#but i like dream as their babygirl

[mourn-and-watch]

just want to remind y'all of some kirkwall-related details that are not at all relevant for the possible events of datv:

meredith stannard is alive and kicking and is also planning a war against tevinter

red templars are in control of the gallows; it's hard to tell what's going on in the city itself, but with varric absent it might be left with no viscount again

there's an elven graveyard on sundermount where ancient elves entered uthenera; it is also possibly dedicated/related to mythal

there was also a demon contained in an idol on top of sundermount who supposedly possessed a great knowledge about arlathan and eluvians

the veil in kirkwall has always been remarkably thin and tevinter magisters were weakening it on purpose during their reign; the whole city was built as an enormous blood magic ritual site

if the veilguard squad is going to travel through the eluvians there's still one in kirkwall. the one that has been plot-relevant since dao

[nottrusttworthy]

Callum Turner — someone in the mirror

[222sparklejumpropequeen]

Tbh

[pianokantzart]

Do you think Peach sees Luigi as a little brother? Like she takes one look at the clumsy, shy man that he is and then is like, "I don't care if he's a bit older than me, he's my little brother now too."

I hope Mario is willing to share his little brother custody of Luigi with Peach.

Honestly? That is everything I want out of a Luigi/Peach relationship. In their brief on-screen interactions, we got... Peach trying to protect Luigi:

and Peach praising Luigi for how brave he was:

"Mom friend" is already her neutral state, so I totally see that evolving into more of a "big sister" role as she becomes familiar with the full extent of Luigi's capabilities. But I think Mario will be more than happy to share custody.

[dollykiller]

[greenerteacups]

oooh please someday tell us what you think of GOT

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

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

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

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

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

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

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

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

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

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

[junespriince]

In the walls au

Zatanna: hey, Wally, I know you're looking for a house, I have one but it's haunted as fuck.

Wally, a struggling chem student: I don't believe in ghost, you crystal girly, now is it cheap or not.

Zatanna: it's paid for, it's my boyfriend's grandma's old house but he doesn't want it and he's willing to give it to anyone who wants to pay for power and water, basically.

Wally: where do I sign? I'll have my shit in by today, I'll break your boy toy's hand for those keys!

Zatanna: okay, okay, I'll text him you'll take the house.

Wally: thanks Zee, you're the best!

Zatanna, flips her hair: natural~

Moving into the house.

Wally, sitting on his bed surrounded by a shadow person: you know, I would say it's creepy you cut off my blind dates hand and send them to me in a reused Amazon box Bec he touched me but I roomed with to pagan, crystal girlies who I let put crystal on me to heal my student debt and let their dark magic girlfriend sacrifice me to a demon, so. Points for recycling.

Dick, making himself less shadowy: that's sad.

Wally: I was desperate and was willing to do anything.

Dick: so you're not afraid of me?

Wally: if I die I'm not in debt no more, plus I'm haunted by a pretty boy, and got a damn good job paying my debt and affording better groceries. Life good right now.

Dick: oh, you think I'm pretty?

Wally: duh, are you even listening to me.

Dick, grabs Wallys face: well I think you're pretty too.

Wally, blushed: th-thanks.

Dick: just remember, you belong to me now, don't forget it. *Leaves into the shadows of the dark room*

Wally:

Wally, texting zatanna: you said haunted, didn't say he's hot ass fuck and possessive, tell your boytoy thanks!!

Zatanna:

Zatanna: boy, you need help.

Donna: he's passed help, have fun with your possessive ghost!

Linda: details if he pipes you.

Wally: 🫡🫡

[belledr3am]

just your doll

[fatuismooches]

Reader is always sitting on dottore’s lap.. but what if dottore say on readers lap instead?I love the idea of reader holding one of the segments while they work just sitting on their lap <3 They will get antsy and flustered but you can easily fix that with a peck!! 😌

Something about being close and up and personal with dotty makes me feel so fuzzy and warm! I want to cup his face, kiss him all over, tell him I love him again and again!!! I just really really love the closeness for dottore :(

This goes for the segments as well because they deserve all the love too. Especially webttore!! Give that man a hug during one of his passion rants, no questions asked just do it.

