genre moments. When you’re holding a head and punching tickets, is there an awareness of how this is gonna play on screen? And how does that energize your performance?

Sam Reid: Yeah, definitely, I think Rolin knew what he was doing, too, when he wrote those moments. I don’t write those beats, I see them on a page, and it’s my job to interpret them. Actually, the decapitated head had a lot of discussion around it, and whether it was going to be too far or not. I think I may have shot that sequence, and Bailey was there too, so I’m expected to remember, more times than I think I shot anything, ever. We did it so many times.

I always talk about the practical effects of this show, but they’re so astonishing. It’s almost worth ruining the illusion just to know how we shot it. So, when I kick open that door, I’m jumping across a little moving car that I’m standing on, to another one that’s being held by members of the production design team, shaking the cart. So, it’s being shaken by people, and then the carriage that disappears behind me is a 2-D flat piece of wood that is being pulled apart by a whole bunch of guys on ropes while I jump across it. It’s so detailed. Every shot was just beautiful the way they make those things.

Jacob Anderson: And fun fact, that head is the head of Adam O’Byrne, producer.

Sam Reid: Yeah, it’s the head cast of one of our producers on the show, which was very funny to walk around with his head and have to work out how to manipulate it into being a puppet.

Jacob Anderson: [Mimicking] Get back to work!

Bailey, you play the same scenarios in two different worlds. Louis’ first telling and then after Daniel bullies them into the real story. I’m assuming you shoot these on the same set at the same time? How do you differentiate these realities internally?

Bailey Bass: We have an incredible crew that’s very supportive. Alexis Ostrander was very great at directing how Claudia should feel, and Rolin Jones knew exactly how he wanted the audience to feel in those moments. Because I was playing Claudia so truthfully as her for most of the show, when I’m doing that scene that’s not true – that Louis made up to make himself feel better – it was a bit of a challenge. I was grateful for both of them, Alexis and Rolin, for giving me guidance on how to live Louis’ lie rather than Claudia’s truth.

When you add up all the vampire abuses, do you feel Lestat earned an attempted death sentence?

Sam Reid: I hope so. I hope he earned it, and I hope people feel like that was earned. I mean, God, what other choice do these people have but to kill him? And I think he knows that too. I really hope the audience feel that he should have died. Lestat, particularly at the end when he realizes that it’s Louis with the knife and not Claudia, he feels like, “Okay, I’ve gone too far. And I need to die.” [Laughs]

Bailey, Claudia instigated it.

Bailey Bass: I think Claudia is, definitely, like: “Yes, he should have died.” I’ve been watching every episode as it airs on AMC+ so I can live it with the fans, and there are all these arguments about Louis, Lestat, Claudia, and our relationships. It’s really interesting. Because of Rolin’s great vision and writing, our characters are so equally specific, which makes audiences fall in love with them. When I’m watching it as a fan, I see why people don’t want Lestat to die. But then I also played Claudia, and I know how her brain works. And of course, he deserved to die.

And finally, Jacob, you’re the one who left Lestat with the rats, do you feel he deserved it?

Jacob Anderson: No, I think Louis doesn’t necessarily feel like he wants him to die. I think a lot of it is about freedom. They’re trapped in his house, and Claudia and Louis are essentially prisoners. I think that the only way they’re going to be able to escape the situation they’re in, is for Lestat to just be off the board for a little bit. He needs to go and sit in the naughty coffin and think about what he’s done. It’s like they’re on a break, essentially. That break will facilitate Claudia and Louis being able to explore their existence a little bit more, and explore their relationship, and their lives outside of this house. Get out of there. They’re not going to be able to get out of that house, unless Lestat is also out of that house.

Sam Reid: It’s also a very kind gesture, in a way, for Louis to do it to Lestat, because Lestat doesn’t really develop that much as a character over the first season. He’s got a lot of issues that he doesn’t really deal with. And sometimes the nicest thing that someone can do, or that a monster partner can do, is kill you to instigate a bit of personal change. Hopefully, this is the first step in a character arc for Lestat.

Jacob Anderson: It’s like any relationship, right? Sometimes you just have to have the big, big, big argument that completely changes how you perceive your relationship. Without that, how can you move on and establish something new?

Sam Reid: Yeah, yeah. They live forever, you know? You gotta make big choices.

Cosmetically, technically, and emotionally, what is something no one prepares you for when you take on the role of a vampire?

Jacob Anderson: Nights. The nights.

Sam Reid: Yeah. Working at night.

Jacob Anderson: Yeah, because the scripts are so beautifully written. They’re so dense, full of ideas, and full of beautiful dialogue. You don’t want to mess any of it up. You have to switch your brain into a place where it can operate at full capacity. At 4 a.m., you’re having to do this very lofty stuff, and it’s very difficult to actually prepare for that without just doing it.

Bailey Bass: Because, eventually, we all have a time at night where we start to get delusional. I documented the whole show, I’m watching videos of myself and I can pinpoint exactly when I started to lose my mind. You have to rework it to keep acting at 100%.

Along with that, no one could have prepared me for the lenses. Your vision is restricted. Sometimes we couldn’t see our other actors’ faces while we’re acting, which can make it really difficult because one of the first things you learn when you’re acting, as part of acting, is reacting. It’s mainly: when you can’t see the muscles of your actors’ face, how are you supposed to do that? Along with that, the lenses change how they feel in your eyes, based on the environment you’re in. So, if we’re working at 4 a.m., depending on the degrees it is outside, it will affect how the lenses feel on your eyes. No one can even explain that until you feel it on your eyeball.

Sam Reid: Yeah, the nights and the lenses. It’s very hard to grasp what that feels like, for the extended period of time that we did it. You enter something like a dream world, literally, that’s the best way that I can think of describing it. It’s like this bizarre dream primordial soup.

How will season two deal with Claudia and Louis’ falling out?

Jacob Anderson: How exciting to find out. I can’t wait to find out.

[danwhobrowses]

Okay so this'll be the last post I make regarding Critical Role until c3e119 airs since while the antipathy and, for lack of a better word, deflation revolving around 118 has been a little disheartening, I do want to throw a few things that continue to bounce off the inside of my head out there before we get to the next episode;

I don't think it's needed (as someone who very much wants them all to survive - including ones I like less than others - and be able to continue figuring themselves out) for BH to die or be betrayed or be subject to additional punishment to justify what's happening. This fight IS their punishment, their consequence, their Finding Out after Fucking Around

Also, if the gods refuse to help BH - if asked - it proves Ludinus right. Refusing aid would indicate that they really are picking favourites out of self interest, plus the taking on Predathos option was only proposed to BH by one of their own, so it'd be double scummy

Campaign 3 has still had some great, funny and heartbreaking moments that we shouldn't forget about just because these current events are fresh, plus C1 and 2 weren't perfect - worth reminding that too

Honestly, if FCG were alive the same thing would've happened anyway; Matt would've made the coin flip be indecisive so the cast could make the choice and Imogen would've chosen the same way

While we definitely could've built to this better, this fight will provide the floor for BH to confront a key character motivation; be it preventing the overtaking and corrupting influence of a malicious or feral psyche, having to decide whether to trust that their ally can overcome it or follow through with what a superior entrusted them to do as a countermeasure, or simply trying to protect and prevent another friend from dying - which, alongside the likely map change and expected unique minis, is actually kinda exciting

Just, let's go into 119 with an open mind, okay? They have to earn it for sure but it's not over until it's over.

[eddiemunsonsmum]

Just saw this comment on a story posted a month ago.

*cries in Eddie Munson Solo Series no one wanted to read, interact with or request for*

No shade to the person that commented this on their own fic if you recognize it. It's not their fault. I'm not mad at them. More crying in the tags.

[mantisgodsdomain]

We ought to write more Pokemon fic some time. We want to recreate the Pokemon Manners/Human Manners cheat sheet that we made a few years ago we think that this site would like the Sliding Scale Of Politeness When Greeting A New Pokemon You've Never Met Before.

[widevibratobitch]

my god. skinny people really just have like. No Idea huh just absolutely not a single clue lmao it's almost funny to watch fr but then id lie if i said i wouldn't fucking kill to be able to be that ignorant

[snailsandstrawberries]

have to read an article for a class written by the same professor and i so desperately want to take a red pen and go to town because what the actual FUCK