And when I think of akademiya zandik & reader, I think of so much BECAUSE THAT WAS THE HONEYMOON PHASE!!!!! Just two dorks being in love and defending each other and trusting one another. Imagine reader with zandik after he tells them a bit of his past, his childhood, (A bit OOC but perhaps that could be the first instance where reader sees zandik cry for the first time..?) with reader reassuring him whilst embracing him.

I’d love to come back here and talk more!! Can I please become 🎨 anon? I do have troubles with speaking so I am sorry if this is a bit wonky. :1

There are certain words that you simply do not refer to Il Dottore as. Cute and submissive are two of these words, but you? You use them anyway. Because they are cute and submissive when they're all comfortable (although terribly embarrassed and defensive) in your lap. In the beginning, when you suggest the idea, Dottore and the other segments laugh at you because they think it's an amusing joke but, nope, you're 100% serious. It takes... a lot of perseverance and bothering and begging and pleading but!! Soon you'll have the segments fighting over who gets to sit in your lap, because well... it's comfy and soft and they get to be held by you for hours on end as they do their work... (Prime and Omega are obviously the last to give in, their egos are not handling this embarrassing treatment.) You always wrap your arm around him and ask him about his work! Giving him kisses when he starts to get irritated and working your hands into his shoulders and back... :( You're good at repelling the oncoming stress and headaches in this position.

Webttore's ego literally blows up whenever you show such blatant affection and interest in his rants, like yes please keep indulging because he WON'T stop as long as you keep doing it. You could be on the verge of falling asleep and all you hear is him continuing to tell his stories in the background. He wouldn't even notice at first because he gets very into his storytelling as to how he casually demolished a few dozen camps of enemies but then he realizes you aren't commenting anymore... oh you fell asleep :( all of this was probably too much for you to handle all at once...

HONEYMOON PHASE AKADEMIYA ZANDIK AND YOU... :( ugh you're so right 🎨 anon. That was when times were so much simpler... sure school is a pain but!! It was fun. It was when you two found love. Finding comfort, finding each other. It was when you two could simply be Zandik and [Name], no other titles getting in the way.

Zandik despised opening up about himself, much less his past so, he'd only tell you after like many years, and even then he kept it brief and acted like he didn't care and it didn't affect him, because he didn't want to be pitied, he doesn't want your comfort. And so you don't push the topic, but you know he was hurt by it, hurt by being called a monster since birth, being run out by the people who were supposed to be family. So when he does end up crying about it, you don't say a word, you just hold him even as he tries to cover it up, even as he curses you for being like this, because you love him.

[coneyislanddoll]

me and him

[metaphysicpareidolic]

moments that should have been in the sandman tv show

1. Dream’s far superior mind duel outfit

2. John Dee eating a fly

3. this

4. literally described as looking like a “wet puppy” (something along those lines) by neil himself

5.

bip

6. world’s worst laugh

7. the most twinkified fit ever concieved

[hoffmansbignaturals]

bros going honk shoo mimimi

[cable-salamdr]

Fun fact I had to wait like almost a month to watch dr s2.1 because I was still catching my friend up and wanted to watch it for the first time with them

However, this resulted in me being so starved of Ninjago content that my dreams started making up their own clips and trailers for Dragons Rising:

The first one was that a new elemental master of amber showed up (I knew Cinder existed at this point so I think my dream just copied that), and I felt legitimately and profound sadness over not knowing what had happened to Skylor.

The second was that somehow the gang ended up in a departed realm looking place, and Morro suddenly materialized out of a vase and started quipping at Lloyd. There was no big reveal or “oh my god this character is back!!” he was just. there. Sassed at the ninja, and disappeared.

[treasureplcnet]

someone on the bodies production team you have to release more layout/bts pictures of charles whiteman's flat please. this is a great start but i need to know him better. particularly if it's got about as much mould as a second year uni house and if he owns as many chairs as it seems LOL

[dizzybevvie]

girl help im thinking about Riku Kingdom Hearts

[finisnihil]

"You can't ship those characters they've never interacted-" OH MY GODDDDD I use shipping as a means to explore the dynamics between different characters like I don’t fucking care that blorbo and pookie don't know the other exist if they're interesting when paired together i'm gonna make them make out sloppy style in my head. Canon worship is the mind killer and whatever