[anthromimicry]

okay, but i think it is about time to talk about one of misao's fears is, because i believe that they can tell you a lot about a character and their psyche — and i came to tell y'all that the one i'm going to be talking about today is that misao fears becoming a mother / motherhood. the first reason in which why i believe this is because misao just genuinely thinks that she is not the nurturing type and that she would likely be a terrible parent to her child ( which i know is a very depressing thing to think about. but it is something that she has feared for a long time, unfortunately. ) this likely stems from a mix of misao's inability to deal with her own emotions, though, as she feels like it's better to just bottle them up and deal with them all on her own rather than the alternative. and this would be to try to confide in someone and/or get help from them should she need it. so, misao feels as if her child were to come to her needing emotional support from her, she would absolutely fail at it and the last thing she wants is to emotionally neglect someone the way she had been as a child ( p.s. of course, this was mostly just borne out of unfortunate circumstances, as i've stated before because of kaiyah's illness. though this hasn't stopped misao from feeling the brunt of the impact that it had on her. )

plus... i feel as if misao also doesn't have a lot of confidence in herself whenever it comes to the concept of always being able to put a child first, as she has a pretty negative self-image of herself deep down if i'm being honest. she sees herself as an extremely selfish person who can't even become friends with one person because she is so afraid that someone will hurt her, and in her opinion, that makes her pathetic or weak. so she doesn't feel like she'd be able to take care of a child with the amount of responsibility that is required to in order to raise them properly and protect them at the same time.

though this isn't necessarily true as misao has put up those barriers that would normally let people into her heart mostly due to trauma, and having experienced trauma doesn't make anyone weak. i just feel as if she desperately needs to remedy her self-image because it is very damaging to think of yourself like that and it would be really good for her emotional health if she were to try to ways to better cope with everything that she's experienced throughout her life. there are other reasons as well behind why misao fears motherhood while i'm talking about it, however, and these are arguably one of the more bigger ones: the act of giving birth itself and suddenly being thrust into having to not just take care of yourself, but the baby inside of you as well. which sort of makes sense whenever you connect the dots as to how many horror stories misao has heard about delivering a baby and also how much a person's experience while being pregnant can vary from others. i mean, it has been shown that some people may have more morning sickness than others and that they just don't have a very good experience with being pregnant in general, for example. but other's may be 'glowing' as they say and may find it easier to deal with.

so, you never really know what kind of pregnancy you're going to have until you actually become 'with child' as misao would call it. and the unknown aspect surrounding it scares misao more than anything. plus, as it stands now, she isn't sure whether she'd want to go through the process of giving birth as there can be a lot of complications regarding it. but there can also be so many good things about inviting a new member of the family into your home and misao feels as if it is kind of expected of her to have children so she can continue the kanade line.

but misao is just so afraid of it for these reasons that she can not see herself as a mother, even in her head. however... there is the matter of adoption that she has yet to take into account, but with how focused the jorōgumo are about having biological children, i feel as if misao hasn't even considered it to be an option for those who are afraid of giving birth and also to give a baby / child a loving home as everyone deserves one of those. but yeah. i hope that this gave y'all a little more insight into her character, as misao is scared of re-enacting her past in a way, though i feel as if you become a mother yourself... you have to separate what will be your own experience of parenthood from your parents. so, in order to overcome this fear she has, misao would have to treat it as an entirely different thing from kaiyah's experience as a mother and her own child self's experience of her as a mother.

and this is definitely possible. it would just take some work, as overcoming any kind of fear would. plus, i feel as if misao were to accept other people's help it would also benefit her, since discussing motherhood / plunging into the topic of the sometimes seemingly scary thing that is parenthood is definitely not something that you have to try to go through alone.

[cerealbishh]

"You get to see her understanding of how things really are. And so that becomes much more present on the surface. (...) In this season, we get to see her fall deeper in love with him but also navigate those challenges. And also becoming an anchor for Rhett but also struggling with his decision, 'Is this what I want for my future as well, as much as I love this man?'." - Isa in an interview with The Knockturnal(x)

[garlique]

no one knows how much i want a goddamn cig

[s-soulwriter]

Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

[ourceliumnetwork]

brain scrambling for something i'm putting off/procrastinating on to be anxious about but i've finally caught up so i'm sitting here going "Oh god i really need to get [file not found] done" but since there's no task found for me to accomplish i just end up vibrating in place trying to figure out what i want to do.

[ambrosiagourmet]

I want to talk about why I think this is the one of the most important Falin panels:

So, Falin is really nice, right? It's one of the first things we really learn about her. She's kind even to the monsters of the dungeon - choosing to ward the party rather than fight spirits and cause them needless harm.

In the above early flashback in chapter 11, we see Marcille fawning over Falin's kindness, calling her an angel. Namari calls her soft-hearted. We see Falin choose not to fight even when a zombie attacks - instead she resolves the confrontation with a hug. After the flashback, the first thing Senshi says is that Falin "sounds like quite the person," which Marcille strongly affirms.

At this point in the story, all we have seen of Falin are these impressions; she is a healer, an angel, a caretaker with an infinite well of kindness towards everyone she meets - both friend and foe.

And honestly, that remains most of what we have to go by to understand her. The only times we get to see Falin on the page, alive and just herself, are in the opening and closing pages of the story and in the brief period of time after she is resurrected.

Nonetheless, we do have some more details to work with. For one, there is the scene that The Panel is from - a short memory in chapter 75, when Marcille flashes back to while she's dying. In that scene, Falin prepares to teleport them all out, and says that she's sorry "if there is a person at [their] destination." And that's when we get The Panel.

If you teleport someone or something into another person, the person teleported into is likely to be, at minimum, severely injured. They could die.

We can see a lovely little horrifying example of exactly why in one of the Daydream Hour doodles:

So, hmm. That's not... that's not SUPER nice. Certainly not displaying the same "kindness to all, friend and foe included" we saw represented earlier. On a basic level, this adds some nuance to Falin's kindness. We see it break a little, when pushed to the limit. We see her chose to protect the people she loves above all else.

Which makes sense! As Laios says when the Winged Lion accuses him of similarly being motivated more by his friends' safety than everyone else in the dungeon, "...most people, aside from virtuous do-gooders, would feel the same way."

So, we can take The Panel as simply showing a moment of weakness for Falin. A time when she was pushed to her limits, and that "most people" selfish side of her shone through.

However... I think there's a little more going on with Falin than just her being an angel 99% of the time, except just that once. I love The Panel because I think it helps us understand that Falin isn't just motivated by kindness - she also has a desire to avoid seeing people in pain.

Isn't that the same thing?

No, no it very much is not.

Let's look at a short comic from the Falin section of the Adventurer's Bible, because I think it illustrates this point perfectly. The group is complaining about how much Marcille's healing hurts, and comparing it to Falin's, which "doesn't hurt a bit." Marcille retorts with the following:

Now, the punchline of this comic is that, despite Marcille's sentimental assertion that she's "thinking of [them]" by letting her healing magic hurt, they all still prefer to be healed by Falin.

But hey, this wouldn't be the first time that Dungeon Meshi hides a very real character beat or insight in a gag, so let's think about this somewhat seriously.

If Marcille is right (and she knows a fair bit about magic, so we can assume that she has at least somewhat of a point), then what Falin is doing isn't kind. I suppose if someone specifically requested to not feel the pain, it could be kind, but that's not really what happened here. She is the one who felt badly about the others being in pain, and she is the one who decided, without telling them or giving them a choice in the matter, to take away that pain.

Both Marcille and Falin are healing the party, but Marcille is doing it in a way that accomplishes the task in the most straight forward way, without any additional interference. Falin is going out of her way to perform the healing in a way she is more comfortable with. A way that avoids pain.

Going back the The Panel, I don't think its a coincidence that the only time we see Falin (well, non-chimera Falin) willing to do something that could hurt someone is when any potential pain will be far away from her. If she got someone hurt or killed by teleporting the party to the surface? Not only would it be far out of her sight, but she'd be dead before she had to deal with any consequences of that action.

Falin is not a confrontational person. She doesn't push when Marcille won't tell her the truth about the resurrection, and she comforts Laios about her own death - both of those things happening in the only full chapter she is alive and conscious in the whole story.

We also know that she considered accepting Shuro's proposal, despite not having any special feelings towards him, and that Falin never explained to Marcille that she wanted them to share a meal together. When she brought Marcille various foods at the academy, she just accepted Marcille's confused rejection and gave up.

And lastly, we know that she is still in contact with her parents, despite the neglect and abuse she suffered at their hands. Although the way someone chooses to handle contact with abusive or bad family is a complicated topic, which I don't want to overly simplify, I do I think this fact gets at the heart of how she handles conflict.

So many people that Falin loves have hurt her. There are understandable hurts, like Laios leaving the village, or Marcille not understanding the food. And there are bigger, far less justifiable hurts - like her parents neglecting her throughout her childhood, and sending her away to be alone at the magic academy.

It doesn't seem like Falin has ever confronted any of it directly.

And the unhealthy aspects of this kind of avoidance of pain and confrontation is one of the things that the story of Dungeon Meshi is all about. We see Laios grapple with it before he goes to kill Falin, and we see Marcille acknowledge it at the end of the story, when she tells Laios that she has come to terms with Falin's death:

Eating is a part of life. Consuming other living things is a part of life. It isn't really possible to avoid that pain - you can only hide from the truth of it. You have to be selfish everyday. You have to eat - to choose to live. To choose to take up space.

And this is something Falin embraces, too. She comes back to life, after all.

We see her choose to come back to life.

And how does she make that choice? She eats. She consumes, and then she is asked a question by the manifestation of hunger itself:

Do you want to eat more?

There is a double meaning in the Winged Lion's final words on the next page.

When I first read this, I took it as him saying: life is cruel. You will suffer. You will feel more pain.

But perhaps, especially for Falin, this also means: you are choosing a path where you must cause pain. Where you must consume. Where you must take, and must be selfish. Because eating is the special privilege of the living, and it is their burden, too. In order to stay alive, she will need to keep eating.

And she chooses that. Chooses to be selfish. It's why her resurrection scene is so important, and it's why The Panel is so important. Because Falin coming back isn't the ultimate reward for all of the party's hard work.

It's her choice. Just like it was her choice that started everything in the first place. But this time, she doesn't choose to accept causing pain for the sake of Marcille and Laios. She does it for her own sake.

[babycharmander]

(THE BOOK OF BILL SPOILERS!!)

Thinking about Bill’s appearance at the end of the book…

[ID: BIll when confronting the Axolotl. He is shown in white silhouette, hovering in space, hovering neutrally. Notably, he has a massive crack running through his body, splitting him into multiple pieces, some of which are coming apart. /end ID]

When confronting the Axolotl, Bill is broken. The Axolotl even notes this: "Shattered, broken, not yet dead."

(Which, side note, makes me think Bill might have been lying about having been "kicked out of Hell," if he didn't actually die in Stan's head.)

[ID: Three pictures of Bill in the Theraprism. The first one shows him holding his hand against the side of his head in a dazed expression, sitting in a chair in a white padded room between a wizard with a clock for a face and Saturn (taken directly from the painting Saturn Devouring His Son). The second is a camera recording of him wearing an orange jumpsuit and kneeling in a cell, surrounded by arts and crafts tools, holding a pair of scissors, and beaming his thoughts frantically into a book. The third shows a mugshot of him staring blankly into the camera, his own name written on coded text below him. In all three images, he has a glowing scar where the cracks were, and is in one piece. /end ID]

When he's shown in the Theraprism, we see a glowing, static-y scar where the cracks were. The scar crosses his entire body (and even crosses to the other side of his eye without affecting it!), but he's actually whole, keeping himself together.

But then...

[ID: Two pictures of Bill from the last pages of the book. In the first one he is facing forward and holding up one finger, his eye reddened, his entire form glitching, and his crack is notably worse than prior, cracking through his eye, multiple smaller pieces drifting away. In the second one he is staring blankly at the viewer, his arms hanging limply, his eye wide and blank, the crack worse than the previous image, with more pieces floating away. /end ID]

In the last few pages, we see the scar is gone and the cracks are back, and even more of him is breaking away, including parts of his eye. It's especially bad in the last image, with even more pieces of him breaking away.

Also noteworthy is that the static texture behind him seems to be the same as the blood sample the US government took from him in the 1940s. He's bleeding.

We know from context that these images are meant to be taken somewhat chronologically. After dying (or nearly dying), Bill seeks out the Axolotl, who sends him to the Theraprism. While there, he writes the journal that he's beaming to us. The staff at the Theraprism catch onto this, and allow him to write out the last few pages, meaning those last few pages are chronologically the last of Bill we see.

This means that, after the events of the show, Bill was shattered... and then, upon entering the Theraprism, started to heal, his body coming together and scars forming... but at some point afterward, he started breaking apart again.

I'd made a post previously about Bill's development, how he views himself as a monster after the Euclidian Disaster, and how he continues to act monstrous afterward (and winds up agonizingly lonely as a result). I didn't really touch on this in the post, but I feel like after inadvertently destroying his home dimension...

Bill never left the denial phase of grief.

I could be wrong on this, but I get the feeling that part of his reason for acting monstrous toward just about everybody is because he sees himself as a monster, because "this is just how I am" is easier to accept than "I really really screwed up."

Bringing this back to his shattering... It's interesting to me that after entering the Theraprism, his body is scarring, which means it is healing. But then, at the end, as he's signing off the book, he's shattered again, and looking even worse than he did when talking to the Axolotl. When talking this over with a friend, they pointed out something that struck me:

Bill does not want to heal.

Healing means having to actually think through what happened. It means having to confront his past, confront destroying his home dimension, confront the harm he caused to others, confront the fact that he did not have to be this way.

And he refuses to do that.

He refuses to heal.